EXECUTIVE SUMMARY

EVERYONE is a cultural property designed to shift what millions of people believe is possible. At its center is a 45-minute immersive cinematic experience. Around it: a book, campaigns, team wear, and a philosophical foundation fifteen years in development. The film is designed for the emerging global venue ecosystem: planetariums, LED domes, Sphere-scale installations, touring productions, and every screen the content can reach. Every element deepens the experience and expands the audience. The system is integrated by design.

The Crisis. The world is not short on awareness. It is short on orientation. Dystopia has colonized our collective imagination. We rehearse collapse futures hundreds of hours a year until they feel inevitable. Belief collapses first. Action collapses later. This is the crisis underneath all the other crises: we have stopped believing a different outcome is possible. And that belief is not decoration. It is infrastructure. It determines what we attempt, what we fund, what we create, what becomes possible.

The Experience. EVERYONE repairs that orientation. Not through argument. Through felt experience. A 45-minute immersive journey that takes an audience from the weight of the present moment through a cosmic and evolutionary unfolding to a fundamental shift: from separation to recognition. From inevitability to possibility. From isolation to connection. Once seen, it cannot be unseen.

The Market. The immersive entertainment market reached $140 billion in 2025, approaching $1 trillion by the early 2030s. Sphere generated $781M in venue revenue in 2025. COSM is opening 100+ dome venues. Over 4,000 planetariums operate worldwide. The infrastructure is growing rapidly. Content is the bottleneck. Zero serious producers are making cinematic content about possibility, agency, and collective belief. The lane is empty. EVERYONE enters it with a world-class team.

The Technology. Generative AI has changed what is possible. All cosmic, nature, and scale imagery is produced using generative AI, enabling visuals that no physical camera can reach. Work that would have required $100M and full studio infrastructure five years ago can now be produced at a fraction of the cost. The convergence of talent, technology, and timing is what makes this possible at this budget.

The Team. Harry Gregson-Williams (Gladiator, The Martian, The Chronicles of Narnia, Shrek) composing the original score. Dennis Blakey (Emmy Award, Star Trek: Deep Space Nine; three decades at Digital Domain: Apollo 13, Tron: Legacy, Iron Man 3) leading visual effects. WEVR (Fast Company Top 10 Most Innovative in AR/VR; Harry Potter VR, Gnomes & Goblins) as immersive production partner. Created by Zak and Zev Zaidman, who have been developing the intellectual and philosophical foundation of EVERYONE for over fifteen years.

The Flywheel. Three markets converge: immersive experience, meaning, and identity. EVERYONE captures all three in one integrated system. Campaigns launch before the film, growing audience and testing creative in real time. Each campaign is a self-contained production unit: the film is composed from them. Team wear makes belonging visible. The book deepens the philosophy. Every element drives audience to the venue. The system compounds.

The Model. $4,000,000 raise. Total production budget of $4,750,000 (including $750K in deferred development already invested by founders). The financial model is intentionally conservative: venue ticket revenue only, conservative occupancy assumptions. Distribution includes both public ticketed screenings and group/sponsored showings for schools, companies, and organizations. The infrastructure for group bookings already exists at planetariums worldwide. Under the base case, investors reach the 2X cap by 2029-30. Non-venue revenue surfaces (team wear, book, campaigns, streaming, licensing, platform) are excluded from the model entirely. Everything else accelerates the timeline and strengthens the return.

The Structure. Profit Participation Rights with a three-phase waterfall: 100% of Net Distributable Profits to investors until 1X recoupment, then 50/50 until 2X, after which profits flow to team, reinvestment, and mission-aligned initiatives. Doing good is the business model: more people transformed means more revenue. Mission and money are structurally aligned.

The Foundation. 35,000+ words of developed philosophical content, a full book manuscript, a film bible, visual design systems, and a script being finalized. Fifteen years of intellectual development. A growing community of allies and collaborators across industries are joining this cocreation. The foundational work is done. What remains is production, distribution, and scaling.

The Invitation. This is an invitation to join the inner circle of one of the most important cultural projects of our time. To stand with the people who chose to put something this necessary into the world, at this scale, at this moment. And team EVERYONE is growing by the day.

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I. WHY THIS EXISTS

When people ask what I do, the honest answer is: I look for reasons to be hopeful. And when I find them, I try to build something with them.

Almost no one offers a reason back. That is not because people are cynical. It is because somewhere along the way, believing in possibility became socially risky. Hopelessness isn't a failure of character right now. For many of us, it simply feels like the only honest response to the evidence in front of us.

But here is what I noticed, over years of having this conversation. It is not the crises themselves that are breaking us. It is something underneath. Something nobody is naming.

Dystopia has colonized our collective imagination. Name five visions of a dystopian future and they come instantly. Now name five visions of a thriving future. Most people cannot name one. We rehearse these collapse futures over and over, hundreds of hours a year, in movies, shows, games, novels, until collapse feels more vivid than any alternative. The dystopian future lives in our nervous systems. And belief collapses first. Action collapses later. The collapse becomes self-fulfilling. We don't try because we don't believe. Things don't improve because we don't try. Our non-belief is confirmed. The cycle tightens.

This is the crisis underneath all the other crises. Not climate. Not AI. Not polarization. Those are real and urgent. But beneath all of them sits something more fundamental: we have stopped believing that a different outcome is possible. And that belief, or its absence, is not decoration. It is infrastructure. It determines what we attempt, what we fund, what we build, what becomes possible.

What is missing is not awareness. Everyone is aware. What is missing is orientation. The felt sense that a different future is possible, and that we have a role in creating it. Orientation is the infrastructure beneath action. Without it, nothing moves.

EVERYONE exists to repair that orientation. Not through argument. Through felt experience. A 45-minute immersive cinematic journey that does what no lecture, documentary, or data visualization has done: it changes what feels possible. It takes an audience from the weight of the present moment through a cosmic and evolutionary journey to a fundamental shift in orientation. From separation to recognition. From inevitability to possibility. From isolation to connection.

The experience does not tell people what to think. It reframes what they are able to see. And once you see it, you cannot unsee it.

This is not a film about the universe. It is an experience of being the universe. Localized, temporary, aware, and capable of choosing what comes next.

The world is hungry for something that restores agency and aliveness. Not by denying risk, but by cracking inevitability. That hunger is the market. This experience is the product.

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II. THE EXPERIENCE

What It Does

EVERYONE is a new category of cinematic experience. Not documentary. Not lecture. Not ride. It is designed to reliably produce one outcome: a fundamental reorientation in the viewer. Not inspiration. Not education. Not comfort. A shift in orientation that tends to persist.

A ceremony. A shared experience that creates transformation. You enter one person and leave another.

Walking out, something has changed, and it stays changed. The sense of inevitability has cracked. And in that crack, a different posture toward the future appears: one in which belief in what could happen matters, because it actually changes what does.

There is joy in this experience. Not because it avoids reality, but because it restores a sense of possibility and agency inside it. This is entertainment as spectacle, as beauty, as awe, as relief. And also as restoration.

Five Movements

EVERYONE: The Story of Us is structured as a five-movement symphony. Each movement builds on the previous, taking the audience through a transformation that works on the body before it reaches the mind.

Movement 1: The Weight. The audience enters the present moment. Not through statistics or headlines, but through felt experience. Environmental damage, war, loneliness, exhaustion, faces that have stopped expecting things to improve. The film does not avoid what hurts. But it never says "this is your fault." Instead: this is what it feels like when something powerful grows faster than its wisdom. The audience should feel grief, not shame. If we truly let it in, all of what there is to let in, it breaks our hearts. The well of sorrow is deeper than we can bear. The film holds all of it. And then: the game is not over. It is halftime. And this is the speech.

Movement 2: The Unfold. The frame expands. From the first moments after the Big Bang through the emergence of galaxies, stars, planets, chemistry, biology. Experienced at cosmic scale. The audience is not watching a documentary about the universe. They are inside it. Fourteen billion years of unfolding complexity rendered in immersive cinema at the highest visual quality achievable. And here is the thing that starts to shift: life expands. Cooperation is the engine of every major evolutionary transition. Single cells became organisms. Organisms became ecosystems. Ecosystems became biospheres. At every level, the pattern is the same: parts that learn to coordinate become wholes that can do things the parts never could.

Movement 3: The Pattern. The recognition. The same dynamics that shaped galaxies shape ecosystems. The same patterns that organize cells organize cities. The same forces that drive evolution drive culture. Physics, biology, culture, consciousness. Not separate subjects. One unbroken thread. The audience begins to see connections that were always there but invisible at human scale. Everything is connected to everything. Not as metaphor. As structure.

Movement 4: The Shift. The moment of reorientation. You are not IN the universe. You ARE the universe. Localized, temporary, aware. Not metaphor. Not poetry. The calcium in your bones was forged inside a star. The oxygen you are breathing has been breathed by billions. The same process that organized itself into stars and forced atoms together in stellar furnaces is sitting in this room, asking these questions. This is the universe looking at itself. Once seen, it cannot be unseen. And it has a practical implication that changes everything: hurting you is hurting me. Winning at your expense is losing something I need. We are already on the same team. Whether we acknowledge it or not.

Movement 5: The Invitation. What becomes possible when we see ourselves and each other clearly? No virus writes books about viral overgrowth. No bacteria holds conferences on sustainability. No invasive species debates whether to stop. Humans do. We are possibly the first species that can recognize its own destructive patterns, imagine alternative futures, choose to act differently, and coordinate at planetary scale. That is unprecedented. Something in us still wants to try. That is enough to begin.

The audience should feel: small, but not diminished. Insignificant, but not meaningless. Held by something vast.

For the full creative vision, production notes, and script development, see the Film Bible.

Technical Format

EVERYONE is a 45-minute immersive cinema experience designed for full-dome environments. Planetariums, LED domes, Sphere-scale venues, and touring installations. The format supports both 360-degree immersive presentation and standard 2K/4K theatrical presentation for distribution across different venue types.

A full surround mix created in collaboration with Harry Gregson-Williams (Gladiator, The Martian, The Chronicles of Narnia, Shrek), specifically crafted to guide audience attention and emotion across the immersive space. The score is integral to the experience. It is not accompaniment. It is architecture.

Minimal spoken word. Visual storytelling that transcends cultural boundaries, enabling global distribution without localization requirements. One production serves every market on Earth.

The Production Vision

One core 45-minute master, produced at the highest cinematic quality. From this master, every format is derived: full-dome, flat-screen, 8K, streaming, theatrical, mobile, trailer, and campaign extracts. One production pipeline feeds every distribution channel. The experience travels everywhere: planetariums, LED domes, Sphere-scale venues, touring installations, home viewing, streaming platforms, and formats that do not exist yet.

The visual language spans three scales. Cosmic: universe, galaxies, deep time. Civilization: cities, movements, human patterns. Intimate: faces, hands, single moments of recognition. Emmy-winning VFX supervision ensures the visual execution matches the ambition.

Why Now: The Technology Convergence

Generative AI and modern immersive production tools have changed what is possible. Work that would have required $100M and a full studio infrastructure even five years ago can now be produced at a fraction of the cost by a small, world-class team.

This is a foundational production decision: all cosmic, nature, and scale imagery is produced using generative AI. Not as a shortcut, but because AI enables imagery that no physical camera can reach. Fourteen billion years of cosmic evolution. The interior of a star. The emergence of life at molecular scale. These sequences can be prototyped, tested, refined, and iterated at a speed and cost that traditional VFX pipelines cannot match. The creative vision is not constrained by budget. It is enabled by the tools.

Our team has been pioneering at this exact intersection for decades. From co-founding one of the first immersive content studios in 1993 to building award-winning VR experiences and scoring some of the most iconic films ever made, this team was assembled for this moment. That convergence of talent, technology, and timing is what makes a film property of this magnitude and potential possible at this budget.

The EVERYONE Mark

The EVERYONE mark is not just a logo. It is a micro-experience of the project's core transformation.

At first glance, it appears as a "1." The individual. The isolated self. With attention, the negative space becomes legible. The word EVERYONE emerges, revealed not by adding anything, but by seeing what was already there. Once seen, it cannot be unseen. That irreversibility is the point.

This is a perceptual rehearsal of the work's central shift. It compresses the entire premise into a single visual moment: you are one. You are also everyone. Both are true. And seeing that changes what becomes possible.

The mark unifies every asset and creates instant recognition across contexts: digital, physical, environmental. It is not a metaphor. It is a perceptual experience. And it is part of a series of core recognitions that, once seen, cannot be unseen. Symbols travel faster than arguments. The mark is how the reorientation becomes visible in the world.

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III. THE MARKET OPPORTUNITY

The Hunger

At rare moments, a cultural artifact does not just entertain. It updates the story a civilization tells itself.

The global success of immersive experiences reveals something deeper than a market trend. People are seeking experiences that make them feel something real. Something that restores a sense of wonder, connection, and agency. Van Gogh sold 5 million tickets not because people suddenly love post-impressionism but because they wanted to be inside something beautiful together. Sphere sold 4 million tickets to a film with no plot, no characters, no franchise. People are voting with their money for experiences that make them feel alive.

The immersive entertainment market reached $140 billion in 2025 and is projected to grow at 23-29% CAGR through 2033, approaching $1 trillion by the early 2030s. The numbers reflect something more fundamental: a world that is hungry for shared, transformative experiences. And a venue ecosystem emerging to deliver them.

Immersive Venue Economics

The economics are proven at scale:

The Sphere (Las Vegas): $781M in venue revenue in 2025, up 27% from $618M in 2024. 1.3 million tickets sold in 2024 alone. The highest gross for any venue in Billboard Boxscore history. Postcard from Earth sold over 4 million tickets since October 2023. The Wizard of Oz at Sphere surpassed 2 million tickets within five months.

Van Gogh Immersive: $280M+ in revenue from over 5 million tickets sold across multiple cities (February 2021 to May 2022, Lighthouse productions alone). This excludes $30M in gift shop revenue.

COSM: Raised $250M in 2024 to expand its network of 87-foot, 12K+ LED dome venues. Currently operating in Dallas and Hollywood. Ticket prices range from $39 to $99+. Actively planning 100+ venues globally.

Meow Wolf: Expanded from one Santa Fe location to four permanent installations (Las Vegas, Denver, Houston, Santa Fe). Annual revenue estimated at $100M+.

The Venue Infrastructure Buildout

The immersive venue infrastructure is in the middle of an unprecedented global expansion:

• Sphere is expanding to multiple locations worldwide
• COSM is planning 100+ dome venues
• Fever operates immersive experiences in 80+ cities ($227M raised, $1B+ valuation)
• Over 4,000 planetariums worldwide, with approximately 60 new permanent digital planetariums added per year
• The planetarium dome market alone: $432M in 2024, projected $849M by 2033 (8.1% CAGR)
• The broader immersive dome projection market: $1.47B in 2024, projected $4.36B by 2033 (13.2% CAGR)
• China's immersive entertainment market is projected to grow from $16.8B to $125B by 2033 (29% CAGR)

The venues are being built. Content is the bottleneck.

The Market for Identity and Belonging

Culture is experienced and signaled through what people wear and what they belong to. Sports jerseys routinely outsell tickets. Philosophy-driven brands command premium prices because the belonging is the product. Lululemon created 10,000 brand ambassadors and hosts 2.5 million participants in free in-store classes every year. Patagonia commands a premium not for the fabric but for what wearing it signals. People pay to stand for something.

This market is massive, proven, and directly relevant to the EVERYONE model. The EVERY1 mark is identity infrastructure. Team wear is how the film's transformation becomes visible in the world. Every person wearing it is a signal that draws new people in. The identity layer is not a secondary revenue surface. It is how belonging scales.

The Content Gap

The current landscape is dominated by two kinds of content: established intellectual properties adapted to immersive formats, and science-education pieces made for planetariums. Space, planets, biology. Most fulldome content is functional and informational. Less than 20% of available fulldome titles produce significant revenue. Quality and ambition matter enormously.

There is no original, cinematic, philosophically rigorous work designed from the ground up as immersive cinema. A work that functions as both art and commercial property, designed for meaning and designed for scale. Zero serious producers are making cinematic content about possibility, agency, and collective belief. The lane is empty. EVERYONE enters it with an Emmy-winning team and a composer whose credits include Gladiator and The Martian.

Idea-Driven Cinematic Content

A parallel market validates the audience appetite for EVERYONE's content territory:

Kurzgesagt: 24.8 million subscribers, 3.5 billion views. Science and philosophy through animated cinematic storytelling. A $7-9M annual business powered by faceless, existential content. Revenue diversified across five streams: 40% merchandise, 13% YouTube ads, 12% sponsorships, 10% institutional sponsors, 9% Patreon.

Melodysheep: 2.8 million subscribers, 384 million views. Cinematic space and cosmos visualization set to original music. Timelapse of the Future alone has 110M+ views. The closest visual comparison to EVERYONE's production style.

Pursuit of Wonder: 3.4 million subscribers. Philosophy, consciousness, and meaning. The closest thematic comparison to EVERYONE's content territory.

The pattern: cinematic quality plus big ideas equals organic growth and real revenue. None of them had celebrity backing or traditional marketing. Education and ideas content commands premium CPMs ($9-14 per thousand views, compared to $2-4 for general entertainment).

What none of them have created is an immersive experience. EVERYONE enters this proven content territory with a production team whose credits include Gladiator, The Martian, Iron Man 3, Tron: Legacy, and Harry Potter VR. A composer who has scored some of the most iconic films of the past two decades. And a format designed for the venue ecosystem that is already here and growing rapidly.

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IV. VENUE STRATEGY AND DISTRIBUTION

Distribution Model

EVERYONE is designed for distribution across multiple venue types. No single channel is primary. The strength is the combination:

• Planetariums (4,000+ globally): Ticketed screenings for public and group audiences. Revenue share model (venue retains 60%, EVERYONE receives 40%). The existing global network is the backbone of distribution. Existing infrastructure waiting for premium content.
• Premium LED Domes (COSM, Obscura, similar): Premium pricing ($39-99 per ticket). Touring partnership model.
• Immersive Hotels/Experiential Venues: Dedicated installations in key cities. Licensing model.
• Flagship Venues (The Sphere, future comparable): Long-form residencies. Members of our production team have been approached by leading immersive venues including Sphere to produce content.
• Touring Installations: Pop-up immersive theaters in major markets.
• Streaming (later phases): Direct-to-consumer through platform and third-party platforms after initial venue window.

Additional distribution channels include fulldome distributors (Reef Distribution has executed 1,000+ global licenses; ePlanetarium operates the leading streaming platform for planetarium content) and direct venue relationships. The Fulldome Database (fddb.org) lists 400+ shows and serves as the primary discovery platform for planetarium operators worldwide.

Public and Group Showings

The model projects two types of venue screenings:

Public showings: Evening and weekend ticketed screenings for general audiences.

Group showings: This is one of the most powerful distribution channels for EVERYONE. Schools, corporations, nonprofits, faith communities, and civic organizations are going to want their students, employees, and members to see this. One booking fills a room. One school district partnership fills a month. One corporate sponsor fills a quarter. This is how a film reaches 5 million viewers and beyond: not one ticket at a time, but through organizations whose purpose aligns with what the experience delivers.

The infrastructure for this already exists. Planetariums and immersive venues have been running school field trips for decades. Booking systems, bus logistics, teacher coordination, curriculum alignment: all established and operational. EVERYONE is not creating a channel from scratch. It is plugging into infrastructure that has been operating for generations and is hungry for content this compelling.

Three funding models make group screenings scalable: corporate sponsors (CSR and marketing budgets), tax-deductible charitable donations (via fiscal sponsor or future EVERYONE Foundation), and institutional budgets for organizations that pay their own way. Sponsored screenings can be funded at zero cost to schools or organizations, creating both revenue and impact simultaneously. The donor, the venue, the audience, and the mission all benefit.

Public and group showings run at the same venues, maximizing utilization of each partnership.

Revenue Model

The financial model (v7.1) projects venue revenue only:

Key assumptions: $30 average ticket price (comparable venues charge $35-105), 60% venue share (to venues), 40% net to EVERYONE, 60% average occupancy, no revenue from non-venue surfaces.

2030 net revenue: $26.5M (venue revenue only).

Additional Revenue Surfaces (Not Modeled)

The financial projections are based on venue ticket revenue only. The following revenue surfaces are real, measurable, and expected to generate meaningful income, but are excluded from the model to provide a clear, conservative floor on investor returns:

• Team wear: The EVERY1 brand. Identity infrastructure for the human team. Not a merchandise line. A way for people to signal what they believe. Symbols travel faster than arguments. Belonging spreads faster than explanation. Team wear is how the film's transformation continues after the screen goes dark. Cultural identity brands at scale demonstrate 40-60% gross margins.
• Book: EVERYONE: A Case for Belief. 35,000+ words of developed manuscript, publicly available at believe.everyone.team. The philosophical foundation. A book-length case, written in four parts, that moves between personal vulnerability, structural argument, cosmic perspective, and direct address. It makes the case that belief is not decoration but infrastructure, and that giving up on the human team guarantees the outcome we fear. Traditional publishing and direct-to-audience sales.
• Campaigns: 12-15 standalone 60-second cinematic pieces for digital distribution (YouTube, TikTok, Instagram). Each one a self-contained experience that builds audience and drives them to the venue. Revenue from advertising, licensing, and sponsorships.
• Platform: everyone.team. Community, exclusive content, early access, direct merchandise sales. The gathering place.
• Licensing and partnerships: IP licensing, co-branded collaborations, brand partnerships, institutional programs.

Each of these surfaces generates revenue independently and drives audience to the venue experience. They represent upside above the conservative venue-only model. And more than that: they are how the reorientation travels. Content attracts attention. Experience shifts orientation. The mark makes recognition visible. Visibility sparks conversation. Conversation draws more people in. The system reinforces itself because belief, once seen, wants expression.

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V. THE PHILOSOPHICAL FOUNDATION

This project did not start with a market opportunity. It started with a question that would not go away.

Is it possible that the future is not yet written? And if it is possible, even slightly, what would we need to build to keep that possibility alive?

The honest answer, arrived at over many years: what we would need is a shift in orientation. Not new information. Not better arguments. A felt shift in how people see themselves, each other, and what is possible. Because belief is not downstream of outcomes. Belief is upstream. What we believe shapes what we attempt. What we attempt shapes what gets built. What gets built shapes what becomes possible. When belief collapses, everything downstream collapses with it.

The philosophical foundation for EVERYONE is a body of work. 35,000+ words exploring why belief matters structurally, not sentimentally. It makes the case in four parts:

The Weight. The honest reckoning with where we are. The polycrisis. The imagination crisis underneath it. The self-sealing loop: we stop believing, we stop trying, things get worse, our non-belief is confirmed.

The Reframe. The cosmic context. Life expands. Cooperation is the pattern. We are not separate individuals in a universe. We are the universe expressing itself as billions of apparently separate individuals. The separation is real at one scale and not real at a deeper scale. Both are true. Both matter.

The Lever. Belief as infrastructure. Every material change in human history required people to first believe the change was possible. Not as a guarantee. As a precondition. The abolition of slavery, the scientific revolution, every civil rights movement, every technological breakthrough. Belief is insufficient the way oxygen is insufficient for fire. You also need fuel and heat. But try starting a fire without oxygen. The wager: in three of four possible scenarios, maintaining belief is the rational choice.

The Invitation. We are not asking anyone to take a leap of faith. The campaigns will be live. The audience response will be measurable. The team is visible. This is not a bet on hope. It is a bet on something already in motion.

At the center of this foundation are a series of recognitions that, once seen, cannot be unseen. They are the spine of the film, the book, the campaigns, the mark, and every expression of the project.

This is not a project grounded in a pitch. It is a project grounded in a body of thought. The immersive experience is how that thought becomes felt. The venue ecosystem is how it scales. The investment is how it comes to life.

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VI. THE FLYWHEEL

Three markets are converging. The immersive experience market, approaching $1 trillion by the early 2030s. The market for meaning, where idea-driven cinematic content draws billions of views with no celebrity, no host, and no traditional marketing. And the market for identity and belonging, where people pay to signal what they stand for. Jerseys outsell tickets. Philosophy-driven brands command premium prices because the belonging is the product. No jersey exists for "I believe humanity can figure this out." Until now.

No one has created a system that captures all three. An original cinematic experience engineered to shift orientation. A content engine that scales that shift across platforms. And an identity infrastructure that makes belonging visible and self-reinforcing. All integrated into one system where each piece makes the others stronger.

EVERYONE is that system. And the film is where it ignites.

Campaigns

Before the film launches, campaigns are already in the world. Standalone 60-second cinematic pieces drawn from the same visual language as the film, distributed across YouTube, Instagram, and TikTok. Each one a self-contained moment of recognition designed to grow audience, generate revenue, and simultaneously refine the emotional architecture of the immersive experience.

The campaigns are not marketing for the film. They are the atomic units from which the film is composed. Each campaign is a self-contained production unit that can be produced, tested, and iterated independently. The full 45-minute experience is composed from these campaigns plus connective tissue that only exists in the immersive format. This modular architecture means production can begin immediately, creative risk is reduced through continuous audience feedback, and every piece of content released is simultaneously revenue, audience development, and R&D for the flagship experience.

Every piece tests what resonates. Every audience response informs the production. By the time the film premieres, it is the proven culmination of everything already made, tested, and validated with a live audience.

This means the investor is not waiting years to see traction. The first campaigns go live immediately. The audience response is measurable in weeks, not years. The data shows in real time whether the content resonates, how fast the audience grows, and how the creative is evolving. By the time the flagship experience launches at scale, it has been refined through hundreds of live audience interactions. The risk is not theoretical. It is being tested and reduced from day one.

After the film launches, the system compounds. The experience transforms people. That transformation wants expression. Team wear makes belonging visible. The book is the philosophical foundation from which the film is made, deepening the ideas for those who want to go further. The platform sustains connection. Each expression draws new people in. Each new person strengthens the system. Belief, once activated, wants to be shared. That is the flywheel.

The financial projections model venue ticket revenue only. Every other surface accelerates the timeline and strengthens the return.

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VII. PRODUCTION TEAM

Zak Zaidman: Writer, Creator, Executive Producer

Strategist, founder, and advisor working at the intersection of emerging technologies, regenerative systems, and purpose-driven leadership. Studied philosophy, psychology, anthropology, and creative arts at UC San Diego. National Science Foundation Fellow in cognitive science at UC Berkeley, focusing on consciousness and human perception. In 1993, co-founded Gravity, one of the world's first immersive content design studios, incubated at Silicon Graphics. Gravity partnered with Intel, IBM, and Disney to explore immersive media and emotionally resonant interactive storytelling. For the past two decades, has built ventures across technology, climate, agriculture, and cultural change.

EVERYONE is the synthesis of everything Zak has studied, created, and believed for thirty years: that shared identity changes what becomes possible, and that belief itself is infrastructure. He provides the creative vision, philosophical architecture, and creative direction for every expression of the project.

Zev Zaidman: Producer, Executive Producer

Career spanning investment banking, commercial banking, money management, venture capital, startups, and sustainability-driven organizations. A practical relationship with systems, incentives, and capital, and a long-standing conviction that the world does not have to be the way it is. At EVERYONE, Zev translates creative ambition into a fundable, executable venture: the business architecture that allows the project to scale without losing its soul. He designed the profit participation model, designed the financial architecture, and leads fundraising, investor relations, and operations.

Together, Zak and Zev have been developing the core ideas behind EVERYONE for over fifteen years. They are brothers, equal co-owners of EVERYONE LLC, and joint decision-makers on all matters.

Harry Gregson-Williams: Original Score and Music Direction

One of the world's most celebrated film composers. Credits include Gladiator, The Martian, Kingdom of Heaven, The Chronicles of Narnia, Shrek, The Equalizer, Man on Fire, and the Metal Gear Solid franchise. Known for combining intimacy and awe, grounding human emotion inside vast cinematic landscapes. Numerous awards and nominations across film and television.

For EVERYONE, Gregson-Williams brings a rare capacity to translate existential scale into lived emotional experience, crafting a score designed to shape the audience's perception from the inside out. Full orchestral production designed specifically for immersive spatial audio environments. The score is integral to the experience. It is not accompaniment. It is architecture.

Dennis Blakey: Visual Effects Supervisor / Visual Design Lead

Emmy Award-winning digital visual effects artist spanning three decades at the forefront of cinematic innovation. Animation Director on Star Trek: Deep Space Nine, where he designed the groundbreaking CGI morphing effect for the character Odo in the pilot episode "Emissary," earning an Emmy Award for Outstanding Individual Achievement in Special Visual Effects. Three decades at Digital Domain, contributing to major feature films including Apollo 13, The Fifth Element, Tron: Legacy, Thor, and Iron Man 3.

At EVERYONE, Dennis leads visual effects and large-scale cinematic image design, bringing elite technical execution and decades of experience crafting immersive cinematic worlds.

Neville Spiteri: Producer (Co-Founder & CEO, WEVR)

Co-founder and CEO of WEVR, recognized by Fast Company as a Top 10 Most Innovative Company in AR/VR. Producer on The Blu (multi-award-winning virtual ocean experience), Harry Potter VR (Warner Bros), and Gnomes & Goblins (Jon Favreau, Emmy finalist for Outstanding Innovation in Interactive Media). Former Producer and Senior Development Director at Electronic Arts. Earlier roles at Digital Domain and Square Enix. Career began as a graphics software engineer contributing to early foundational 3D tools including Autodesk Maya. Graduated Summa Cum Laude in Computer Science and Cognitive Science from Brandeis University.

At EVERYONE, Neville leads immersive production strategy and venue-format deployment.

Anthony Batt: Co-Founder, WEVR

Co-founder of WEVR. Two decades as a digital media executive and entrepreneur. Previously founder and CEO of Buzznet (180M+ unique visitors worldwide), co-founder and CTO of EMC/Greenplum, president of digital at Katalyst (Ashton Kutcher's media studio). Co-founded Thrash Lab with YouTube. AFI keynote speaker on immersive technology.

At EVERYONE, Anthony leads immersive technology and production infrastructure.

WEVR: Immersive Production Studio

Leading creative technology company since 2010, co-founded by Neville Spiteri, Anthony Batt, and Scott Yara. Deep expertise in spatial/XR, immersive video, and generative AI. Notable projects include Harry Potter VR (Warner Bros), Gnomes & Goblins (Jon Favreau), and collaborations with artists and creators across entertainment and technology. First multi-user location-based VR experience on 5G (with AT&T and Ericsson). Fast Company Top 10 Most Innovative Company in AR/VR.

At EVERYONE, WEVR serves as the immersive production partner, bringing the cinematic experience from creative vision to deployable reality across dome, LED, planetarium, and large-format projection environments.

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VIII. COMPARABLES

Immersive Venue Experiences

Fulldome and Planetarium Content

Kaluoka'hina generated $15M gross as a children's animated film distributed through a fraction of today's venue ecosystem. EVERYONE enters a dramatically larger market. Post-Sphere, post-COSM, with 60 new digital planetariums per year and the dome projection market tripling by 2033. Critically, almost all existing fulldome content is science education. EVERYONE enters with blockbuster-quality production and philosophical content in a category that essentially does not exist yet.

Idea-Driven Cinematic Content

The immersive venue comparables prove the economics. The fulldome comparables validate the distribution infrastructure. The idea-driven content comparables validate the audience. No existing property combines all three.

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IX. INVESTMENT STRUCTURE

Entity

EVERYONE LLC, a Delaware limited liability company. Members: Zak Zaidman (50%), Zev Zaidman (50%).

Investment Instrument

Profit Participation Rights. Contractual claims to receive a percentage of the Company's Net Distributable Profits. See the full Term Sheet and Participation Agreement for complete terms.

Not equity. Not debt. No ownership stake in EVERYONE LLC. No voting rights or governance rights. No board representation. Not convertible to equity. Not transferable except with written consent.

Three-Phase Waterfall

Phase 1: Recoupment (0 to 1X) 100% of Net Distributable Profits to investors (pro rata) until each investor has received their full capital contribution back.

Phase 2: Profit Sharing (1X to 2X) 50% of NDP to investors (pro rata), 50% retained by EVERYONE LLC for deferred compensation recoupment, team growth, and operations. Continues until each investor reaches the 2X cap.

Phase 3: Post-2X Investor participation terminates at 2X. All subsequent profits distributed per the post-2X allocation set forth in the EVERYONE Business Plan: 25% EVERYONE LLC / Above-the-Line, 25% Below-the-Line Team Profit Share, 25% Reinvestment, 25% Foundation & Mission-Aligned Initiatives.

The Raise

Up to $4,000,000 in aggregate. Accredited investors only (Regulation D, Rule 506(b)).

Total production budget: $4,750,000 ($4M investor capital + $750K deferred development already invested by founders).

Distribution Mechanics

Quarterly distributions, within 45 days after each quarter end. Wire transfer or check. Distributions begin when Net Distributable Profits are generated.

Investor Protections

Quarterly financial reports with full waterfall calculations. Annual audited financials. Inspection rights on books and records. No material amendment to participation terms without consent of 50%+ of participation holders. No buyback or early termination mechanism. Investors participate through the full waterfall until 2X is reached.

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X. USE OF PROCEEDS

The total production budget is $4,750,000. Founders have already invested $750,000 in deferred development (philosophical foundation, creative development, visual design, team assembly, legal formation). The $4,000,000 investor raise funds full production through launch and scaling.

Total Budget Allocation ($4,750,000):

Funding sources: $4,000,000 investor capital (this raise) + $750,000 founders' deferred development (already invested). Detailed line-item budget available in the full data room.

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XI. WHY THIS WORKS FINANCIALLY

The financial model is intentionally conservative. It includes venue ticket revenue only. Everything else accelerates the timeline and strengthens the return.

The 2X Timeline

The model shows 2X reached in 2029 under the base case. This is based purely on cumulative venue ticket revenue across 40 venues at 60% occupancy and an average ticket price below $30. This is at the very lowest end of comparable immersive experiences ($35-105), generating $22.4M in Net Distributable Profits by 2030.

The investor receives 100% of NDP until 1X (recoupment), then 50% until 2X. At a 50/50 split in Phase 2, reaching the $8M cap requires approximately $16M in cumulative NDP. This occurs during 2029 under the base case.

Under conservative assumptions (slower ramp, lower occupancy), 2X extends to 2030. Under downside scenarios (significant delays, lower attendance), 2X may extend to 2032+ or potentially not be reached.

These timelines improve materially when additional revenue surfaces activate.

Sensitivity Analysis

Why This Is a Disciplined Opportunity

The venue model is proven. Van Gogh sold 5+ million tickets. Sphere sold 1.3M tickets in its first year. Kusama runs for years at major museums. Kaluoka'hina generated $15M gross over a decade in planetariums alone, as a children's animated film. The touring immersive experience is a proven category with proven economics.

The content gap is real. Most fulldome content is science education. Less than 20% of fulldome titles produce significant revenue because most of it is functional, not extraordinary. EVERYONE enters with a production team that has shipped content seen by hundreds of millions of people.

The capital deployment is clear. Every dollar is allocated to specific production, marketing, or operational needs. No speculative technology development. No unproven business model.

The team has executed at this scale before. Emmy-winning VFX supervision. Award-winning immersive production. A composer whose credits include Gladiator, The Martian, and The Chronicles of Narnia. Team members approached by leading venues including Sphere. This team knows how to deliver.

The return structure is aligned. A 2X return by 2029-31 on a capital-efficient, purpose-driven venture. Terms that are clear and protective.

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XII. WHAT WE HAVE TODAY

This is not speculative. The foundational work is deep and wide: fifteen years of philosophical development, 35,000+ words of refined content, a full book manuscript, a film bible, a working script, visual design systems, and a production team assembled from the highest levels of cinematic and immersive production. A large and rapidly growing community of friends, allies, and collaborators across industries and walks of life are adding their names and energy to this cocreation.

Every dollar of investor capital funds production, distribution, and scaling. Not R&D or proof of concept. The creative foundation is in place. The production infrastructure is ready. What remains is execution.

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XIII. EXECUTION ROADMAP

Phase 1: Production and Audience Building (June 2026 – October 2027)

Production (16 months): Immersive experience enters full production with WEVR. Emmy-winning VFX supervision on all visual development. Original score composed and recorded by Harry Gregson-Williams. Generative AI and modern production tools allow this team to produce at a level that would have required $100M and full studio infrastructure just a few years ago.

Campaigns: Short-form cinematic pieces launch across YouTube, Instagram, TikTok. Each one a self-contained experience that grows audience and proves the creative thesis before the venue launch.

Commerce: Team wear goes live as a direct-to-consumer channel. Book reaches final development.

Venue development: Venue partnerships secured. Elevation Sky Park (three 360-degree domes, opening June 2026 in San Francisco) is the first confirmed venue relationship. Planetarium outreach begins. Distribution agreements negotiated with Reef Distribution and direct venue partners.

Phase 2: Launch and Ignition (October 2027 – Mid 2028)

Inaugural launch: October 2027. First 10 venues open across planetariums, premium domes, and immersive spaces. 72,000 attendees in the first partial year.

Flagship pursuit: Members of our production team have been approached by leading immersive venues including Sphere. Whether a flagship venue is the inaugural launch or a subsequent landmark, the relationships are active and the interest is real.

Revenue begins. Investor distributions begin when NDP threshold is met.

Book publishes. Platform activates. The flywheel begins.

Phase 3: Scaling (2028 – 2030)

2028: 20 venues active. 864,000 attendees that year. $6.9M in NDP. Investors recoup 1X.

2029: 30 venues. 1.62M attendees. 2X investor return reached. Group/education channel scaling via sponsored screenings at planetariums. Bringing funding to venues, not waiting for license deals.

2030: 40 venues globally. 2.59M attendees that year. $22.4M NDP. 5.1M cumulative audience. International expansion includes Asia, Europe, and the Middle East.

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XIV. RISK FACTORS (SUMMARY)

Every investment carries risk, and this one is no exception. What follows is a honest summary. A comprehensive Risk Disclosure is available in the full data room.

• Market risk: The immersive entertainment market is still emerging. That said, Sphere's $781M venue revenue in 2025, COSM's 100+ planned domes, and 4,000+ existing planetariums suggest the infrastructure is arriving faster than the content to fill it.
• Creative risk: Audience reception cannot be guaranteed in advance. The campaign-first model exists specifically to test and refine creative with live audiences before the flagship experience launches at scale.
• Execution risk: Production, venue partnerships, and distribution require successful execution across multiple fronts. The team includes an award-winning composer, an Emmy-winning VFX lead, and a top immersive studio. The modular production architecture allows progress on all fronts simultaneously.
• Key person risk: The project depends significantly on Zak and Zev Zaidman and the core production team. Fifteen years of development and a growing team of world-class collaborators provide depth beyond any single individual.
• Illiquidity: Participation rights cannot be readily sold or transferred; there is no secondary market.
• No guaranteed return: There is no guarantee of profitability, distributions, or return of capital. The financial model is intentionally conservative, excluding all non-venue revenue streams.
• 2X cap: Investor upside is limited to 2X; there is no participation beyond the cap. This structure prioritizes mission alignment and ensures profits beyond the cap fuel the project's long-term impact.

Prospective investors should read all risk factors before making any investment decision.

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XV. PARADIGM, PURPOSE AND PROSPERITY

This is a purpose-driven venture designed to operate at scale. That is intentional. The ambition of this work demands world-class production, global distribution, and sustained operational infrastructure. That requires capital, and capital requires returns. The investment structure exists to make this possible: to reward the people who believe early enough to fund it, and then, once investors are made whole, to direct value toward the people who make it, the infrastructure that sustains it, and the mission it exists to serve.

This is not "do good while doing well." Doing good is the business model. More people transformed means more ticket revenue. More belonging means more team wear sold. More depth means more book sales. Every dollar of revenue comes from value delivered. Mission and money are structurally aligned.

The 2X cap reflects this design. It provides a meaningful, clear return on a timeline backed by conservative projections. And it ensures that as the project grows beyond recoupment, the value regenerates rather than extracts. This is not just a film finance structure. It is a model for how purpose-driven ventures can reward capital, sustain creative teams, reinvest in growth, and fund mission-aligned impact simultaneously. The structure is the philosophy in action.

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XVI. WHAT SUCCESS LOOKS LIKE

Even the most conservative scenario is a runaway success. Investors reach the 2X cap by 2029-30 on venue ticket revenue alone. By 2030, the model projects $22.4M in Net Distributable Profits, 5.1 million people having experienced the work across 40 locations globally, and every non-venue revenue surface making the timeline faster and the return more certain.

But the deeper measure of success is what those 5.1 million people carry with them when they leave the room. A touring immersive experience that sells out and extends in every city it touches. A film that people experience more than once, not for the plot, but because each time it shifts something deeper. Visible belonging. The mark worn in public as a signal of shared orientation. A short-form content channel attracting millions, with creators worldwide expanding the EVERYONE universe far beyond what any single team could produce.

And beneath all of it: a generation of people who stopped believing it was too late, because something they experienced together showed them it was not. The financial return is a 2X. The impact is incalculable.

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XVII. EVERYONE TEAM

There is a game being played. Everywhere. All the time. By everyone.

It may look like we are losing. Like we are breaking apart. But if we play together, we can still win.

These are the recognitions at the center of everything EVERYONE builds. The film, the campaigns, the book, the mark, the flywheel, the investment structure. All of it flows from one insight: we are already on the same team. Whether we acknowledge it or not. And what we believe about that fact materially changes what becomes possible next.

We win or lose together. Not as metaphor. As structure. The same dynamics that shape ecosystems shape economies. The same patterns that organize cells organize civilizations. Once seen, this cannot be unseen.

Everyone building EVERYONE has seen it. The investors joining this project are seeing it. The millions of people who experience the campaigns and the film will see it. And every one of them will want to invite others to see it. Not because they were told to, but because belief, once realized, wants to be shared.

This is the human team. And we are always working on progress.

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XVIII. THE INVITATION

Here is what we believe.

Belief is not downstream of outcomes. Belief is upstream. What we believe shapes what we attempt. What we attempt shapes what gets built. What gets built shapes what becomes possible. When belief collapses, everything downstream collapses with it.

The future is not written. It is being written right now by what we believe is possible. The problems are real. The trajectory is real. But trajectory is not destiny. We are possibly the first species that can recognize its own destructive patterns, imagine alternative futures, choose to act differently, and coordinate at planetary scale. That matters. That is unprecedented. That is what this project is about.

EVERYONE is the cultural infrastructure for that belief. The immersive experience is how people feel it. Not as argument, but as recognition. The venues, platforms, and screens are how it scales. And this investment is how it comes to life.

You are participating in one of the first major original blockbusters created for the immersive venue ecosystem. A 45-minute cinematic experience backed by an Emmy-winning VFX team, a composer whose credits include Gladiator, The Martian, and The Chronicles of Narnia, and a pioneering immersive production studio. Distributed across domes, planetariums, LED rooms, touring installations, streaming platforms, and every format the content can reach. The technology that makes this possible at this budget did not exist five years ago. The team that has been pioneering at this intersection for decades is assembled and ready.

The model shows the conservative case: venue revenue only, conservative occupancy assumptions. 2X return by 2029. Everything else accelerates the timeline and strengthens the return.

This is a strong investment opportunity. It is also the right thing to invest in. A proven team entering a proven market at the exact moment the infrastructure is emerging to receive it. And it is an investment in something larger: in the goodness of the human spirit, in the future we are still capable of building, in the belief that what we create together matters. Above and beyond the financial return, this work puts something into the world that is desperately needed and does not yet exist at scale.

The cost of belief is low. The cost of non-belief, if non-belief contributes even marginally to the outcome it predicts, is catastrophic. This is not faith. It is a wager. And the asymmetry is clear.

The people are here. The venues are already there, thousands of them, and growing rapidly. The hunger for premium immersive content is matched only by the hunger for this reorientation and belief in the possibility of humanity's future. The timing is now, and the traction this is already generating reflects it.

This is an invitation to be part of the inner circle of something that is growing into one of the most important cultural projects of our time. To stand with the people who chose to put something this necessary into the world, at this scale, at this moment.

You do not have to be certain. You do not have to be optimistic. You just have to be unwilling to sit this one out.

We are EVERYONE.

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Contact: zak@everyone.team | everyone.team

Full data room available at everyone.team/invest: financial model (v7.1), legal documents, team bios, risk disclosure, and investor FAQ.