Social Rundown: British hill roll, AMA's, and Beatboxing nun
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Britain cheese roll
Cheese was not the only thing rolling at this British chase rolling competition. People from all over also go and roll down a steep hill as they chase a rolling block of cheese. I bet bruises and broken bones also take place.
Janet Jackson at AMA's
The one and only Janet Jackson, who turned 59 on May 16, sang and danced her heart away as she pumped the audience with a show of a lifetime with hits like 'Someone to Call My Lover' and 'All for You.'
Beatboxing nun
A nun has gone viral after she started singing and beatboxing alongside another sister and a priest, who filled her behind with some groovy footwork on a Brazilian Catholic TV channel.
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
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Los Angeles Times
2 hours ago
- Los Angeles Times
‘And Just Like That' is finished. We discuss the good, the bad, the pie and the poop
'And Just Like That,' it's over. Earlier this month, showrunner Michael Patrick King informed the world that the long-awaited, highly anticipated and then almost universally hated sequel to HBO's groundbreaking series 'Sex and the City' would end. Mere weeks later, it did just that and rather abruptly, with two Thanksgiving-themed episodes, which felt a bit odd in these dog days of summer. But at least it allowed the writers to box up and tie off all the various storylines as if they were the medley of pies Carrie (Sarah Jessica Parker) picks up and delivers to all her friends during the show's finale. If you think those pies denote happiness, you would be right. The main feast at Miranda's (Cynthia Nixon) apartment falls far short of perfection — loads of no-shows, the appearance of chef Brady's (Niall Cunningham) passive-aggressive baby mama, an undercooked turkey and a toilet disaster — but in the end, every character is left wallowing in peace and satisfaction. Miranda lowers her defenses enough to tell Joy (Dolly Wells) that she is a recovering alcoholic, to which Joy responds with deep understanding. Prostate cancer survivor Harry (Evan Handler) becomes fully, er, functional again and in the afterglow, Charlotte (Kristin Davis) finally surrenders the girly expectations she once had for her nonbinary daughter Rock (Alexa Swinton). After fleeting concern that her crunchy gardener lover Adam (Logan Marshall-Green) doesn't believe in big weddings or even marriage, Seema (Sarita Choudhury) accepts that true, and committed, love comes in all shapes and sizes. As do Anthony (Mario Cantone) and Giuseppe (Sebastiano Pigazzi). Whether Lisa's (Nicole Ari Parker) renewed devotion to husband Herbert (Christopher Jackson) counts as a happy ending is open to debate, but at least he seems to be letting go of his 'humiliating' loss in the New York City comptroller race. As for Carrie, well, after her renewed romance with Aidan (John Corbett) became blighted by mistrust, she had a lovely brief affair with Duncan (Jonathan Cake), the British biographer living in the basement of her townhouse. But in the end, she decides, via the novel that served as this season's voice-over, that life in a fabulous Manhattan apartment with a closet that looks like it was shipped from 'The Devil Wears Prada' costume department and a group of fine faithful friends (including a cantankerous baker who allows her to order pies long past the pie-ordering deadline), does not require a man to be complete. Culture critic Mary McNamara, staff writer Yvonne Villarreal and television editor Maira Garcia compare notes on the end of one of the most discussed, if not beloved, reboots in television history. Mary McNamara: When I wrote about 'And Just Like That' a month ago, I expressed my hope that Season 3 would be the last, so I feel nothing but relief (though had I known the universe was in listening mode, I would have also mentioned wanting to win the lottery and a few other things). I am not worried, as others appear to be, about the legacy of 'Sex and the City,' which is all around us in series as disparate as 'Broad City,' 'Fleabag' and 'Insecure.' Nor do I think that the failure of 'And Just Like That' has anything to do with the current political climate or the rise of the trad wife or whatever hot takes seem handy. It was simply and consistently a very bad TV show. I tuned in initially because, like many, I was excited to see how these characters were coping with late middle-age life — by apparently not experiencing menopause for one thing (an early indication that female authenticity had fallen by the wayside) or developing any sort of interior life. Real crises — Carrie losing Big and 'dealing' with Aidan's troubled son, Miranda discovering her queerness and alcoholism, Charlotte struggling to cope with her daughter's gender fluidity and her husband's cancer — were treated performatively, as plot twists to underline, apparently, the resilience of each character and the core friendship. Not a bad objective, but the hurdles, which increasing felt like a whiteboard checklist (podcasts! pronouns! prostate cancer!), came and went so fast they quickly became laughable (and not in the comedic sense), culminating with Lisa's father dying twice. I kept watching, as many did, not because I loved hating it, but because there was a good show in there somewhere and I kept waiting for it to emerge. When it didn't — well, the Thanksgiving/pie finale was a bit much — I honestly didn't care how it ended, as long as it did. Maira Garcia: Mary, after you wrote your column, I decided to take a break from the show because it summarized some of my frustrations with the reboot that seemed to come to a head this season — Aidan's unrealistic expectations for his relationship with Carrie, the perfunctory way it addressed ADHD, the lack of rugs on Carrie's floors. Of course my break didn't last long because I caught up and now I'm here wondering what it was all about and what it could have been. While the line from King and Parker is that this season felt like a good place for the show to end, based on the number of developing storylines, like Brady becoming a father, I have a very hard time believing it. But the problem of how to fix this show was too big — it was better that they ended on this chapter (whether or not that decision was made by them). I think like many viewers, I just wanted to enjoy spending some time with these ladies again at a later stage in life after a couple of decades with them through reruns and the films. But this was something else and while the addition of new characters seemed well-intentioned, they either lacked dimension, meaty storylines or were plain annoying (ahem, Che) — except for Seema. I love Seema. Please get Sarita Choudhury a spinoff. Yvonne Villarreal: Uh, is it sad that I'm sad? I know, I know. But, look, I feel like the girl who cried 'Che?!' too many times and now it's real and it's like I've been mentally placed in that insane DIY mini foyer of Carrie's old apartment trying to emotionally find my way out. Like you, Mary, I've been frustrated endlessly by the series and have long felt like it needed to be put out of its misery, but I still dutifully watched every episode with a weird mix of enthusiasm and dread — and the community that grew (in my TikTok algorithm and in my group texts) from that shared experience was oddly one of the bright spots. So for HBO Max to call my bluff by actually ending it still feels like a breakup as flabbergasting — albeit, necessary — as Berger's Post-it note peace-out. I came in ready to approach this stage of my relationship to these characters the same way I approach the friendships I've maintained the longest — excited to catch up once our schedules aligned, trying to fill in the blanks from the long absence caused by life, but still recognizing the foundation of who they are and how they're choosing to navigate life's curveballs. But with each passing episode, it always seemed like I was at the wrong table, perplexed and trying not to be rude with all the 'But why?' questions. Miranda's quote from this week's finale, as she took in the most bizarre Thanksgiving dinner television has ever put onscreen, felt like the epilogue to my experience watching it all: 'I'm not sure exactly what's happening now, but let's all take a breath.' I will mourn the potential of what this series could have been. Like Carrie's playful tiptoe stride through the streets in heels, the show pranced around topics that, had it walked through them with intention, would have given the series traces of its former self. That friend moment between Seema and Carrie outside the hair salon in Season 2 — where the former is reluctantly but bravely expressing that she feels like she's being dropped now that Aidan is back in the picture — was such a genuine peek at the vulnerability between friends that so many of us valued from the original series. And that moment from this week's finale, where the women are gathered at a bridal runway show, sharing their varying feelings on marriage at this stage in their life — I just wanted to shout, 'MICHAEL PATRICK KING, this is what I wanted more of!' Though, I would have preferred if they were around a table, looking at each other as they shared and unpacked. I wanted an extended scene of that, not Carrie ordering pies! I don't like to be teased with goodness. And that's how it often felt. Also, I know it's a comedy, although the decision to lean into the sitcom style of humor remains perplexing (Harry and Charlotte, I'm looking at you), but I felt like there was a way to explore grief — the death of Mr. Big and Stanford, plus the strain on the group's friendship with Samantha — in a way that felt truer to the characters and the style of the show. Heck, even Miranda's drinking problem was squandered. I feel like the loss of a spouse (through death, divorce or emotional distance), the fading out of friendships and reconsideration of lifestyle habits are the most talked-about topics in my friend group at this stage in my life — sometimes the convos happen while we're huddled around a Chili's triple dipper, which is as bleak and real as it gets. And I'm sorry, but if I were to use one of those outings, when I'm in my mid-50s, to tell them an ex wants me to wait five years while he focuses on being a toxic parent before we can really be together, they'd slap me with a fried mozzarella stick — I will never forgive the writers for how lobotomized these characters feel. Mary and Maira, how did you feel about how the show handled its biggest absences? The show began in such a different place than where it ends — did it evolve in the right direction? Where did it go right for you? McNamara: Oh Yvonne, you are so much kinder than I am. I never felt it was going right — the writers seemed so determined to prove that women in their 50s aren't boring that they constantly forced them into all manner of absurd situations without much thought for what kind of actual women these characters might have become. Age was represented mostly by bizarre, grannified reactions to younger folk and their strange ways (up until the finale, which gave us that baby mama and her buddy Epcot), as if the women (and the writers) had been kept in a shoe box for 20 years. Looking back, the lack of Samantha, and Cattrall, feels like a deal-breaker. For all her campy affectations, Samantha was always the most grounded of the characters, able to cut to the heart of things with a witty line, biting comment or just a simple truth. Seema, and Choudhury, did her best to fill that void, but she never got quite enough room to work — her relationship was almost exclusively with Carrie for one thing and Carrie was, even more than in 'Sex and the City,' the driving force of the show. I agree that grief was given very short shrift, and the fact that no one seemed to miss Samantha very much, or be in touch with her at all (beyond the few exchanges with Carrie) was both bizarre and a shame — coping with the loss of a dear friend, through misunderstanding or distance, is a rich topic and one that many people deal with. As for the resurrection of Aidan, well, who thought that was going to work? Especially when it became clear that the writers thought it made perfect sense to keep Carrie and Aidan's children separate — so unbelievable, and demeaning to both characters. Carrie's final 'revelation' that a woman doesn't need a man to be happy would have had a much more meaningful resonance if Carrie had been allowed to explore her grief, fear, frustration and hope beyond a few platitude-laden conversations and that god-awful novel. Which, quite honestly, was the funniest thing about this season. When her agent went bananas over it, I literally walked out of the room. Garcia: Samantha, and Cattrall in turn, were sorely missed. And you're right, Mary, Seema filled some of that void, and you really need that connection across the different characters. Which leads me to my biggest gripe: Why did some characters feel so distant? Lisa's storyline this season was so disconnected from the rest — it seemed like she was with the core group only in passing. And it happened with Nya (Karen Pittman), who disappeared after Season 2, though that had to do with scheduling conflicts. As far as its evolution, I was glad to see the podcast group, with its overbearing members, whittled away — though we had to deal with Che for another season. Those overbearing characters kept getting replaced with other overbearing characters like Giuseppe's mother, played by Patti LuPone, and Brady's baby mama and her odd pals (if the writers were trying to get us to scratch our heads at Gen Z, they did it). While I'll miss being able to turn my brain off for an hour each week, along with the occasional shouts at my TV over some silly line or moment, I can't say I was satisfied in the end. At least when someone said or did something stupid in previous iterations of the show, it was acknowledged in a way that felt true the characters and there was some growth expressed. After the return of Aidan, I can't say that's true here. But now that we're at the end, I have to ask you both how this affects the SATC universe? Did this disrupt the canon? Was there something memorable you'll take away at least? A character, a moment, a ridiculously oversized piece of jewelry, hat or bag? Villarreal: Oh geez. There's no question — for me, at least — where this sequel falls in the SATC universe. The original series, even with its moments that didn't stand the test of time, will always be supreme; the first movie, while hardly perfect, gave us some memorable BFF moments — like Charlotte giving Big eye daggers after he left Carrie at the altar or Samantha feeding a heartbroken Carrie — that keep it in my rewatch rotation. I'd place 'And Just Like That …' after that, with the Abu Dhabi getaway movie dead last. What will I miss? For sure the fashion moments, especially the ones that broke my brain, like Carrie's Michelin Man snowstorm getup or her recent gingham headwear disaster that my former colleague Meredith Blake described as Strawberry Shortcake … and don't get me started on Lisa's jumbo balls of twine necklace. I'm curious, Mary, as someone who has watched your share of series finales, how you felt about this conclusion and whether it served that mission. This season had episodes that felt like wasted filler and didn't do much to move the plot forward. Last week's penultimate episode is what convinced me the wrapping up of this series was not planned. It was 28 minutes of huh? And what about Carrie's book? I would add it to my Kindle just out of curiosity. While I maybe would have seen all that's transpired as an opportunity for Carrie to write a memoir on love and loss à la Carole Radziwill, I did get a kick out of the excerpts from Carrie's take on a 19th century woman having an existential crisis. And look, maybe I'm schmaltzy, but I did sort of love the last line she tacked on in her epilogue: 'The woman realized, she was not alone — she was on her own.' Mary, are you judging me right now? I promise I didn't dance to Barry White's 'You're the First, the Last, My Everything' through the halls of my apartment after watching. But I would have loved more exploration of that thread sooner — I mean, aren't there studies about women being happier, or at least less stressed, later in life once their spouse dies? I believe it! It doesn't mean you can't have companionship in other ways. Anyway, what's the takeaway from what happened with this show? Hollywood isn't going to stop trying to find new life in established properties. So, what can be learned from what went wrong here? McNamara: Yvonne! I would never judge you! And the world would be a far better place if everyone danced around their domiciles more often. I think Carrie realizing that her life is full and happy without a partner is actually a perfect way to end this series. (She will certainly never want for romance — So. Much. Tulle.) I just wish it had felt less rushed and did not involve a weird giant plushie at a robot restaurant. Whatever sequence of events led to the final scene, I have to believe that was going to be Carrie's journey all along. I even liked the debate over the ending of her book — if only the book had not been so terrible! I will certainly miss marveling at Parker's Olympics-worthy ability to navigate nearly any surface in heels (and 'sell' outfits that seem more like Halloween costumes than style) as well as those rare conversations, like the one at the bridal show, that allowed a situation to be viewed from multiple points of view. As for the finale, it felt very much in keeping with the intention, if not the overall execution, of the series. I am not cold-hearted enough to want any of these characters to depart mid-crisis or accept less than a happy life. Sure, it was a bit pat, with everyone's story neatly boxed up like a Thanksgiving pie. But who doesn't like pie? Garcia: I love pie! But let's not forget, like the toilet that overflowed (with a few logs, to boot) in the final scenes, too much of something isn't always what we need. Villarreal: Is this a safe space to share that if the girls make up with Samantha/Cattrall in their 70s, I'll be ready for their return to my screen? Sorry, not sorry — I don't have time to set healthy boundaries with friendships that are no longer serving me.
Yahoo
4 hours ago
- Yahoo
CORRECTED RELEASE: Amaze Reports Second Quarter 2025 Financial Results with 1,134% Year-Over-Year Revenue Growth
Amaze Holdings, Inc. (the 'Company') is replacing in its entirety its earnings press release for the second quarter ended June 30, 2025, originally issued on August 14, 2025, to correct certain disclosures contained in the tables entitled 'Condensed Consolidated Balance Sheets' for the period ended June 30, 2025, the 'Condensed Consolidated Statement of Operations' for the three and six months ended June 30, 2025, and the 'Condensed Consolidated Statements of Cash Flows' for the six months ended June 30, 2025 as well as the corresponding figures included in the narrative sections in the earnings release for net loss and net loss per share for the three months ended June 30, 2025. Other than the corrections discussed herein, all other information disclosed in the earnings release remains unchanged. The updated earnings release reads: Amaze Reports Second Quarter 2025 Financial Results with 1,134% Year-Over-Year Revenue Growth Accompanying Shareholder Letter Available at With Q2 Revenue Baseline, Company Expects Sequential Topline Growth for Remainder of 2025 NEWPORT BEACH, Calif., Aug. 14, 2025 (GLOBE NEWSWIRE) -- Amaze Holdings, Inc. (NYSE American: AMZE) ('Amaze' or the 'Company'), a global leader in creator-powered commerce, today reported financial results for the second quarter ended June 30, 2025. Recent Operational Highlights Surpassed 200 million lifetime storefront visits and 12 million active creators, underscoring the Amaze platform's scale and influence in the rapidly expanding creator economy. Announced several marquee partnerships in recent weeks, including Alex Caruso, Jamvana, Loaded Dice, Nutrius, and Ghost Gaming, among others. Partnered with Picsart, allowing users to turn their digital art, edits, and designs into physical products such as hoodies, stickers, and tote bags to sell. Began beta testing program for Amaze Digital Fits, a web-based tool will enable Roblox creators to design avatar fashion with no 3D experience required. Partnered with VisitIQ allowing Amaze to analyze, visualize, and activate first-party fan and creator data across its fast-growing platform, enabling Amaze to turn deep audience insights into smarter marketing, more comprehensive creator support, and product innovation. Launched digital payment strategy designed to modernize global payments, unlock new monetization tools, and enhance financial flexibility, emphasizing Amaze's assertive push to lead in payment innovation. Formed strategic partnership with Parler, enabling creators to sell products directly through Parler's growing network of social media properties including PlayTV and Management Commentary'In our first full quarter as a public company, we took important steps to position Amaze for long-term success,' said Aaron Day, CEO of Amaze. 'To solidify our position as the go-to platform for creators, we launched new integrations like Express Checkout and AI-driven selling tools, and we also expanded monetization opportunities to Roblox players and Picsart users. These innovations helped us surpass 200 million storefront visits and over 12 million active creators on the platform. 'Financially, we generated $0.87 million in net revenue this quarter, which we view as a strong baseline for future growth. Over the past several quarters, we've devoted significant time and effort to recapitalize the business and retool our technology infrastructure. With both initiatives far along, we now have improved liquidity to strategically invest in our business, which we expect to lead to accelerating topline growth and improved KPI performance through the second half of the year.' Key Performance Indicators (KPIs) Gross Merchandise Value (GMV): $3.77 million Average Order Value (AOV): $50.00 (1H 2025) U.S. Conversion Rate: .41% of all traffic Creator Lifetime Value (LTV): $200.00 Total Active Creators with Stores: Over 12 million Total Number of Active Visitors: Over 200 million Second Quarter 2025 Financial ResultsResults compare the second quarter ended June 30, 2025 ('Q2 2025') to the second quarter ended June 30, 2024 ('Q2 2024') unless otherwise indicated. Results from Q2 2024 represent only Fresh Vine Wine, Inc. results. Total revenue increased 1,134% to $0.87 million in Q2 2025 from $0.07 million in the same year-ago period. The increase in net contribution revenue was mostly attributable to the addition of sales from Amaze as the Company closed the acquisition during the first quarter of 2025. Gross profit increased 1,903% to $0.79 million in Q2 2025 from $(0.04) million in the same year-ago period. The increase in gross profit is primarily due to the operating leverage of the Amaze platform, which enables high-margin digital and physical sales with lower incremental cost compared to traditional wholesale models. Net loss was $5.0 million, or $(3.14) per share, in Q2 2025 compared to net loss of $0.88 million, or $(1.30) per share, in the same year-ago period. The increase in net loss is largely driven by a $4.0 million increase in SG&A expenses that are primarily related to operating costs associated with Amaze's creator-focused business model, including personnel, legal and professional services related to the reverse merger, and marketing costs to support platform growth. The Company had $0.31 million in cash at June 30, 2025, compared to $0.16 million at December 31, 2024. OutlookAmaze management expects to build on the base provided by its Q2 performance, both at the top and bottom line. The Company foresees net revenue continuing to ramp sequentially in Q3 as well as into Q4. As a result of these material topline increases, combined with additional organizational efficiencies, Amaze also expects to generate a temporary profit in Q4 2025/Q1 2026 due to an increase in sales related to the seasonality of the business. Amaze's Q3 2025, Q4 2025 and Q1 2026 financial outlook is based on a number of assumptions that are subject to change and many of which are outside our control. If actual results vary from these assumptions, our expectations may change. There can be no assurance that we will achieve these results. Shareholder LetterAmaze management also posted a letter to shareholders on its Investor Relations website ( which further details the company's results, discusses various business initiatives, and provides a future financial and industry outlook. For investor information, please contact IR@ press inquiries, please contact PR@ Available InformationWe periodically provide other information for investors on our corporate website, and our investor relations website, This includes press releases and other information about financial performance, information on corporate governance, and details related to our annual meeting of stockholders. We intend to use our website as a means of disclosing material non-public information and for complying with our disclosure obligations under Regulation FD. Accordingly, investors should monitor our website, in addition to following the Company's press releases, SEC filings, and public conference calls and webcasts. About AmazeAmaze Holdings, Inc. is an end-to-end, creator-powered commerce platform offering tools for seamless product creation, advanced e-commerce solutions, and scalable managed services. By empowering anyone to 'sell anything, anywhere,' Amaze enables creators to tell their stories, cultivate deeper audience connections, and generate sustainable income through shoppable, authentic experiences. Discover more at Cautionary Note Regarding Forward-Looking StatementsThis press release contains 'forward-looking statements' within the meaning of Section 27A of the Securities Act and Section 21E of the Securities Exchange Act of 1934, as amended (the 'Exchange Act'). These statements relate to future events and developments or to our future operating or financial performance, are subject to risks and uncertainties and are based estimates and assumptions. Forward-looking statements may include, but are not limited to, statements about our Q3 2025 and Q4 2025/Q1 2026 financial outlook, strategies, initiatives, growth, revenues, expenditures, the size of our market, our plans and objectives for future operations, and future financial and business performance. These statements can be identified by words such as such as 'may,' 'might,' 'should,' 'would,' 'could,' 'expect,' 'plan,' 'anticipate,' 'intend,' 'believe,' 'outlook,' 'estimate,' 'predict,' 'potential' or 'continue,' and are based our current expectations and views concerning future events and developments and their potential effects on us. These statements are subject to known and unknown risks, uncertainties and assumptions that could cause actual results to differ materially from those projected or otherwise implied by the forward-looking statement. These risks include: our ability to execute our plans and strategies; our limited operating history and history of losses; our financial position and need for additional capital; our ability to attract and retain our creator base and expand the range of products available for sale; we may experience difficulties in managing our growth and expenses; we may not keep pace with technological advances; there may be undetected errors or defects in our software or issues related to data computing, processing or storage; our reliance on third parties to provide key services for our business, including cloud hosting, marketing platforms, payment providers and network providers; failure to maintain or enhance our brand; our ability to protect our intellectual property; significant interruptions, delays or outages in services from our platform; significant data breach or disruption of the information technology systems or networks and cyberattacks; risks associated with international operations; general economic and competitive factors affecting our business generally; changes in laws and regulations, including those related to privacy, online liability, consumer protection, and financial services; our dependence on senior management and other key personnel; and our ability to attract, retain and motivate qualified personnel and senior management. Additional risks and uncertainties that could cause actual outcomes and results to differ materially from those contemplated by the forward-looking statements are included in our Annual Report on Form 10-K, Quarterly Reports on Form 10-Q and other future filings and reports that we file with the Securities and Exchange Commission (SEC) from time to time. Given these risks and uncertainties, you should not place undue reliance on these forward-looking statements. Also, these forward-looking statements represent our estimates and assumptions only as of the date of the press release. Unless required by law, we undertake no obligation to update or revise any forward-looking statements to reflect new information or future events or developments. -Financial Tables to Follow- AMAZE HOLDINGS, CONSOLIDATED BALANCE SHEETS(Unaudited) June 30,2025 December 31,2024 (unaudited) Assets Current assets Cash $ 239,604 $ 155,647 Restricted cash 71,079 — Accounts receivable, net of allowance for credit losses of $9,476 and $13,400 as of June 30, 2025 and December 31, 2024, respectively 2,381 6,966 Note receivable — 3,500,000 Equity investment — 466,500 Inventories 184,540 212,494 Prepaid expenses and other 815,252 33,830 Interest receivable — 36,888 Total current assets 1,312,856 4,412,325 Fixed assets, net Computer equipment, net 7,022 — Goodwill 97,609,814 — Total assets $ 98,929,692 $ 4,412,325 Liabilities and stockholders' equity Current liabilities Accounts payable $ 9,586,411 $ 1,108,777 Accrued compensation 337,690 — Accrued creator commissions 2,441,450 — Settlement payable 622,839 484,735 Accrued expenses 2,502,979 596,610 Accrued expenses - related parties 309,333 309,333 Accrued sales tax 1,959,219 — Deferred revenue 4,140,533 1,919 Financing arrangement, net of discount 517,021 — Convertible notes payable, net of discount 392,142 432,105 Notes payable, current portion, net of discount 5,493,325 — Total current liabilities 28,302,942 2,933,479 Total liabilities 28,302,942 2,933,479 Commitment and contingencies - Note 16 Stockholders' equity Series A preferred stock, $0.001 par value – 10,000 shares authorized at June 30, 2025 and December 31, 2024; 7,013 shares issued and outstanding at June 30, 2025 and December 31, 2024, preference in liquidation of $1,344,723 and $1,597,706 at June 30, 2025 and December 31, 2024, respectively 7 9 Series B preferred stock, $0.001 par value – 50,000 shares authorized at June 30, 2025 and December 31, 2024; 39,250 shares issued and outstanding at June 30, 2025 and December 31, 2024, preference in liquidation of $5,887,500 at June 30, 2025 and December 31, 2024 39 50 Series C preferred stock, $0.001 par value – 100,000 and 0 shares authorized at June 30, 2025 and December 31, 2024, respectively; 8,550 and 0 shares issued and outstanding at June 30, 2025 and December 31, 2024, respectively; preference in liquidation of $855,000 and $0 at June 30, 2025 and December 31, 2024, respectively 9 — Series D preferred stock, $0.001 par value – 750,000 and 0 shares authorized at June 30, 2025 and December 31, 2024, respectively; 0 and 0 shares issued and outstanding at June 30, 2025 and December 31, 2024, respectively; preference in liquidation of $0 and $0 at June 30, 2025 and December 31, 2024, respectively — — Common stock, $0.001 par value - 100,000,000 shares authorized at June 30, 2025 and December 31, 2024; 5,108,649 shares issued and outstanding at June 30, 2025 and December 31, 2024 5,110 776 Additional Paid-In Capital 107,027,294 30,636,812 Accumulated deficit (36,405,709 ) (29,158,801 ) Total stockholder's equity 70,626,750 1,478,846 Total liabilities and stockholders' equity $ 98,929,692 $ 4,412,325 AMAZE HOLDINGS, CONSOLIDATED STATEMENTS OF OPERATIONS(Unaudited) For the Three Months Ended For the Six Months Ended June 30,2025 June 30,2024 June 30,2025 June 30,2024 Revenues $ 869,884 $ 70,484 $ 930,098 $ 175,052 Cost of revenues 82,372 114,160 145,162 329,976 Gross income (Loss) 787,512 (43,676 ) 784,936 (154,924 ) Selling, general and administrative expenses 4,881,391 834,267 6,768,134 1,933,748 Equity-based compensation 190,359 1,626 190,359 3,251 Depreciation 1,674 — 2,232 — Operating loss (4,285,912 ) (879,569 ) (6,175,789 ) (2,091,923 ) Other income (expense) Other income (expense) (27,379 ) — (139 ) 39 Interest expense (684,116 ) — (924,988 ) — Realized loss on equity investment (50,760 ) — (54,760 ) — Gain on extinguishment of liabilities — — 18,301 — Total other income (expense) (762,255 ) — (961,586 ) 39 Net loss (5,048,167 ) (879,569 ) (7,137,375 ) (2,091,884 ) Series A preferred dividends 53,433 26,133 109,533 56,133 Net loss attributable to common stockholders $ (5,101,600 ) $ (905,702 ) $ (7,246,908 ) $ (2,148,017 ) Weighted average shares outstanding Basic 1,622,169 694,619 1,174,419 694,619 Diluted 1,622,169 694,619 1,174,419 694,619 Net loss per share - basic $ (3.14 ) $ (1.30 ) $ (6.17 ) $ (3.09 ) Net loss per share - diluted $ (3.14 ) $ (1.30 ) $ (6.17 ) $ (3.09 ) AMAZE HOLDINGS, CONSOLIDATED STATEMENTS OF CASH FLOWS(Unaudited) Six Months EndedJune 30, 2025 2024 Cash flows from operating activities Net loss $ (7,137,375 ) $ (2,091,884 ) Adjustments to reconcile net loss to net cash used in operating activities: Amortization of original issue discount 699,354 — Depreciation expense 2,232 — Realized loss on equity investment (54,760 ) — Gain on extinguishment of liabilities (18,301 ) — Equity-based compensation 190,359 3,251 Inventory write-downs — 154,483 Changes in operating assets and liabilities: Accounts receivable 28,801 134,588 Inventories 27,954 81,939 Prepaid expenses and other (270,985 ) 20,026 Interest receivable (41,293 ) — Accounts payable 2,115,073 603,489 Accrued compensation 337,690 — Settlement payable 156,405 — Accrued creator commissions 25,195 — Accrued expenses (300,312 ) 147,685 Accrued sales tax (32,382 ) — Deferred revenue 370,064 (139 ) Net cash used in operating activities (3,902,281 ) (946,562 ) Cash flows from investing activities Cash acquired through acquisition (Note 2) 591,686 — Issuance of note receivable (900,000 ) — Net cash used in investing activities (308,314 ) — CASH FLOWS FROM FINANCING ACTIVITIES Proceeds from notes payable net of issuance costs 2,488,241 15,000 Proceeds from financing arrangement net of issuance cost 714,754 — Proceeds from convertible notes payable 264,881 — Proceeds from issuance of Series B preferred stock - net of issuance costs — 805,017 Proceeds from issuance of Series C preferred stock - net of issuance costs 785,067 — Repayment of financing arrangement (363,365 ) — Warrants issued in conjunction with debt 213,553 — Payments on note payable — (15,000 ) Issuance of common stock in conjunction with securities purchase agreement 262,500 — Net cash provided by financing activities 4,365,631 805,017 Net change in cash and restricted cash 155,036 (141,545 ) Cash and restricted cash at beginning of period 155,647 336,340 Cash and restricted cash at end of period $ 310,683 $ 194,795 Supplemental disclosure of cash flow information: Acquisition through issuance of Series D and Merger Warrants $ 75,000,000 $ — Repayment of debt with investment 521,260 — Forgiveness of note receivable and interest with note payable and interest from Acquisition 4,478,181 — Warrants issued in conjunction with debt 213,553 — Issuance cost in conjunction with name change 56,667 — Accrued Series A dividends $ 109,533 $ 56,133 Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
San Francisco Chronicle
4 hours ago
- San Francisco Chronicle
'The Traitors' is opening its doors to everyday people. Here's how you can join the TV competition
LOS ANGELES (AP) — The U.S. version of ' The Traitors ' has brought a group of public figures to a castle in the Scottish Highlands for a game of deceit, with hundreds of thousands of dollars up for grabs. Now, the Emmy award-winning competition will open its doors to everyday people. NBC is now casting for a civilian version of the popular Peacock series, the network announced Thursday. The competition reality series, an American spin-off to its British counterpart, had only cast celebrities for its first three seasons, the last of which aired early this year. The new version will bring a group of everyday people together to play what the host, Alan Cumming, called his 'treacherous game' in a video announcing the public casting. Cumming is set to host the new version as well, with production for the show starting in 2026, according to the network. Those who are interested in participating can apply now on the show's website. The fourth season of the celebrity version is set to launch next year, and a fifth season has already been confirmed. The star-studded cast for season 4, announced in June, includes reality stars from 'Love Island,' 'Big Brother' and 'Survivor.' 'We're thrilled to be working with NBC to open up the experience to a new group of civilian players, whose stories and strategies will make the gameplay even more unpredictable – and, we hope, even more addictive for viewers,' Stephen Lambert, CEO of Studio Lambert, the producers of both the Peacock and NBC versions, said in a statement. The show features a group of contestants who participate in a murder mystery game similar to Clue or Mafia. A subset of the cast are secretly labeled as traitors and must work together to eliminate the other contestants, who are considered faithfuls. On the line is a prize fund worth up to $250,000. If the faithful manage to eliminate all the traitors, then they share the money. But, if a traitor makes it to the end, they take it all. The British version uses the same location and has used civilian contestants from the start. Casting everyday people will allow complete strangers to meet for the first time, a 'unique opportunity' that 'will be an incredible watch,' said Sharon Vuong, the executive vice president of unscripted programming at NBCUniversal Entertainment. "This new version for NBC offers a unique opportunity for the cast and audience to meet each other for the first time and we know it will be incredible to watch,' Vuong said in a statement. The psychological adventure has found reality TV gold, and its third season premiered as the No. 1 unscripted series in the U.S., according to a release by NBC. The show also recently received five Emmy nominations for season three and previously took home two of the awards for season two.
