Thank you. Good afternoon. I'm Louis Schwartz. I'm the President of GameSquare. GameSquare's mission is pretty simple but powerful. We connect fans, brands, creators, and game publishers in gaming experiences and digital experiences that are rapidly sort of evolving and moving at a very fast pace. I'll start with the opportunity. Youth culture is really sort of fragmented and very difficult to harness all these sort of young folks. Traditional marketers have a really difficult time today sort of connecting with Gen Z and millennium audiences. That's basically our home turf. With 3 billion gamers and $250 billion to growing to $500 billion for the creator economy, we are perfectly positioned to take advantage of this groundswell. With loyal, committed investors like Jerry Jones and the Goff family, we have a tight strategic operating and capital structure. We're chasing massive addressable markets that are continuing to grow. The global video market alone is a $230 billion global TAM. 60%-65% of that revenue is actually coming from influencers, creators, or brand ambassadors. The names are interchangeable. It really doesn't matter which one you're using. They're contributing to 60%-65% of the revenue that game publishers are generating today. You could see how important those cohorts are. 10%-15% of that revenue spend from those game publishers is being spent sort of on marketing. We really sit at sort of the epicenter of this growing sort of gaming market, the influencer and creator sort of economy, which is $500 billion, and this adjusted sort of TAM of $23 billion-$35 billion. We're really the bridge between game publishers, brands, and youth culture. We do it through three segments of our business. The first segment is our creative services segment. This is a full-service creative agency. We provide strategic consultation, media buying, in-game sort of activation. Today, sort of these young audiences, particularly sort of gamers, spend an inordinate amount of time inside of various gaming worlds like Fortnite sort of or Roblox. Brands that want to reach those audiences, they have to activate within those particular environments in order to capture sort of the attention of those youth audiences. We build worlds or maps within sort of Fortnite and other sort of digital experiences and metaverses to marry the brands that want to reach those audiences: Samsung, Coca-Cola, McDonald's. All of those sort of brands are brands that we've represented and have activated sort of within sort of our creative service division. The second sort of component is our proprietary technology, which I'll go into in further detail. It consists of our data business. We're integrated into all the sort of major streaming platforms. Today, 600-700 million people watch other people's games as a source of entertainment. We're integrated into Twitch and YouTube and Meta, 18-20 platforms around the globe. We amalgamate sort of that data, and then we license it back to the biggest game publishers in the world. Nine of the top 10 game publishers, largest game publishers, are our clients today: EA, Activision, Take-Two, Blizzard. They're all our customers. The third segment of the business is really sort of what we refer to as amplification. We own FaZe Esports. It's our intellectual property. FaZe is probably one of the most sort of valuable esports brands sort of globally. We participate in a number of different game titles. We also have players and other sort of talent that allow us to sort of reach very loyal sort of audiences that connect not only with the individuals that are playing those games, but also sort of the content and lifestyle of those particular individuals. I'll go back and just expand just a little bit on the creative services. It consists of really sort of a 360-degree sort of view of what the brand is sort of looking to do or the game publisher is looking to do in reaching those particular audiences. They activate in a number of ways, all of which are supported within our sort of creative service department. We do world building, as I mentioned, IRL experiences, which are basically real-life events or experiential sort of opportunities where we can bring not only the brand together with the audience, but also sort of develop a whole experience that resonates with those individuals. We've got influencer procurement. Today, sort of creators and influencers are super important to brand activation. Being able to sort of bring folks like Ninja, who's got 70 million social followers, who's our Chief Innovation Officer, or other sort of mega influencers that have loyal and committed social followers to these brands is really important. Having those relationships, having the ability to procure and develop those cohort groups is extremely important to the brands that want to activate. Media placement, consumer product sort of development, video production, all of those capabilities sit within sort of our creative service segment. I'll go back to our sort of our data and our influencer marketing platform. I mentioned our data business, where we're integrated into all the major streaming platforms. Again, this is where sort of the audience are spending an inordinate amount of time. We gather sort of data from all of those sort of platforms, like Twitch, like YouTube, like Meta, understanding what influencers are driving what audiences, what day part, what part of the day our audience is sort of connecting to those particular sort of creators. We do video sort of analysis, AI recognition against every video stream across all of those platforms to do logo detection. Brands that advertise natively within these games, they want to understand what the conversion rate is, not only within sort of the game install base of users, but also the individuals that are watching those streams and are seeing sort of those logos. Very important to game publishers who are selling sponsorships, but equally important to the brands that want to understand sort of what the conversion metrics are for these particular influencers and creators that are driving sort of end user activity. The other component of our tech platform is our influencer marketing platform. This is sort of an end-to-end, basically, workflow that allows not only brands, but particularly game publishers to be able to identify the influencers and creators that they want to connect with at scale. In the very early innings of influencer and creator marketing, most of the attention was placed on mega influencers, like a Ninja or in the social space, Kim Kardashian, who has hundreds or 200 million social followers. As the sort of market matures, what game publishers and brands are recognizing is that micro and nano influencers are actually more impactful, have higher conversion metrics than some of the mega influencers, and are easier to contract and enter into commercial agreements with. They do not have to necessarily go through agencies. These individuals can be reached through direct message, through Discord, or through email. The ability to manage those relationships becomes increasingly challenging at scale. Not connecting with five influencers, but connecting with 5,000 influencers and being able to message to them and being able to share a tracking pixel or a product SKU. Or if it's a game release like Grand Theft Auto, being able to share that software sort of key with critical constituents is super important to the game publisher. We've purpose-built sort of this platform to enable not only game publishers, but brands alike, like Under Armour or Nike or Universal Music Group that want to connect with influencers at scale, be able to communicate with them, be able to track attribution and conversion, and be able to report against that activity, and also sort of manage all the payouts. Truly end-to-end. Really sort of our proprietary tech is really sort of unique in this space. Our data not only sort of informs our commercial activities, but it also sort of provides sort of bottom of the funnel data points to ensure that a particular campaign was delivered against a set of KPIs or satisfies a brand or game publisher's ROI. The last segment of our business, which sits within sort of the owned and operated silo, is FaZe Esports. I don't know by show of hands how many people are familiar with sort of FaZe. Yeah, FaZe is probably one of the most identifiable esports brands sort of globally. We acquired FaZe about a year ago. If you remember, FaZe had gone through a D-SPAC transaction several years ago. At its peak, it traded at $1.5 billion. We bought it last year for $14 million of equity. We split off FaZe Esports into two divisions. One was FaZe Esports, and one was FaZe Media. FaZe Esports primarily involved in esports activities, competitive gaming, Counter-Strike, Rainbow Six Siege, Rocket League, and a number of other sort of titles that we compete in competitively. You can see sort of all the brands like McDonald's or Champion or Verizon that all want to sort of associate sort of with FaZe, not only because it's one of the most recognized brands, but because the talent and the players that are involved in the various sort of franchises that we participate in are very recognizable and have large sort of social followings. We just recently spun out FaZe Media, which I'll talk about sort of in a minute, and have retained sort of FaZe Esports as our 100% sort of wholly-owned subsidiary. This is just sort of an illustration of why we sort of why we win and how we differentiate against other sort of players in the space. There's not a huge peer set in this space. I would say very hard to find a competitor to GameSquare that competes in the quantum of services that we provide. I would say EGLX, Enthusiast Gaming, trades sort of in Canada. WPP, very large agency. The reason I have WPP sort of on this slide is because we're typically sort of classified sort of as an agency. What I would say is, yes, we are an agency, but we also are highly differentiated in our focus around youth culture. Today, the biggest agencies in the world have a really difficult time superserving their clients in sort of this youth category. Either they don't know how to sort of relate to those audiences, they don't have sort of the data and the platform to be able to effectively support clients that want to reach youth audiences at scale. Our focus and the breadth of capabilities that are within our portfolio give us unique advantage over some of the biggest agencies in the world, which is why I included WPP. IZEA is up there as another company that's in the sort of influencer and marketing space, but they just don't have sort of the breadth of capabilities that we do. Just a list of brands that we have relationships with: Cross Game Publishing, consumer brands, media and entertainment, Twitch, Tyson. I mean, many of these sort of tier-one sort of brands look to us to help activate within sort of this whole youth segment. Some summary financial information: very tight sort of capital structure. Over the last sort of two to three years, we haven't done sort of any toxic financings or any structured financings that have created any overhang in our cap structure. We've kept it very simple. There's about 39 million shares that are issued and outstanding. We don't really have any warrants or options that are close to the money. You'll see average prices are $6.90 for options and $37 for warrants. We've actually sort of done a really good job over the last sort of couple of quarters cleaning up our balance sheet and eliminating a lot of sort of principal debt. If you're referring to sort of our Q4 closing balance sheet, you'll see there was about 16-17 million of principal debt. We've announced in the last couple of months that we've fully rationalized $15 million of that debt, leaving us with about $1.25 million of principal debt. Very clean sort of balance sheet. We have $12 million of cash on our balance sheet as of the end of the most recently reported quarter. This is sort of just an illustration of our revenue performance over the last few years, with our projected sort of revenue in 2025 at $100-plus million, achieving profitability in the second half of 2025. We've adjusted 2024 revenue to $75 million, which accounts for the spinout, as I mentioned earlier, of FaZe Media, which contributed about $27 million to our $102 million top-line reported revenue performance for 2024. Just a glimpse of our management team and our board. I'll take questions. When we acquired FaZe, we spun out into two divisions. We basically created two divisions. One was FaZe Esports, and the other was FaZe Media. Shortly after we acquired sort of FaZe, we sold a minority stake in FaZe Media to one of the founders of DraftKings, Matt Kalish. Matt Kalish bought 49%. We sold off another 25% for $10 million to other FaZe Media founders. Most recently, Matt Kalish had converted a $10 million note into the remaining 25% of FaZe Media that he did not own, which he then sort of took over, and we spun out completely. They do not own. Matt Kalish may own shares in GameSquare, but none of the shareholders of GameSquare own any interest in FaZe Media since it was spun out. Close to $40 million, yeah. Right. Yeah. When the public markets aren't cooperating on value, the alternative strategy is to be able to transact on a relative basis. We've been able to sort of transact, either acquire and dispose of certain business units that are just not core to the business, but be able to grow the company without necessarily going to the US capital markets when the markets don't fairly sort of value sort of the company. We believe we're highly undervalued. Rather than us going to the public markets, we've been able to transact on a relative basis, and FaZe is a great example. Yeah. We have three segments of the business. Software as a service, managed services is segment one. Creative services, which is really our agency, is segment two. Our last segment is our owned and operated intellectual property. I would say FaZe Media probably sat best within sort of our owned and operated intellectual property and was really being used as a tool to amplify different sort of brand and game publisher campaigns. It is more of an amplification tool than anything else. Producing content and developing a lifestyle brand is expensive. It was a big weight on our operating performance in 2024. By removing sort of FaZe Media, we will eliminate probably $15 million of annual OPEX cost a year and give us sort of more focus and attention on the other areas of our business where we are seeing rapid growth and traction. Yeah, I would say it is more of an art than a science. I do not think there is really sort of a threshold where we will say this is a micro versus sort of a macro. I think it is pretty evident. Somebody that's a macro influencer has got 5, 10, 20 million social followers. When I say micro and nano, I would say influencers that have less than a half a million social followers would probably fall in that classification. We profile 90 million influencers and creators across not only sort of the social platforms that you would sort of expect, like TikTok or Instagram or Reddit, whatever sort of the typical non-video social platforms are, we cover those. What we also cover are all the live streaming platforms, which is where a lot of the gaming entertainment content is being produced: Twitch and YouTube and Meta and 18-20 platforms around the globe. We combine those data sets, and we offer sort of a search and discovery sort of workflow for game publishers or for brands that want to connect with people based on filtered criteria and characteristics. Yeah. We do not necessarily break out. We break out those three segments. I would say it is probably the first segment, which is software as a service and managed services, about 15% of our overall revenue. I would say the second segment, which is our agency segment, it is about 50%. The balance is our teams. We refer to it as our teams and our owned and operated intellectual property. Yeah. For managed, typically, it is the game publisher. The game publisher has marketing spend. They may have $3-5 million budget to roll out the next version of Grand Theft Auto, which is a poor example because I think Take-Two's budget for Grand Theft is much, much bigger. As you can imagine, part of their marketing budget is dedicated to influencer or creator or even brand ambassador amplification. Being able to sort of connect the game publisher to those influencers and creators and being able to drive campaigns, being able to sort of issue software keys, being able to provide skins and other digital goods that can be distributed to an influencer or creator's downstream social circle is what we would enable. There is a series of costs. One of the costs in delivering that particular marketing campaign is the influencer or creator cost. If we hired 100 different influencers and creators, they would get sort of a percentage of the budget. There is creative services, content production. It is a full-blown sort of marketing campaign. We are doing sort of all the heavy lifting. We are identifying and contracting with the influencers and creators. We are developing, and because we have these capabilities within our portfolio, we're developing the creative, whether it's video or whether it's some other sort of static image, or it could be an event. Grand Theft Auto may say, "Hey, we want to do an event in Fort Lauderdale. We have a $5 million sort of budget. Go find us 50 influencers and creators to help sort of amplify the event." We have to work out sort of the cost structure to maximize internal margin. Sure. Yeah. 2024, we weren't profitable. In 2025, we plan to be profitable on an annual basis. No. We were negative. It was mainly operating expense and a number of transition costs in connection with our FaZe acquisition, which we did last year. It was a number of costs that were taken out following that acquisition. Obviously, the obvious synergies, when you put two publics together, you can eliminate public G&A from one of the entities. There was a number of other sort of operating costs that we were able to take out in order to make that sort of a more sustainable business. Any other questions? One more. There's a number of theories, right, about the impact on some of these global tariffs and economic headwinds. Some folks suggest that people are going to travel less. When they travel less and stay at home, they gain more. I don't think we're going to see sort of the same type of dynamic we saw during the pandemic. We could see sort of a return to spending more time at home. People don't want to travel, and perhaps they spend more time gaming. That could be sort of one result. From a recession, if we actually go into a recession, there could be sort of a number of sort of effects to that. It It could impact global advertising, could digital advertising. I'm sure there'll be some revenue impact because people have less discretionary income to be able to spend on games. Parents somehow sort of find a way to purchase games on behalf of their children. Who knows? Maybe there's more immunity to that segment than other segments. One more. One more. We have a full production sort of team. Most of their time is spent helping sort of influencers and creators create content. Some of the more successful influencers and creators aren't doing it themselves. They rely on other third-party sort of production partners. That's the type of work that we do on a fee-for-service basis. Thank you very much. Appreciate your time.