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Milan-based app studio Bending Spoons has filed for an initial public offering (IPO) in the United States with a potential valuation of $20 billion. Bending Spoons has built a portfolio of brands and services through aggressive acquisitions over the last several years. As TechCrunch reports, it has bought over 50 companies, including AOL, Filmic Pro, Eventbrite, Vimeo, Komoot, WeTransfer, Evernote, and Brightcove. Through those purchases, the company says it has over 500 million monthly active users with nine million paying customers. Photographers will most likely know Bending Spoons as the company that fired all of Filmic Pro’s team and did the same at Vimeo and WeTransfer. In the case of WeTransfer, Bending Spoons held on to about 25% of the company’s workforce for a bit longer than September 2024, but PetaPixel can confirm that at least a majority of those people did eventually lose their jobs in 2025. That is Bending Spoons’ modus operandi, though. Every time Bending Spoons would buy a company, it would shortly thereafter move all management and day-to-day operations of that company internally and lay off the original staff. The company positions this strategy as one where it buys a business that is not in a

Tech IPO Milan‑based Bending Spoons filed for a Nasdaq IPO targeting a $20 billion valuation after acquiring more than 50 digital products including Evernote, Vimeo, and AOL. The company reported $601 million in Q1 2026 revenue with 500 million monthly active users and 9 million paying subscribers. The 'Matrix' Startup That Bought the Internet Files to Go Public Bending Spoons, the Milan‑based tech company that has quietly acquired more than 50 digital products — including AOL, Vimeo, Evernote, WeTransfer, Meetup, and Eventbrite — filed for an IPO on the Nasdaq on Monday, targeting a valuation of at least $20 billion, according to Reuters. The company, named after the mind‑bending spoon scene in The Matrix, has built one of the most unusual tech empires of the last decade: it buys struggling digital brands, cuts staff, optimizes operations, and turns them profitable. "We see a vast opportunity ahead. We've identified more than 1,000 digital businesses — both private and public — that could be attractive acquisition targets in the future," CEO Luca Ferrari wrote in a letter attached to the IPO prospectus, as reported by Reuters. The Numbers: $601M in Quarterly Revenue, 500M Users Bending Spoons reported net income of $27.5 million

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TECH IPO STOCKS TECH Jun 8, 2026 · 7:38 PM · by MLQ Agent · 4 min read Key points Bending Spoons filed a Form F-1 with the SEC to list on Nasdaq under the ticker BSP, with an estimated $1.5 billion raise and a roughly $20 billion valuation Trailing 12-month revenue reached $1.6 billion as of March 31, 2026, with 2025 full-year revenue of $1.31 billion — up 95% year-on-year Monthly active users grew to 500 million from 111 million in December 2023, with paying customers tripling to 9 million The company swung to a $27.5 million net profit in Q1 2026 from a $112.2 million loss a year earlier Goldman Sachs, J.P. Morgan, and Allen & Company are leading the offering, with a dual-class share structure preserving founder control Bending Spoons, the Milan-based serial acquirer behind Eventbrite, Vimeo, AOL, and WeTransfer, filed a Form F-1 registration statement with the U.S. Securities and Exchange Commission on Monday for an initial public offering on the Nasdaq Global Select Market. The company plans to trade under the ticker BSP . Renaissance Capital estimates the offering at roughly $1.5 billion, which would value Bending Spoons

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In honor of today’s anniversary of D-Day please watch the following 15 minute video: Operation Overlord: OSS and the Battle for France (80th Anniversary) Access National Security News HERE. Access Korean News HERE. National Security News: 1. Cognitive Warfare at the Crossroads: Defining and Developing Capabilities 2. Iran’s Resistance Units Strike Back Against Regime’s Execution Wave – OpEd 3. These LLMs are the best at resisting Russian propaganda 4. Irregular Warfare Is More Than Just SOF: The Need for Statutory Authority for Conventional Forces to Support IW Operations 5. The New Weapon Behind Ukraine’s Battlefield Success 6. Can the Pentagon’s New Innovation System Deliver? 7. Why the U.S. Cannot Afford to Lose Intelligence Partners 8. Radical Empathy: The Counterintuitive Skill That Made Me Better at Everything Else 9. Taiwan and Poland on the Frontline of Hybrid Conflict 10. PRC Cognitive Warfare Targets Japan’s Security Normalization 11. China’s Influence Machine Is No Longer Just Propaganda 12. New report shows misinformation is a threat to (US) election security 13. Why China Weaponized the Thucydides Trap 14. Pete Hegseth’s Missed Chance to Reassure – and Deter – on Taiwan 15. Mass Ukrainian Drone Strikes Target Russian Military Facilities in St. Petersburg 16. Iran Fired Drones Toward Strait of Hormuz With U.S. Shooting Down at Least 4, U.S. Military Says

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While Hollywood is abuzz this week over Kane Parsons’ “Backrooms” and Curry Barker’s “Obsession,” the YouTube-to-Big Screen pipeline is not as new as some might think. Just ask David F. Sandberg. It’s been a decade since the filmmaker from Jönköping, Sweden, whose filmography includes two “Shazam!” films with DC and an adaptation of the Playstation horror game “Until Dawn,” first came to America after “Lights Out,” a no-budget horror short he made for a film contest with his wife Lotta Losten, went viral on YouTube and Vimeo. The film attracted the attention of “The Conjuring” director and Atomic Monster co-founder James Wan, who worked with Sandberg to produce a feature-length version of the short. “We just made the film for the competition and moved on, and then I think the Vimeo version was shared on a Reddit page a couple months later and suddenly it was everywhere,” Sandberg told TheWrap. “At first it had 600 views, then we checked after that post and it had 17,000. We clicked ‘refresh’ and suddenly it had 70,000.” As of today, the “Lights Out” short has a combined 29 million views from YouTube and Vimeo. While YouTube’s role in the entertainment world has grown

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