The story of BLAHOM began in my humble beginning as a character street performer in Los Angeles — a spark of imagination that I deliberately incubated into a bold urban fantasy franchise with technology at its core.
I wrote the book first. Not a treatment, not a pitch — the book. A prologue and eighteen chapters of locked canon, because a franchise that cannot survive on the page will not survive anywhere else. Everything here was built outward from that manuscript.
What follows is why this world exists, who it is for, and what it can become.
FOUNDER & CHIEF EXECUTIVE OFFICER
Two worlds, one lineage.
Sirius — the Zaeds Kingdom, its royal houses, its ceremonies, its war ledger. And Earth: Los Angeles, the stage, the street, and the machine behind both. Blahom and Katyana carry Sirius in them; the Dream Realm is where that connection is made.
A multi-genre storytelling experience engineered to scale across platforms — beginning with a trilogy series, and expanding into film, fashion and music.
The page-to-platform divide.
68% of U.S. readers want to see their favourite books adapted for film or TV — yet few stories make the leap. High costs and fragmented pipelines block creators from scaling their worlds. Existing creator platforms offer utilities, not universes: they enable publishing, not fandom.
Culturally rooted universes.
66% of viewers want more diversity and authentic representation on screen. Only 4.5% of speaking roles feature women of colour. Global mythologies and lived experiences remain largely untapped — and there are more than three billion fantasy and romance consumers waiting for them.
Building a universe. Fuelling a platform.
A transmedia IP franchise with global storytelling appeal, and a creator platform that turns stories into licensing assets. Together: a media and technology hybrid with two exit pathways.
We are not in early concept stage — we are in pre-consumption stage. Multiple IP assets are production-ready and require capital to activate measurable engagement.
Where storytelling becomes scalable IP.
Entertainment and character licensing is the leading licensing category, generating 45.7% of all U.S. merchandise sales.
April Q. Russell.
A visionary storyteller and strategic operator redefining franchise storytelling for underrepresented voices. Over fifteen years in media, branding and performing arts, working at the intersection of strategic finance and transmedia innovation.
Trained actress at the Beverly Hills Playhouse. Began storytelling at eight years old as a Kid Reporter for ABC News. Director, producer and developer across film, television and branded media.
Founder of REVHO, a creative agency and production clubhouse championing women and BIPOC storytellers.