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KeyStar Corp. Board of Directors Appoints Mark Thomas as New Chief Executive Officer

Harry Johal

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KeyStar Corp. Board of Directors Appoints Mark Thomas as New Chief Executive Officer


Company to take a more focused approach towards B2C sports betting.

Press Release



updated: Jan 20, 2023

KeyStar Corp.® (OTC: KEYR) has announced the appointment of Mark Thomas as its new Chief Executive Officer, effective Jan. 10, 2023. Thomas was previously the Co-Founder & CEO of ZenSports, Inc. prior to its acquisition by KeyStar Corp. in 2022. Thomas succeeds John Linss as CEO, who has stepped down from the position.

“We thank John Linss for his service to KeyStar Corp., including his work on finalizing the acquisition of ZenSports,” said Bruce Cassidy, Chairman of the Board. “The Board has decided to take an approach of focusing the company solely on B2C sports betting for the foreseeable future, and Mark Thomas is the perfect fit to lead these initiatives given his prior experience with ZenSports.”

Under Mark’s leadership as the Co-Founder & CEO of ZenSports, the company developed a mobile gaming platform that offers a traditional sports book, peer-to-peer sports betting, and wagering in fiat and cryptocurrencies. He led the product vision and strategy, recruited the entire team across all functional areas, and raised $10M+ in venture capital funding.

As part of the Board mandate to have a focused approach on just B2C sports betting, Thomas will be responsible for ensuring that ZenSports is able to successfully enter and grow within the U.S .market.

“Mark has done a great job previously with ZenSports, growing the business in the European market and obtaining a Nevada gaming license in 2021,” said Cassidy. “We have full faith and confidence that he will be able to do the same under KeyStar moving forward.”

“I am thrilled and honored that the Board has asked me to lead KeyStar Corp. as its new CEO,” said Thomas. “The ZenSports platform is an innovative brand that is leading the future of sports betting, and we have the right team and product in place to grab a significant share of the U.S. sports betting market in the coming years.”

Bruce Cassidy remains on as the Chairman of the Board. 

Mark Thomas Biography

Mr. Thomas joined KeyStar Corp. as its Chief Product Officer as part of the company’s acquisition of ZenSports, Inc. in June 2022. Mr. Thomas co-founded and was the Chief Executive Officer of ZenSports since August 2016. Under his leadership, ZenSports developed a mobile gaming platform that offers a traditional sports book, peer-to-peer sports betting, and wagering in fiat and cryptocurrencies. He led the product vision and strategy, recruited the entire team across all functional areas, and raised $10M+ in venture capital funding. Prior to co-founding ZenSports, Mr. Thomas was the Chief Executive Officer of Reesio, a venture-backed real estate software platform he co-founded in 2012. Reesio automated the paperwork and manual processes that went into buying and selling a home for real estate professionals and their clients. Reesio was acquired by News Corp’s Realtor.com in 2015. Mr. Thomas began his career working in corporate finance and accounting for companies such as McKesson, Gap, Inc. and Carl Zeiss Vision before founding his first company in 2005, an executive recruiting agency in San Francisco that worked with Fortune 500 clients, including Coca-Cola, Expedia, and McKesson. Mr. Thomas sold the recruiting agency in 2008 and transitioned into working in tech, co-founding two startups within the Human Resources and Recruiting industry. Mr. Thomas also spent time working at Intuit as a Senior Product Manager, which he left in 2012 to co-found Reesio.

Forward-Looking Statements

This press release contains “forward-looking statements” within the meaning of the safe harbor provisions of the U.S. Private Securities Litigation Reform Act of 1995. Forward-looking statements can be identified by words such as: “anticipate,” “intend,” “plan,” “seek,” “believe,” “estimate,” “expect,” “strategy,” “likely,” “may,” “should” and similar references to future events or periods. 

Forward-looking statements are neither historical facts nor assurances of future performance. Instead, they are based only on our current beliefs, expectations and assumptions regarding the future of our business, future plans and strategies, projections, anticipated events and trends, the economy and other future conditions. Because forward-looking statements relate to the future, they are subject to inherent uncertainties, risks and changes in circumstances that are difficult to predict and many of which are outside of our control. Our actual results and financial condition may differ materially from those indicated in the forward-looking statements. Therefore, you should not rely on any of these forward-looking statements.

Any forward-looking statement made by us in this press release is based only on information currently available to us and speaks only as of the date on which it is made. We undertake no obligation to publicly update any forward-looking statement, whether written or oral, that may be made from time to time, whether as a result of new information, future developments or otherwise.

Source: KeyStar Corp.



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Editor's Choice

The Mismatch Problem: How Toxic Tried to Serve Too Many Masters at Once

H Johal

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The Mismatch Problem: How Toxic Tried to Serve Too Many Masters at Once

Balle Balle Radio™ Entertainment Desk

The most telling detail in this discussion isn’t a plot complaint. It’s a process confession. The director, Geetu Mohandas, is quoted describing her own working method: her process fragments across three stages—writing, shooting, editing—each producing a different version of the film. For a boutique indie production, that kind of chaos-as-method can be a virtue. For a pan-India tentpole built around a superstar and a three-hour-plus runtime, it becomes the whole review.

What caught our attention is not that Toxic aimed high. Ambition is not the problem the discussion identifies, and it says so directly: the problem isn’t excess ambition itself, but multiple competing visions crowded into a single film without resolution. A large-scale gangster spectacle in the Prashanth Neel mould. A brooding father-son psychological drama. A love story leaning on the female gaze. A period-adjacent pan-India event film. Each of those is a legitimate film. Stacked on top of each other without a clear spine, according to the conversation, they blend into an incoherent mixture—what the speaker describes as khichdi—that satisfies no single audience.

The more interesting tension here is between marketing promise and narrative delivery. Audiences reportedly went in expecting another towering Yash star vehicle, the kind built on scale and swagger. What they got, per this account, was a film quietly trying to be a darker psychological fairy tale wearing a gangster-movie costume. Neither audience — the one sold on spectacle, nor the one open to something stranger — walks out fully satisfied. That mismatch between what marketing promises and what the film actually is deserves more scrutiny than box-office numbers alone can offer, because it points to a structural decision made long before release, not just a reception problem after it.

The dialogue criticism is worth sitting with too, even allowing for how much is a matter of taste. The examples cited — lines straining for profundity about footsteps that can’t be erased, or a monologue insisting real betrayal is more honest than fake loyalty — are framed as performing depth rather than earning it. **Audiences are quick to detect whether dialogue leans toward genuine lyricism or hollow self-importance.** Whether that’s a fair reading of the actual script or a reaction to a handful of quotable lines taken out of a much longer film is harder to settle from a discussion alone.

Where this analysis is on firmer ground is process. If a director has openly said her writing, shooting and editing stages don’t reconcile with each other, that is a useful piece of context for anyone trying to understand why a film might feel structurally uneven — characters introduced, killed, and discarded without weight, scenes that seem to exist without clearly serving the whole. That is a specific, sourced claim about method, not just a viewer’s impression of confusion.

But here is the necessary caution: one filmmaker’s stated process, however candid, doesn’t automatically explain every editing or pacing complaint in a finished film. Big-budget productions involve producers, studios, and multiple creative hands; attributing every rough edge to a single director’s admitted process is a tempting shorthand, not a proven cause. Nor does citing Alpha’s similarly mixed reception nearby actually establish a pattern about pan-India cinema generally — two films is an observation, not a trend.

The genuinely useful question this raises for the industry sits somewhere else: how much creative unpredictability can a film absorb once it is carrying the commercial weight of a major star and a nationwide release? Indie cinema can survive a director discovering the story in the edit. **A film built on audience anticipation this large may not have that luxury.** That, more than any single scene or dialogue, seems to be the real subject underneath this conversation.

— Studio CarryOnHarry Editorial Desk

Read more People’s Choice stories on Studio CarryOnHarry. Reporting via Live News Vault.

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Editor's Choice

Dulquer’s I’m Game Loses Ground on Day 2 as Footfall Fails to Match Screens

H Johal

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Dulquer’s I’m Game Loses Ground on Day 2 as Footfall Fails to Match Screens

Dulquer’s I’m Game Loses Ground on Day 2 as Footfall Fails to Match Screens

Studio CarryOnHarry Entertainment Desk | 5 September 2026

Opening Weekend Off to a Rocky Start

Dulquer Salmaan’s highly anticipated Malayalam fantasy thriller I’m Game has had a turbulent beginning at the box office. After a moderate opening of ₹5.4 crore net in India on Day 1 — released strategically on Janmashtami to capitalise on the holiday mood — the film stumbled on its second day, collecting just ₹4.6 crore net.

That represents a 14% drop in collections, a decline made more glaring by the fact that exhibitors had actually increased the film’s screen presence by 400 to 500 additional shows. For all the latest Bollywood’s top stories, stay tuned to our entertainment desk.

Day-by-Day Box Office Breakdown

India Net Collections

  • Day 1: ₹5.4 crore
  • Day 2: ₹4.6 crore
  • 2-Day Total (Net): ₹10 crore
  • 2-Day Gross (India): ₹11.8 crore

Overseas and Worldwide Figures

  • Overseas Day 2: ₹4 crore
  • Overseas Total Gross: ₹8.5 crore
  • Worldwide Gross (2 Days): ₹20.3 crore

How Does It Rank Among Dulquer’s Recent Releases?

Despite the dip, the opening day figure of ₹5.4 crore makes I’m Game Dulquer Salmaan’s fourth-biggest post-COVID launch in Malayalam cinema, trailing only Lucky Baskhar, King of Kotha, and Kurup. However, the mixed audience response has meant early momentum hasn’t been sustained.

Trade observers tracking entertainment industry coverage note that the film is currently mirroring the box office trajectory of King of Kotha (2023), which also began with strong curiosity but quickly lost steam due to tepid word-of-mouth.

Is I’m Game Following King of Kotha’s Troubled Path?

The 2023 Onam release King of Kotha was one of the most eagerly awaited Malayalam films of its year, yet it failed to live up to enormous commercial expectations. I’m Game appears to be treading a eerily similar path — promising start, weakening hold.

With mixed reviews circulating and no significant boost from the expanded show count, the film’s weekend performance will be critical in determining whether it can course-correct and find a wider audience before the weekdays arrive.

What’s at Stake for Dulquer Salmaan

For an actor of Dulquer Salmaan’s calibre and pan-India appeal, a 14% drop accompanied by a screens increase is not a comfortable sign. The coming days will reveal whether strong content or aggressive marketing can reverse the tide for I’m Game.

– Entertainment Desk, Studio Carry On Harry

Background & Timeline

Dulquer Salmaan made his Malayalam comeback with I’m Game after a string of pan-India projects. His previous Malayalam outing, King of Kotha (August 2023), opened as one of the biggest Malayalam releases of that year but ultimately underperformed commercially. Prior successes like Kurup (2021) and Lucky Baskhar had set high benchmarks. I’m Game was released on Janmashtami to leverage the partial holiday, positioning it as a fantasy entertainer aimed at a wide family audience across Kerala and beyond.

Critics’ Perspective

Trade analysts and critics are approaching I’m Game with cautious concern. While most acknowledge Dulquer Salmaan’s screen presence and the film’s technical ambition as a Malayalam fantasy thriller, several reviewers flagged a disjointed narrative that may have alienated casual audiences. Box office experts note that a 14% second-day dip paired with an expanded show count is an early warning signal — one that echoes the commercial disappointment of King of Kotha in 2023. The weekend numbers will be the real verdict.

What’s Next?

All eyes are now on the Day 3 and Day 4 weekend figures for I’m Game. A strong Saturday-Sunday hold is essential to restore trade confidence. If the film continues to mirror King of Kotha’s downward curve, it could struggle to recover its budget. Watch this space for daily box office updates as the picture becomes clearer.

Harry Johal’s Take — Studio CarryOnHarry

The ranking is the more revealing number here. A holiday release should be a structural advantage — yet Janmashtami still couldn’t push I’m Game past Dulquer’s own earlier benchmarks. That’s not a bad marketing call; that’s a signal that the appetite for Dulquer as a Malayalam-first star may be contracting as his pan-India positioning has grown. The real question isn’t whether this film recovers — it’s whether Kerala audiences still feel ownership over him the way they did during Kurup.

Editor’s Verdict

A 14% drop on Day 2 is concerning enough on its own — but when that fall happens alongside a screen expansion of 400 to 500 shows, it tells you something more troubling: audiences aren’t following the film, exhibitors are. That gap between industry confidence and public response is where box office stories quietly turn. The King of Kotha comparison isn’t unfair. Both films arrived with genuine anticipation around a compelling star, and both appear to have struggled to convert curiosity into conviction. For Dulquer Salmaan, whose cross-industry appeal remains one of Malayalam cinema’s most valuable assets, the weekend numbers aren’t just about this film — they’re about the kind of projects he attaches himself to next, and whether the fantasy thriller space suits where his audience actually wants to follow him. Beyond the headlines, it’s rarely the opening day that defines a star’s trajectory — it’s how gracefully, or urgently, they respond when the second day tells the truth.

Studio Ki Raye

Screen badhao aur collection phir bhi girे — yeh combination kisi bhi trade analyst ko chinta mein daal deta hai. Asli sawaal yeh hai ki Dulquer jैसे actor ke saath, jिनकी pan-India image Lucky Baskhar ne ek naye level par le jaake rakh di thi, kya audience ab selective ho gayi hai sirf naam par ticket nahi kaat rahi? Malayalam cinema ka core audience bohot samajhdar ho chuka hai — word-of-mouth wahan zyada tez chalti hai kisi bhi Hindi belt se. Agar weekend recovery nahi aayi, toh yeh Dulquer ke liye itna nahi jitna Malayalam fantasy genre ke liye ek signal hoga ki spectacle aur star power se zyada, story ka bharosa zaroori hai.


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