In Le Mans, from October 3–5, 2025, Squeezie, aka Lucas Hauchard, closed the GP Explorer chapter with the meticulously planned ‘Last Race’ of GP Explorer 3: 24 creators in F4, 80,000 spectators at the Bugatti Circuit (Le Mans 2025), a peak of 1.4 million on Twitch, and 1.2 million on France 2. Karchez emerged victorious. On the ticketing side, the enthusiasm was confirmed, a sign of an event that has become an institution. Beyond the race, a passing of the baton: from the web to the institution, from a completed cycle to an open future.
In Le Mans, a grand farewell that unites the field and screens
The roar rolled like a happy rumor over the Bugatti Circuit in Le Mans. Meanwhile, the weekend opened from October 3 to 5, 2025. For this final event, Squeezie kept his promise: to converge the momentum of the Internet and the fervor of a real crowd. 80,000 spectators took their places in the stands and along the track. Online, the stream peaked at 1.4 million simultaneous viewers on Twitch, a French record equaled and then narrowly surpassed. Public television also joined in: France 2 broadcast the finale, gathering 1.2 million viewers for 10.8% of the audience share. The grand race started Sunday, October 5 at 5:50 PM, its drama timed to the second, right up to the podium’s blaze.
What happened in Le Mans was much more than a logistical challenge. The GP Explorer closed its story by offering a perfectly composed image of the current media landscape: creators turned drivers, artists on stage, screens everywhere, and this feeling of belonging to the same story despite the dispersion of formats.
Lucas Hauchard, the upscale rise of an image storyteller
We know Squeezie, whose real name is Lucas Hauchard, for his meteoric rise on YouTube. He is now measured by another skill: the artistic direction of total events. In three years, he transformed a somewhat crazy idea into a popular ritual. Through iterations, framing, and adjustments, he made The Last Race the culmination of a cycle and the mirror of maturity. He has a taste for meticulously crafted setups and simple stories that fit the grand stage. He not only brought together web stars; he gave them a common ground, clear rules, a visible stake, and an economy of performance.
The man, who advances with a smile and as a cautious strategist, did not succumb to the folklore of the last concert. He maintained an aesthetic line, pure, almost classic. Every shot, every transition, every sound rise seemed to respond to the same desire: to tell an ending with gentleness, to leave a memory, to open a door.
A high-precision mechanism, calibrated for the show
In the paddock, the organization was precise. Twenty-four creators were trained in Formula 4 driving to ensure a homogeneous level and impeccable safety. The onboard cameras, the relay in the control room, the lighting scenography, the fades on the crowd: all contributed to an assumed technical gesture. The production displayed an estimated budget of 10 million euros, a figure advanced by several observers. However, this figure should be considered with caution as it has not been officially confirmed. The hand of seasoned professional teams was felt. Indeed, a network of sound engineers, cameramen, stage managers, and coordinators was mobilized. This mobilization contributed to the project’s success. These professionals, working in the shadows, signed the success of a live broadcast.
The partner platform was impressive in its scope. Nearly fifty brands joined the setup. They were visible on the liveries of the single-seaters and in the site’s ecosystem. The official stands and ticketing were taken by storm from Saturday, to the point of causing merchandise shortages. At the microphone, Doigby kept the pace and warmth, a voice recognizable among all, while social networks vibrated in unison. The spectacle exceeded the race by stacking signs: concerts, appearances, stage climbs, rap and esports codes accommodated in the same panoramic sauce.
On the inside, a clear and generous sports drama
The track spoke with its customary frankness. Karchez, a Spanish YouTuber and streamer, took the lead at the end of a final led without trembling. Kaatsup seized the second place, Maxime Biaggi the third, in a trio that quite well sums up the spirit of the event: sporting rigor, rival benevolence, the joy of clean trajectories. Around them, the grid presented a cast that says a lot about the era: Léa Elui, Maghla, Baghera, Gotaga, SCH, PLK, Théodort, Mister V, Djilsi, Cocotte (YouTube), and many others accustomed to home screens, torn away for a day from the fixity of webcams.
We did not see a parody of a Grand Prix but a rhythmic story, with its relaunches, its mistakes, its clean overtakes. The F4 offered a theater at the level of an enlightened amateur: fast enough to impress, controllable enough to tell something other than fear.
The institution in support, or how television joined the party
That France 2 joined the party changes the value of the image. The public channel found in The Last Race a vector to attract a younger and connected audience. The signal is clear: the historical audiovisual, so often described as out of the game, still knows how to play alliances and federating events. The challenge was to translate a platform writing into a linear framework. On screen, the compromise worked: a production that keeps the nerve of Twitch and a TV narration that poses, explains, contextualizes.
The event thus goes beyond mere entertainment. It becomes a proof of concept. Francophone Internet produces exportable formats compatible with large public machines. These formats can aggregate substantial audience shares. We saw interventions pass on the ribbon. These mixed the grammar of the story and the punctuation of television. The two worlds, long presented as enemies, shared the same track.
Squeezie before his crowd, the restrained emotion of a goodbye
At the end of the day, Squeezie spoke. A few words, no more, and it was understood that the ‘Last Race’ was not a cliffhanger but a mature decision. He thanked, a lot, recalled the initial ambition, the doubts, the sleepless nights. He slipped in this phrase, which became a refrain: “I am proud of what we have achieved.” The phrase, simple and straightforward, was a signature. There was no attempt to overplay the tears. The emotion remained above the white line, clear, contained, dignified.
In this farewell, there was something like the affirmation of a style. That of a creator who knows when to close a page so that the story retains its form. The voluntary, announced, assumed stop protects the memory. It reminds us that web culture can produce short, intense, memorable cycles without depending on extended seasons.
From a pioneering format to a passing of the torch
GP Explorer served as a laboratory. GP Explorer 1 and GP Explorer 2 set the stage and tested the formula, between audience records and safety adjustments. This third edition validated the hypothesis haunting the backstage: French digital creation can cross the threshold of the institution without losing its vitality. Other meetings, other set fictions, other hybrid sports forms are already being whispered about. Nothing obliges Squeezie to cling to the wheel. It is likely that we will find him on other fields of invention, where the next convergence is being written. This convergence lies between streaming, music, and stage.
It is understood: The Last Race is not read as a capitulation, but as the leveling up of a personal narrative. Squeezie emerges victorious from a bet where many expected him. He brought together trained creators, artists, and technicians around a promise kept. He offered a connected youth a shared experience, one that is recounted long after the lights go out.
The stage, the backstage, the future
There remains the writing of the noise’s fabrication. One could linger on the mixing that embraces the engines’ violence without crushing the voices. One could tell the patient work of the trainers who translated theory into measured gestures. One could detail the reinforced safety and the procedures accompanying each start. All this matters because the event gained its stature through the quality of the invisibles.
The concerts completed the proposal, not as an extra soul but as another movement of the same symphony. In the evening, the stage redrew the space, the track became a backstage, and the community reformed differently, around refrains and images. The audience followed the line without dropping out. This proves that the promise of a total weekend could hold. This weekend extended over twenty-four expanded hours.
A bridge between cultures, signed in Le Mans
In Le Mans, the Internet and public service stopped observing each other. Twitch and France 2 spoke the same language, one in a bustling live stream, the other in a linear narrative. The 80,000 present at the Bugatti Circuit form part of the same crowd scattered in usage. Moreover, the peak of 1.4 million online and the 1.2 million in front of the television complete this crowd. However, all are gathered by a clear story.
These numbers matter because they consecrate a method. In three editions, Squeezie has taken a format born on YouTube to institutional recognition without renouncing its tempo. The ‘Last Race’ proves that a project from the web can conclude neatly, with assumed rules, real sporting rigor, and a mastered staging.
Squeezie chose the end to better preserve the form. This withdrawal is not a sign of fatigue. It is an author’s gesture: closing the loop, passing on the tool, leaving the follow-ups to other hands. The ranking crowns Karchez (1st), Kaatsup (2nd), and Maxime Biaggi (3rd), a symbol of joyful sporting rigor. They belong to the moment. He focuses on the framework, on what allows moments to exist.
We leave the track with a simple conviction: the trilogy is over, and the story continues elsewhere. The ‘Last Race’ ends a cycle, but it opens up a broader territory for Lucas Hauchard, where images that bring people together are created. In Le Mans, he placed a clear final point. It resembles a starting line.