Whop has raised $200M in Series D funding at a $5.1B valuation, backed by @sequoia and @shopify. It really feels like we are barely touching the tip of the iceberg in a market larger than anyone can imagine. We first launched Whop as a better way for us to sell sneaker bots, one of the most niche types of desktop software out there. Total TAM? Probably $20,000 per day. Who cares, tiny market. But, what people discounted is the idea that there were actually 70,000 other markets exactly like that one. Beyond the investment itself, I am especially excited to welcome legendary silicon valley investor @dougleone to our board of directors. Doug and the sequoia team are nothing but a brilliant, resourceful, and principled group of people. My co-founder Cameron and I started building on Shopify when we were 13 years old. Shopify is one of the most impactful all-in-one cloud ecosystems ever created; @tobi has pioneered modern entrepreneurship the way we know it and we are thrilled to have him in our corner. We have a tenet at Whop to be the dumbest in the room and I am very grateful that this has recently become a lot easier. We are focused on markets, scale economies, and progressive media. If that is up your alley, please message me directly. The $200M raised will support our expansion as we build economic infrastructure for the next century, continuing on our mission of delivering everyone an income.

Episode 4: USELESS, VVV, MOO xitter.cf/i/broadcasts/1AKEmvkLX…

astra in premiere pro is mixing audio 1000x better than i ever could, and i've been editing for 11 years use this prompt: ---------------------------------------------------------- Act as a professional film sound mixer and fully mix this Premiere Pro sequence. Use these rules: Dialogue: always priority. Normal speech around -18 to -12 dBFS, with peaks generally -6 to -3 dBFS. Dialogue consistency: clip-gain first, then light compression. Avoid obvious pumping. Music under dialogue: typically -30 to -20 dBFS depending on density. Duck it enough that every word is effortless to understand. Music without dialogue: can rise to roughly -18 to -10 dBFS. Ambience/room tone: roughly -35 to -24 dBFS. Never leave unnatural dead silence between edits. Background Foley: usually -30 to -18 dBFS. Important Foley/SFX: roughly -18 to -8 dBFS. Major cinematic impacts, gunshots, explosions, transitions: may peak around -6 to -2 dBFS, but never clip. Master: never exceed -1 dBTP true peak. For a web/YouTube delivery, aim around -14 to -16 LUFS integrated while preserving cinematic dynamics. Sound-design rules: Dialogue > story-critical SFX > music > ambience. Use EQ to remove rumble/mud; don't make voices unnaturally thin. Use subtle compression, automation, fades, crossfades, room tone, reverb and perspective. Sounds farther from camera should be quieter, darker and wetter; close sounds should be clearer and more present. Layer impacts with transient + body + low-end/tail when appropriate. Build sound around cuts, movements, reveals and transitions. Do not make everything equally loud. Preserve quiet moments so loud moments actually feel loud. Avoid clipping, harsh limiting, pumping, abrupt ambience changes or obvious audio cuts. Continuously A/B the entire scene and make level decisions in context, not clip-by-clip. Go through the complete timeline, identify every audio element, organize it logically, then perform the actual mix in Premiere. The final result should feel polished, immersive, controlled and cinematic rather than like individually normalized clips.