Founder Jesse Cole's creative engine is a simple rule: identify the standard way of doing things and then do the opposite. This ensures every idea is inherently remarkable and share-worthy, as people don't get excited about normalcy. It’s a core principle for breaking out of industry conventions.

Adopting the philosophy of 'building for dying' (向死而生), the founder views his AI product not just for current productivity, but as a future 'playground.' In a world where AI automates most jobs, the product's purpose will shift to providing fulfillment and the pleasure of 'pretend work.'

Dropout avoids licensing third-party shows, not for brand reasons, but because it would lose control of social media marketing. Since its growth relies on posting clips, it will only acquire content if the deal grants them the ability to run the associated social channels.

For communities or companies like Dave Gerhardt's Exit 5, the founder's personal brand can become the primary differentiator. This creates a 'category of one' in the customer's mind (e.g., 'The Dave Gerhardt Community'), making direct comparisons difficult and establishing a powerful moat that transcends feature-based competition.

To identify non-consensus ideas, analyze the founder's motivation. A founder with a deep, personal reason for starting their company is more likely on a unique path. Conversely, founders who "whiteboarded" their way to an idea are often chasing mimetic, competitive trends.

When launching creative campaigns, Wiz uses unique domains (e.g., Cisotopia.com) rather than company subdomains. This makes the project feel like an independent, fun creation, not a direct marketing play. The intentional disconnect from the corporate brand piques interest and makes people more willing to engage and share.

By framing Dropout as a "comedy SaaS," the CEO simplifies the business to its core transaction: subscribers pay a monthly fee for laughs. This mindset avoids the operational complexities and stakeholder demands common in traditional media companies, focusing purely on the creator-audience relationship.

The economic incentives and audience reach on platforms like TikTok or YouTube now outweigh the benefits of building an independent website, a stark reversal from a decade ago when the open web was the only choice for new media ventures.