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Commentary: Mehdi Hasan reflects on Zeteo one year after launch: 'We're in a very good place'

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Commentary: Mehdi Hasan reflects on Zeteo one year after launch: 'We're in a very good place'

Journalism isn’t what it used to be, and that’s not necessarily a bad thing. Especially if you’re Mehdi Hasan.

Hasan, 45, is no stranger to the rising dissatisfaction around the state of the news media and the confusion over how we consume our news. He rose through the ranks of broadcast giants, including the BBC, Al Jazeera and MSNBC, and has written on subjects ranging from Trump’s tariffs to Gaza for outlets such as the Guardian and the Huffington Post.

But no matter where he’s been on camera or published, the British-born son of Indian immigrants asked the kind of tough questions that gained him a reputation as a fierce debater and unflinching proponent of high-impact, often adversarial journalism.

“When we talk about media organizations, it’s often asked, ‘Are they left or are they right?’” Hasan says. “But I don’t think that dynamic is helpful. For me, it’s more like do they keep their heads down or do they keep their heads up?”

Hasan’s unwillingness to soften the edges around hot-button topics could be the reason he’s worked for more outlets than most public-facing folks in the media. His departure from MSNBC in January 2024, for example, came after his shows were canceled by the network for “business reasons.” They offered to keep him on as a contributor, but he declined.

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Instead, he started his own independent platform, the Washington, D.C.-based Zeteo. Now, on the one-year anniversary of his enterprise, Hasan talks about what it took to create an outlet somewhere between mainstream news and “burn it all down” media.

This conversation has been edited for length and clarity.

“When we talk about media organizations, it’s often asked, ‘Are they left or are they right?’” Mehdi Hasan says. “But I don’t think that dynamic is helpful.”

(Tom Keeter Photography)

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What did it take to get Zeteo up and running?

Me and the four people who set it up. And it was Ramadan. And I was fasting. I will say I never want to do a startup company again with four people during Ramadan [laughs]. We’re still a small, nimble operation, but it’s not insane as four people trying to do everything. We have a political correspondent, Prem Thakker, who broke the campus deportation story. We brought on Jamaal Bowman and Cori Bush, members of Congress, to do a YouTube show for us called “Bowman and Bush.” [Former Washington Post columnist] Taylor Lorenz has just become a contributor for us. We have Daniel Levy, the former Israeli peace negotiator. And we’re going to be announcing more in the coming days as we approach the anniversary. So we’re growing on that front.

The name Zeteo comes from the ancient Greek word for “seeking out” or “striving.” Why not just call your startup the Mehdi Hasan Network?

It was never going to be the Mehdi Hasan network. Obviously, I’m the face of it. I’m the founder. I do the flagship shows. But it was always about being more than me. That is the goal. If I achieve nothing else, I’ve provided a platform for really interesting people to say the unsayable, whether it’s [Egyptian political satirist] Bassem Youssef on the podcast; John Harwood [formerly of CNN], who writes amazing political pieces for us; Pakistani novelist Fatima Bhutto; Amy Klein; Owen Jones; or Greta Thunberg. They are saying things as contributors you won’t see elsewhere.

You moved to the U.S. in 2015, where you hosted a weekly show on Al Jazeera English. But just five years later, you landed your own show, “The Mehdi Hasan Show,” on Peacock. And soon after that, you were slotted into MSNBC’s lineup. That’s a rapid trajectory.

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When I moved here, people said to me, “Oh, you’re going to end up at CNN, MSNBC because you do great interviews.” I was like, “No one’s ever going to hire me. I’m a brown, Muslim, lefty immigrant. I’m happy at Al Jazeera.” Mainstream was never going to be for me, yet Phil Griffin and MSNBC took a chance on me in 2020 and hired me to do a show. I didn’t think I’d last longer than six months, but I lasted for 3½ years.

As the country has become more polarized, there’s been criticism that journalism is now more about activism than news gathering. What’s your take?

You don’t have to define activism as changing things and journalism as not changing things. The biggest changes in our society have come from journalism. Investigative journalism, at its very best, changes things. It holds people accountable. It forces people to change structures, reform institutions. So I think the best journalism is impact journalism that drives change. Otherwise, what is the point? Horse-race journalism — who’s up, who’s down, who’s doing well in the polls — that’s never been my interest. I do it occasionally because it has its role, but that’s never been what drives me. I don’t think it should be what drives our industry, either. I want to make a change. That’s why I do what I do. Otherwise, I’d be an accountant.

Where does Zeteo stand in the crowded field of new media startups?

One thing I was very clear about when I launched Zeteo was that I was going to be walking that tightrope between being anti-establishment and establishment, between mainstream and non-mainstream. A lot of people didn’t like that. What happens to a lot of left-wing media outlets is that they get marginalized or marginalize themselves. They’re seen as fringe. But there’s no point in doing excellent journalism, excellent op-eds or commissioning brilliant documentaries if no one sees them.

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A man in a suit and tie sitting behind a desk.

Mehdi Hasan says he “was going to be walking that tightrope between being anti-establishment and establishment” with Zeteo.

(Tom Keeter Photography)

Did you plan on becoming a journalist?

I went to Oxford University. I did PPE [Politics, Philosophy and Economics]. Most of my graduating class went off to be management consultants and investment bankers. I went off to get a 13,000-pound-a-year job, to the great disappointment of my Asian parents. But working in TV seemed important.

As kids of immigrants, our parents came from places where the media was hobbled or where there is no free press. Now you’re in the U.S., and the media is facing unprecedented challenges from the Trump administration.

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It’s a risky time. People keep saying to me, “Trump’s good for business, right? You’re going to get loads of subscribers because he talks crazy stuff and makes politics interesting.” Yeah, in theory, in the sheer generation of news stories, he’s good for business. But in terms of the big picture of a free press — no, he’s not. I worry about the future of my organization in a country that’s going fascist very quickly. I worry about Zeteo as a small startup at a time when big media companies like ABC and CBS and some might argue the L.A. Times — their owners are rolling over for Trump. And you’ve got MAGA folks who are intimidating journalists. For a while I’ve had prominent people in the MAGA movement saying deport and denaturalize Mehdi Hasan, and in the current climate, that’s not the kind of thing you take lightly. Journalists have been intimidated, threatened, harassed.

Now, having said that, we’ve got to put it in context. I’m still in the U.S., still protected by the 1st Amendment. I’m not in Gaza, where over 200 journalists have been killed. It’s the worst conflict for journalists in history. The Civil War, WWI, WWII — none of it comes close. Yes, it’s a risky time for journalists in America, but in context, we’re still 10,000 times in a better place than journalists in Gaza, for example.

This month marks one year since Zeteo’s official launch. How are things going?

I’m a very cautious person. I’ve never run a business before. I don’t have that entrepreneurial streak of risk-taking. When I launched this, I was super cautious about what we could achieve. But, amazingly, the support I got after I left MSNBC and announced Zeteo blew me away. We blasted through all of our early benchmarks, metrics and targets, and by the time we hit the summer, we were well ahead of ourselves. So we’re in a very good place.

Can you name some of the benchmarks?

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A year in, most startups don’t break even. But this year we’ve made a small profit, which we weren’t planning on. We’re at 400,000 subscribers, which is not where I thought we’d be. We’re No. 6 on Substack, behind Bari Weiss, Heather Cox [Richardson] and the Bulwark folks. We have 715,000 followers on YouTube right now and we’re growing by more than 1,000 a day. We’ve got more than 40,000 paying subscribers, which helps pay the bills. And we’ve got over 1,000 founding members who pay $500 a year to support us.

A man in a white shirt and blue pants sitting on a white chair with a microphone near his face.

“A year in, most startups don’t break even. But this year we’ve made a small profit, which we weren’t planning on,” Mehdi Hasan says.

(Tom Keeter Photography)

Is corporate media adequately covering the America we live in today?

My position is not that the corporate media’s dead or that all mainstream media is bad. That would be ridiculous. I’ve worked in these organizations. There are great journalists doing great work there. My position is that mainstream media gets a lot wrong, and there are a lot of gaps that need to be filled, and that is what Zeteo is doing. That doesn’t mean I want to burn it all down. We wouldn’t be able to exist as a small media business if we weren’t able to rely on great investigative scoops from certain people at the Post or Politico or the New York Times. That doesn’t mean I like everything that those outlets do.

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For a time, the journalistic standards in legacy newsrooms made covering MAGA conspiracy theories, lies and genuinely fake news incredibly difficult. It was like using an old dialect to describe a new language.

Even in opinion journalism, calling Trump a racist caused a debate in newsrooms for a decade. More and more people now say the R-word. But for a time, it was “he said something racially tinged, racially divisive, racially loaded.” It’s like, just say racist. It’s fewer letters. Let’s not insult our viewers and our readers. Let’s not disrespect them. Everyone knows what’s going on.

They know “mistruth” is just a softer word for “lie.”

My position is very simple: If you say something false more than once after you’ve been corrected, it’s a lie. That’s Trump 100 times over.

You are known for being unapologetically outspoken, and pinning your debate opponents on divisive issues. You even channeled your superpower into a book, “Win Every Argument.”

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There’s always been that shadowing around me wherever I’ve been. It’s made people uncomfortable in a lot of places. I’m not going to name an outlet, but I will say this, there have been times where an interview I’ve done has gone viral and people are like, “Oh, my God, mic drop! The person’s been destroyed,” to use YouTube language. That’s what people know me for. Then I’ll mention that to a friend or family member, and they will say, but do your bosses even want that? And it’s like, “Oh, I didn’t think of that. Good question.”

Which brings us back to MSNBC…

When MSNBC canceled my shows, I knew that I didn’t want to just go to another network or another paper. I’ve worked for a lot of places in my career: BBC, Sky News, Al Jazeera, NBC. I write a monthly column for the Guardian, but I didn’t want to go work for the Guardian. I’ve already done stuff for the Intercept and the New Statesman. I wanted to do my own thing, so I thought if not now, when? This idea that I needed to speak freely crystallized pretty quickly, especially in the climate we’re in with Gaza, the return of Trump, fascism. As far as ever being employed by anyone else again, I think that ship has sailed.

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Movie Reviews

Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

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Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

PopHorror had the chance to check out Anacoreta (2022) ahead of its streaming release! Does this meta-horror flick provide interesting story telling or is it a confusing mess.

 

Let’s have a look…

Synopsis

A group of friends heads to a secluded woodland cabin for a weekend getaway, planning to film an experimental horror movie. As the shoot progresses, the project begins to fall apart—until a real and terrifying presence emerges from the darkness.

Anacoreta is directed by Jeremy Schuetze. It was written by Jeremy Schuetze and Matt Visser. The film stars Antonia Thomas (Bagman 2024), Jesse Stanley (Raf 2019), Jeremy Schuetze (Jennifer’s Body 2009), and Matt Visser (A Lot Like Christmas 2021)

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My Thoughts

Antonia Thomas delivered an outstanding performance as the female lead in Anacoreta. It was remarkable to watch her convey such a wide range of emotions with authenticity and depth. I was continually impressed by her ability to switch seamlessly between different dialects. I absolutely loved her delivery of the dialogue of telling The Scorpion and the Frog fable.

Anacoreta employs a distinctive, meta-horror style of storytelling. The narrative follows a group of friends creating a “scripted reality” horror film, and as the plot unfolds, the boundary between their staged production and their actual lives becomes increasingly blurred. This was interesting, but at the same time frustrating as a viewer.

Check out Anacoreta on Prime Video and let us know your thoughts!

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Todd Meadows, ‘Deadliest Catch’ deckhand, dies at 25

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Todd Meadows, ‘Deadliest Catch’ deckhand, dies at 25

Todd Meadows, a crewmember on one of the fishing vessels featured on the long-running reality series “Deadliest Catch,” has died. He was 25.

Rick Shelford, the captain of the Aleutian Lady, announced in a Monday post on Facebook and Instagram that Meadows died Feb. 25. He called it “the most tragic day in the history of the Aleutian Lady on the Bering Sea.”

“We lost our brother,” Shelford wrote in his lengthy tribute. “Todd was the newest member of our crew, he quickly became family. His love for fishing and his strong work ethic earned everyone’s respect right away. His smile was contagious, and the sound of his laughter coming up the wheelhouse stairs or over the deck hailer is something we will carry with us always.

“He worked hard, loved deeply, and brought joy to those around him,” he added. “Todd will forever be part of this boat, this crew, and this brotherhood. Though we lost him far too soon, his legacy will live on through his children and in every memory we carry of him.”

A fundraiser set up in Meadows’ name described the deckhand from Montesano, Wash., as a father to “three amazing little boys” who died “while doing what he loved — crabbing out on Alaskan waters.”

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According to the Associated Press, Meadows died after he was reported to have fallen overboard around 170 miles north of Dutch Harbor, Alaska.

“He was recovered unresponsive by the crew approximately ten minutes later,” Chief Petty Officer Travis Magee, a spokesperson with the Coast Guard’s Arctic District, told the AP. The Coast Guard is investigating the incident.

Meadows was a first-year cast member of “Deadliest Catch,” the Discovery Channel reality series that follows crab fishermen navigating the perilous winds and waves of the Bering Sea during the Alaskan king crab and snow crab fishing seasons. The show debuted in 2005. No episodes from Meadows’ season has aired.

Deadline reported that the show was in production on its 22nd season when the incident occurred, with the Shelford-led Aleutian Lady being the last of the vessels still out at sea at the time. Production has subsequently concluded, per the outlet.

“We are deeply saddened by the tragic passing of Todd Meadows,” a Discovery Channel spokesperson said in a statement that has been widely circulated. “This is a devastating loss, and our hearts are with his loved ones, his crewmates, and the entire fishing community during this incredibly difficult time.”

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Meadows is the latest among “Deadliest Catch” cast members who have died. Previous deaths include Phil Harris, a captain of one of the ships featured on the show, who died after suffering a stroke while filming the show’s sixth season in 2010. Todd Kochutin, a crew member of the Patricia Lee, died in 2021 from injuries he sustained while aboard the fishing vessel, according to an obituary. Other cast members have died from substance abuse or natural causes.

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‘Hoppers’ review: Pixar’s best original movie in years

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‘Hoppers’ review: Pixar’s best original movie in years

“So it’s like Avatar?” one character quips in Disney and Pixar’s “Hoppers,” bluntly translating the film’s high-concept premise for the sugar-fueled kids in the audience. And yes, the comparison is apt. The story follows a nature-obsessed teenage girl who manages to quite literally “hop” her consciousness into the body of a robotic beaver in order to spark an animal rebellion against a greedy mayor determined to bulldoze their forest for a freeway. 

It’s a clever hook. The kind of big, elastic idea Pixar used to make look effortless. “Hoppers” does not reach the rarified air of “Up,” “Wall-E,” or “Inside Out,” but after a stretch of uneven originals like “Turning Red” and “Luca,” and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction. The environmental messaging is clear without being preachy, the animals are irresistibly anthropomorphized, and the studio’s once-signature emotional sincerity is back in sturdy form.

Pixar can afford to gamble on originals when it has a guaranteed cash cow like this summer’s “Toy Story 5” waiting in the wings, but “Hoppers” earns its place in the catalogue. Director Daniel Chong crafts a warm, heartfelt film that occasionally strains under the weight of its own ambition, yet remains grounded by character and theme. Its meditation on conservation and animal displacement feels timely in a way that never tips into after-school-special territory.

We meet Mabel, voiced with bright conviction by Piper Curda, as a child liberating her classroom pets and returning them to the wild. Her moral compass is shaped by her grandmother, voiced by Karen Huie, who imparts wisdom about nature’s sanctity. True to both Pixar tradition and the broader Disney playbook, this beacon of guidance does not survive past the opening act. Loss, after all, is Pixar’s favorite inciting incident.

Years later, Mabel is still fighting the good fight, squaring off against the smarmy Mayor Jerry, voiced with slick menace by Jon Hamm. He plans to flatten the glade where Mabel and her grandmother once found solace. Mabel’s resistance feels noble but futile. The animals have already mysteriously vanished, the machinery is coming, and her last-ditch plan involves luring a beaver back to the abandoned forest in hopes of jumpstarting the ecosystem.

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That’s when the film gleefully pivots into mad-scientist territory. At Beaverton University, Mabel discovers her professor, voiced by Kathy Najimy, has developed a device that can project human consciousness into synthetic animals. The process, dubbed “hopping,” allows Mabel to inhabit a robotic beaver and infiltrate the forest from within. It’s an inspired escalation that keeps the film buoyant even when the plotting grows predictable.

Her new posse includes King George, a lovably beaver voiced by Bobby Moynihan with distinct Bing Bong energy; a sharp-tongued bear voiced by Melissa Villaseñor; a regal bird king voiced by the late Isiah Whitlock Jr.; and a fish queen voiced by Ego Nwodim. As is often the case with Pixar, even in its lesser efforts, the world-building is meticulous. The animal hierarchy, complete with titles like “paw of the king,” is layered with jokes that play for kids while slyly winking at adults.

The plot ultimately follows a familiar template. Scrappy underdog rallies community. Corporate villain twirls metaphorical mustache. Emotional third-act sacrifice looms. At times, you can feel the machinery working a little too cleanly. Pixar, and Disney at large, has grown increasingly reliant on sequels and established IP, and “Hoppers” does not radically reinvent the wheel. In an animated landscape where films like “K-Pop: Demon Hunters,” “Across the Spider-Verse,” and “Goat” are pushing stylistic and narrative boundaries, being safe and sturdy may not always be enough.

And yet, there is something refreshing about a Pixar original that remembers how to tug at the heart without squeezing it dry. “Hoppers” is playful, peppered with cheeky needle drops, and builds to a sweet emotional catharsis that may or may not have left this critic a little misty-eyed. It feels earnest and engaged. 

“Hoppers” may not be top-tier Pixar. But it is a welcome return to form, a reminder that the studio still knows how to marry big ideas with a bigger heart.

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HOPPERS opens in theaters Friday, March 6th.

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