Against Everyone with Conner Habib

Against Everyone with Conner Habib is an ideas show with a spiritual center and a restless cultural range. It thinks in long arcs. Recent episodes move from social threefolding to the Epstein files, from Asad Haider's political thought to ghost stories, horror, stage magic, spiritualism, and occult history. The show is less interested in sorting subjects into respectable and strange categories than in asking why those categories exist at all. Politics becomes spiritual. Art becomes metaphysical. The paranormal becomes a way of talking about ordinary reality under pressure. A new series on spiritual society frames culture, rights, and economics as three living spheres, with freedom, equality, and social form treated as practical questions rather than slogans. Another episode turns toward childhood abuse, political conspiracy, and the spiritual dimensions of public harm. The tone there is personal and grave. Elsewhere, the show memorializes Asad Haider through a conversation about identity, desire, race, class, culture, punishment, and the possibility of finding paths beyond mutual antagonism. Its historical episodes are especially distinctive. The Spirit Era and Its Aftermaths follows the turn of the nineteenth into twentieth century as a period when technology, occult practice, spiritualism, literature, science, politics, and performance all seemed to alter reality at once. Ben Machell brings paranormal investigation and Tony Cornell into view. Raphael Cormack's conversation follows fakirs, fakers, Islamic modernity, early twentieth-century spiritualists, and the effort to reconcile modern science with religious belief. Allan Johnson's episode links literature, meditation, famous artists, esoteric groups, and questions of truth during a period of rapid change. Film episodes widen the frame again, treating horror and ghosts as more than genre furniture. With Phil Ford and J.F. Martel, horror becomes a question about rupture, ambiguity, and the arrival of something from outside ordinary understanding. With Justin Decloux and Will Sloan, ghost cinema opens into Irish literary culture, film posters, festivals, and the odd comedy of cultural seriousness. The show can be intense. It can also be loose and conversational. Its strongest appeal is the way it holds grief, critique, wonder, and skepticism in the same room.