Political Insights and Television Critiques

This week: Wild Wes.

Ahead of next week’s vote on whether to legalise assisted dying, Health Secretary Wes Streeting is causing trouble for Keir Starmer, writes Katy Balls in the magazine this week. Starmer has been clear that he doesn’t want government ministers to be too outspoken on the issue ahead of a free vote in Parliament. But Streeting’s opposition is well-known. How much of a headache is this for Starmer? And does this speak to wider ambitions that Wes might have?

Katy joins the podcast to discuss, alongside Labour MP Steve Race. Steve explains why he plans to vote in favour of the change in the law next week (00:57).

Then: how concerned should we be about medical misinformation?

President-elect Donald Trump has announced vaccine sceptic Robert F. Kennedy Jr. as his pick for Secretary of Health and Human Services in the US. In the magazine this week, Matt Ridley explains that it’s not the man himself that’s as interesting, as the reasons how he has ended up in such a position: scientific misinformation has fuelled his rise. So how concerned should we be about medical misinformation? Firstly, Matt joined the podcast to explain his thesis and why reactions to the covid pandemic are to blame (16:24).

Later, Sander van der Linden, professor of social psychology at the University of Cambridge, also joins the podcast to discuss his concerns and how susceptible we are here in Britain to misinformation (23:46).

And finally: did you know that crude graffiti has a storied history?

Harry Mount examines the notorious penis gang that has appeared in Dulwich, daubing penises across trees. Whatever you think of such graffiti, scribbling phalluses, and even erotic art, are actually as old as time – from ancient Rome to India. What’s the line between graffiti and erotic art? And should Westerners be less prudish when confronted with these images? Harry joins the podcast alongside academic, and author of Pha(bu)llus: A Cultural History, Dr Alka Pande (30:50).

Hosted by William Moore and Lara Prendergast.

Produced by Patrick Gibbons.