The Dubai Effect on London Culture

This week: the left-wing radicalism of Garden Court

Garden Court Chambers has a ‘reassuringly traditional’ facade befitting the historic Lincoln’s Inn Fields in the heart of London’s legal district. Yet, writes Ross Clark in the cover article this week, ‘the facade is just that. For behind the pedimented Georgian windows there operates the most radically effective cell of left-wing activists in Britain’.

Ross argues that cases taken on by Garden Court lawyers raise questions of impartiality. Is this just another example of ‘law’s expanding empire’ over the domain of elected politicians, as former Supreme Court judge Jonathan Sumption has warned?

The Spectator’s editor, and former Justice Secretary, Michael Gove joined the podcast to discuss. (1:16)

Next: cultural desert

‘From its gloopy green-filled chocolate to its soulless towers, Dubai is exerting a cultural influence over our capital’ writes Angus Colwell in the magazine this week. More and more young people might be moving to the city, but its influence is being exported back.

With around 250,000 Brits living in the Middle Eastern Emirate, why is Dubai so popular? Angus worries that we may lose some of the ‘pleasingly chaotic’ aesthetic of London to Dubai’s ‘artificial construction’. Angus joined the podcast alongside the writer Louise Perry. (13:43)

And finally: the enduring obsession with Princess Diana 

Almost 30 years on from her death, why has a fascination with Princess Diana endured? Philip Hensher reviews Dianaworld: An Obsession, by Edward White, in the magazine this week which explores the effect that Diana had – and still has – on people around the world. Why did people feel such a connection to the late Princess of Wales? 

Philip joined the podcast alongside royal commentator Angela Levin. Philip explains that a ‘passive victimhood’ has crept into society since Diana’s death while, for Angela, the public felt they ‘owned’ the Princess. (22:32)

Presented by William Moore and Lara Prendergast.

Produced by Patrick Gibbons.