Quite right!

Andy Burnham has begun his premiership with a sweeping reshuffle, purging many of Keir Starmer’s closest allies and installing a cabinet in his own image. Has he ended Labour factionalism – or simply created a new faction of enemies? And does the appointment of John Healey as Chancellor suggest that Burnham wants a safe pair of hands rather than a rival power base?
Michael and Maddie also ask whether Burnham’s early promises can survive contact with economic reality. With billions already pledged on defence, energy bills, transport and public ownership, where will the money come from – and what is his plan for growth?
Plus: will Shabana Mahmood be allowed to get a grip on immigration? Can Ed Miliband be trusted at the Foreign Office? And could Burnham’s mother help kill off another attempt to legalise assisted dying?
Produced by Oscar Edmondson.
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Louis Mosley is the UK head of Palantir, one of the world’s most powerful – and controversial – technology companies. Its work with the NHS, the US government and western militaries has made it a lightning rod for criticism, with opponents accusing it of threatening privacy, enabling mass deportations and supporting military operations in Gaza. Louis therefore occupies an unusual position at the intersection of technology, politics and the British state.
On the podcast, he explains what Palantir actually does, why fears over NHS data are misplaced and why scrapping its contract would be a ‘terrible mistake’. He tells Michael why technology companies should not overrule democratically elected governments, why Palantir is ‘ideological, not political’ and why it believes in strengthening liberal democracies.
They also discuss the coming AI revolution: why Britain is unusually well placed to benefit, how artificial intelligence could transform failing public services and why the ‘lanyard class’ may have more to fear than frontline workers.
Produced by Oscar Edmondson.
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In this week’s Q&A: does Labour have a women problem? Michael and Maddie discuss why the party has never had a female leader, whether its embrace of identity politics has created a rod for its own back, and why gender-critical feminists on the left have found themselves in exile.
Also this week: why won’t any party touch the triple lock? Michael argues that the state pension has become an unsustainable transfer to the section of the electorate most likely to vote – but can any politician make the case for reform without being accused of ‘mugging granny’?
Plus: Parliament at its best and worst. From Danny Kruger and William Hague to Hilary Benn, George Galloway and Tom Tugendhat – what makes a truly great Commons speech?
Produced by Oscar Edmondson.
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Nigel Farage has resigned as MP for Clacton and will fight a by-election in an attempt to turn questions over his finances into a referendum on ‘the people vs the establishment’. Is this a political masterstroke or a mistake? Has Farage taken back control of the narrative, or will the row over undeclared money continue to plague Reform?
Michael and Maddie also discuss whether Dominic Cummings’s prophecy – that the establishment would try to destroy Farage by fair means or foul – has come true.
Plus: Prince Harry has suffered a bruising defeat in court against the Mail. What does the ruling tell us about press freedom?
Produced by Oscar Edmondson.
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In this week’s Q&A: as Bridget Phillipson and Kemi Badenoch clash over Labour’s education policy, Michael asks whether he is a ‘spiteful class warrior’ too. He has written before about his scepticism over the charitable status of some of the country’s elite academic institutions, arguing that they should do more to earn it – but does he regret his comments?
Also this week: as Britain edges closer to life under Burnham, Michael and Maddie discuss who is really pulling the strings behind the famous black door. What is a chief of staff: a vital part of the machinery of government, or a civil servant with an inflated sense of importance?
Plus: Ken, Boris or Sadiq – who will be remembered as the best mayor of London?
Produced by Oscar Edmondson.
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