The Edition: Elon's America, Welby's legacy & celebrating Beaujolais Day

This week: welcome to Planet Elon.

We knew that he would likely be a big part of Donald Trump’s second term, so it was unsurprising when this week Elon Musk was named – alongside entrepreneur Vivek Ramaswamy – as a co-leader of the new US Department of Government Efficiency, which will look at federal government waste. When Musk took over Twitter, he fired swathes of employees whose work was actively harming the company, so he’s in a perfect position to turn his sights on the bloated federal government. It is, writes Douglas Murray, a once-in-a-generation opportunity to strip a whole layer of rot from the body politic. But can he translate his success in the private sector to the public sector? James Ball, political editor of The New European, and Bridget Phetasy, Spectator World contributing editor, joined the podcast to discuss. (02:17)

Then: what’s next for the Church of England?

The nature of Justin Welby’s resignation as Archbishop of Canterbury has no historic precedent in the C of E, writes William Moore, of this parish. One certainty is that the Church leadership will now be under enormous pressure to create a new independent body for safeguarding, but who could be next? The Smyth scandal means that appointing a conservative evangelical would be difficult, but appointing an out-and-out progressive would have its own problems. Whoever eventually succeeds Welby, he or she will inherit a Church more at war with itself than at any time in living memory. Joining the podcast is Rev Julie Conalty, the Bishop of Birkenhead and deputy lead bishop for safeguarding. (20:58)

And finally: can you tell your Claret from your Beaujolais?

In the magazine this week, drinks writer Henry Jeffreys discusses Beaujolais Day, the festivities started in the famous French appellation d’origine contrôlée that celebrate the first wine of the season. He joined us to discuss everything Beaujolais with Johnny Ray, The Spectator’s wine critic. (35:39)

Hosted by William Moore and Lara Prendergast.

Produced by Oscar Edmondson.

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