The Fault Line podcast: Bush, Blair and a retired spy

This podcast asks what really went wrong on the supposed evidence that Saddam Hussein had produced weapons of mass destruction.

Protesters march through the centre of Amsterdam, in the Netherlands, Mar 20, 2004, in a demonstration to mark the first anniversary of the US-led invasion of Iraq. Picture: AP PicBas/Czerwinski

The Fault Line is a clear and captivating exploration of the politics surrounding the Iraq war. Veteran BBC journalist David Dimbleby hosts the podcast, following on from his popular Audible Original series last year, The Sun King, on the life of Rupert Murdoch, executive chairman of News Corp (ultimate owner of The Weekend Australian). This new eight-episode documentary series examines the events that led up to the 2003 invasion of Iraq, and the relationship between US president George W. Bush and British prime minister Tony Blair.

How did these countries get it so wrong on the supposed evidence that Saddam Hussein had produced weapons of mass destruction? It’s a terrific premise, and yet more evidence that these huge historical events are perfect fodder for a lengthy examination if you can find the right voices. In this case, the voices that the early episodes lean on are largely journalists and former politicians, good talkers with great anecdotal material from the time. But there is one plot line told by a retired spy that adds real urgency to the story, and places the audience on the ground in the Middle East.

The Fault Line

This interview hints at the work this podcast does to push beyond a simple recapitulation from the talking heads we see on television. Dimbleby is quite simply a pro at this kind of documentary work. He lends The Fault Line a direct, polished tone that never falls into the stuffy or over-produced ruts that some shows anchored by broadcast veterans can stray into. He’s able to lean on his own reported work at the time, and flex his contact book in digging out some great guests, including Blair. The edits are clean and unfussy, keeping the focus on the story. There’s no need to punch material up when you have a great narrator. Things falter slightly in a lengthy explanation of the political backdrop to the rises of Bush and Blair. It’s not irrelevant but feels unnecessarily detailed. There are hints that future episodes will get back to the colourful material.

-

More in podcasts...

It’s hard to think of a more daunting podcast reboot than The Cut on Tuesdays. The beloved weekly show, attached to New York Magazine, broke hearts around the world when it was suddenly wrapped up last December.

Then in June, it was back with a new host (the excellent Avery Trufelman) and a shorter name (The Cut). But how do you grapple with that enormous legacy?

Trufelman’s approach has been to substantially alter the format while retaining the show’s spirit. The Cut on Tuesdays was a best in show example of conversational podcasting: smart, organic conversations about politics, relationships and life with two hosts who listeners felt an enormous attachment to.

The Cut’s new episodes cover similar ground with a far more structured, scripted approach. Life in lockdown is naturally a dominant focus.

There’s a mountain of work on show here, as episodes always seem to fit in one or two more thoughtful points than you’d normally expect in a half-hour.

These new episodes also feel relentlessly creative, particularly in the difficult production conditions enforced by lockdowns worldwide. There’s a remarkable episode on “dick pics” that combines visceral humour, constructive advice and an empathetic discussion on male intimacy.

The Cut

In another episode, one couple’s iso dating experience is transformed into a romantic comedy that resonates as extremely 2020.

Every aspect of this material feels deeply considered, balancing personal experiences with a more academic read on a subject. Trufelman and lead producer B.A. Parker both have extensive podcast reps, and the familiarity with the format shines through in how such a heavily written show never sounds like it’s showing off.

This podcast also serves as a good example of how print publications can intelligently extend written pieces in audio. Episodes often leverage New York Magazine pieces when launching in a new direction, and staff writers make regular appearances to share their own experiences.

Entrenched fans may miss some of the crackle and chemistry that defined The Cut on Tuesdays, but this is such a smart and surprising podcasting that I suspect most will hang around.

Listen to The Cut on your favourite podcasting app.