Article
AI - Artificial Intelligence
Community
Culture
Education
5 min read

Artificial Intelligence needs these school lessons to avoid a Frankenstein fail

To learn and to learn to care are inseparable

Joel Pierce is the administrator of Christ's College, University of Aberdeen. He has recently published his first book.

A cyborg like figure opens the door to a classroom.
AI in the classroom.
Nick Jones/Midjourney.ai.

Recent worries expressed by Anthropic CEO, Dario Amodei, over the welfare of his chatbot bounced around my brain as I dropped my girls off for their first days at a new primary school last month. Maybe I felt an unconscious parallel. Maybe setting my daughters adrift in the swirling energy of a schoolyard containing ten times as many pupils as their previous one gave me a twinge of sympathy for a mogul launching his billion-dollar creation into the id-infused wilds of the internet. But perhaps it was more the feeling of disjuncture, the intuition that whatever information this bot would glean from trawling the web,it was fundamentally different from what my daughters would receive from that school, an education.  

We often struggle to remember what it is to be educated, mistaking what can be assessed in a written or oral exam for knowledge. However, as Hannah Arendt observed over a half century ago, education is not primarily about accumulating a grab bag of information and skills, but rather about being nurtured into a love for the world, to have one’s desire to learn about, appreciate, and care for that world cultivated by people whom one respects and admires. As I was reminded, watching the hundreds of pupils and parents waiting for the morning bell, that sort of education only happens in places, be it at school or in the home, where children themselves feel loved and valued.  

Our attachments are inextricably linked to learning. That’s why most of us can rattle off a list of our favourite teachers and describe moments when a subject took life as we suddenly saw it through their eyes. It’s why we can call to mind the gratitude we felt when a tutor coached us through a maths problem, lab project, or piano piece which we thought we would never master. Rather than being the pouring of facts into the empty bucket of our minds, our educations are each a unique story of connection, care, failure, and growth.  

I cannot add 8+5 without recalling my first-grade teacher, the impossibly ancient Mrs Coleman, gazing benevolently over her half-moon glasses, correcting me that it was 13, not 12. When I stride across the stage of my village pantomime this December, I know memories of a pint-sized me hamming it up in my third-grade teacher’s self-penned play will flit in and out of mind. I cannot write an essay without the voice of Professor Coburn, my exacting university metaphysics instructor, asking me if I am really saying what is truthful, or am resorting to fuzzy language to paper over my lack of understanding. I have been shaped by my teachers. I find myself repaying the debts accrued to them in the way I care for students now. To learn and to learn to care are inseparable. 

But what if they weren’t? AI seems to open the vista where intelligences can simply appear, trained not by humans, but by recursive algorithms, churning through billions of calculations on rows of servers located in isolated data centres. Yes, those calculations are mostly still done on human produced data, though the insatiable need for more has eaten through most everything freely available on the web and in whatever pirated databases of books and media these companies have been able to locate, but learning from human products is not the same as learning from human beings. The situation seems wholly original, wholly unimaginable. 

Except it was imagined in a book written over two hundred years ago which, as Guillermo del Toro’s recent attempt to capture that vision reminds us, remains incredibly relevant today. Filmmakers, and from trailers I suspect Del Toro is no different here, tend to treat the story of Frankenstein as one of glamorous transgression: Dr Frankenstein as Faust, heroically testing the limits of human knowledge and human decency. But Mary Shelley’s protagonist is an altogether more pathetic character, one who creates in an extended bout of obsessive experimentation and then spends the rest of the book running from any obligation to care for the creature he has made.  

It is the creature who is the true hero of the novel and he is a tragic one precisely because his intelligence, skills, and abilities are acquired outside the realm of human connection. When happenstance allows him to furtively observe lessons given within a loving, but impoverished family, he imagines himself into that circle of growing love and knowledge. It is when he is disabused of this notion, when the family discovers him and is disgusted, when he learns that he is doomed to know, but not be known, that he turns into a monster bent on revenge. As the Milton-quoting monster reminds Frankenstein, even Adam, though born fully grown, was nurtured by his maker. Since even this was denied creature, what choice does he have but to take the role of Satan and tear down the world that birthed him? 

Are our modern maestros of AI Dr Frankensteins? Not yet. For all the talk of sentient-like responses by LLMs, avoiding talking about distressing topics for example, the best explanation of such behaviour is that they simply are mimicking their training sets which are full of humans expressing discomfort about those same topics. However, if these companies are really as serious about developing a fully sentient AGI, about achieving the so-called singularity, as much of the buzz around them suggests, then the chief difference between them and Frankenstein is one of ability rather than ambition. If eventually they are able to realise their goals and intelligences emerge, full of information, but unnurtured and unloved, how will they behave? Is there any reason to think that they will be more Adam than Satan when we are their creators? 

At the end of Shelley’s novel, an unreconstructed Frankenstein tells his tale to a polar explorer in a ship just coming free from the pack ice. The explorer is facing the choice of plunging onward in the pursuit of knowledge, glory, and, possibly, death, or heeding the call of human connections, his sister’s love, his crew’s desire to see their families. Frankenstein urges him on, appeals to all his ambitions, hoping to drown out the call of home. He fails. The ship turns homeward. Knowledge shorn of attachment, ambition that ignores obligation, these, Shelley tells us, are not worth pursuing. Will we listen to her warning? 

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Review
Culture
Film & TV
Friendship
5 min read

I’m going to cling on to The Ballad of Wallis Island

This comedy about fans and idols touches the heart too

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

A couple site on a sofa, one holds a guitar
Cary Mulligan and Tom Basden.

A few weeks ago, a good friend of mine told me I needed to see The Ballad of Wallis Island.  

He said I’d like it. In fact, my friend went so far as to say he thought it would be one of my favourite ever films.  

And now, having gone to see the new comedy-drama, I can confirm that he was right.  

But just what was it about this film - quite short by modern standards at 1 hour 40 - that marked it out as one I would so obviously enjoy?  

I was considering this as I sat through it, and as my guffaws eventually gave way to tears, I had my answer. 

For when it comes to films - or anything in life, really - it’s those with deeper meaning that most enthrall me. 

And James Griffiths’ new film certainly has this in spades - it’s a “ballad”, after all - as well as a good dose of humour, epitomised by the inimitable Tim Key, whom some of you may know from the 2022 sitcom Witchfinder. 

As someone who grew up on the painfully awkward comedy of Ricky Gervais’ The Office, Key’s character, Charles, the bumbling super-fan of a folk duo, is a perfect blend of the endearing and the ridiculous. 

From the moment “the great Herb McGwyer” (played by Tom Basden) arrives on Wallis Island to be met by a host who swiftly sends him head over heels into the sea, the stage is set for the relationship that will dominate the narrative. 

Devotee and artist, wealthy loner and lonely superstar provide the perfect juxtaposition, whose success is no doubt aided by the fact that both lead actors were also co-writers. 

One suspects the film’s success may also have something to do with the time it spent in development, having first been produced nearly two decades ago as a BAFTA-nominated comedy short, titled The One and Only Herb McGwyer Plays Wallis Island

But having now watched both 2025 film and 2007 short, which is available to watch online, the feature-length version is, to my mind, by far the better of the two. 

And while some of the jokes from the original remain, such as the manner of Herb’s comical arrival and eventual departure - though I won’t spoil the latter for you - there are some notable improvements. 

Chief among them, in my eyes, are the three female characters incorporated into the film: Carey Mulligan, who plays the second half of the McGwyer-Mortimer duo; Charles’ unseen former partner, Marie; and his new love interest, in the form of Wallis Island’s solitary shop-owner, Amanda (Sian Clifford). 

It’s funny to think that my friend pitched the film to me as a “Rom-com”, given that in the original concept there was not even a single female character, let alone any romance. Yet from this viewer’s perspective at least, it is the addition of the three women (including the unseen Marie) that make the film. 

Indeed, this major tweak to the plotline was the very element that ultimately brought tears to my eyes, as I considered the relational loss and loneliness that provide the common ground between the otherwise worlds-apart super-fan and idol. 

I saw the same look in this woman’s eyes as I had seen in Charles’s as he watched his hero play the song that was his former partner’s favourite. 

I was also forced to reflect upon the certain similarity I seem to share with the blundering Charles, having once lived two doors down from the real Carey Mulligan and, during our sole face-to-face encounter, chose the moment to express my great admiration for the music of her husband, Marcus Mumford, before awkwardly and very swiftly beating my retreat. 

I am embarrassed to admit that I even later posted a copy of one of my books into the Mumford letterbox - possibly that very same day - in the hope that it might engender the start of a beautiful friendship.  

Alas, I never heard from them again. 

A similar motivation is clearly the driving force behind Charles’ invitation of his two idols to his home, which is filled with their memorabilia, as the audience is encouraged to consider how they may feel if given the opportunity to host their own heroes. 

“Never meet your heroes,” Charles quips in the original short, but in the film the relationships are allowed to reach greater depths and, in spite of some initial suggestions that Charles’ affections may be bordering on stalker-like, it soon becomes clear that there is nothing sinister about this loveable simpleton. 

The rave reviews the film has received, years after the idea was first hatched, are also surely an encouragement to any of us who may have long held a dream but never seen it come to pass. 

The message of The Ballad of Wallis Island, I believe, is that we should hold onto such dreams and cling tightly to the things that matter most. 

Before sitting down to write this article, I was walking through a local park when I passed a young woman who was sitting on the grass, crying, and I approached her to ask if she was all right.  

It transpired that the woman’s partner had died a year before and that she liked to come back to the tree under which she was sitting to remember him, as it was a special place for them. 

I saw the same look in this woman’s eyes as I had seen in Charles’s as he watched his hero play the song that was his former partner’s favourite. 

"Cling to the things that matter most,” the woman told me, as we parted ways. And that’s certainly the message that both film and chance encounter have impressed upon me.

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