Explainer
Biology
Culture
Ethics
9 min read

Ethics needs to catch-up with genetic innovation

Are we morally obliged to genetically edit?

John is Professor Emeritus of Cell and Molecular Biology at the University of Exeter.

An artistic visualisation of a DNA strand growing flowers from it.
Artist Nidia Dias visualises how AI could assist genomic studies.
Google Deepmind via Unsplash.

It makes me feel very old when I realise that Louise Brown, the first baby to be born via in vitro fertilisation (IVF), will be 47 years old on July 25th this year. Since her birth in 1978, over 10 million IVF-conceived babies have been born worldwide, of whom about 400,000 have been in the UK. Over that period, success rates have increased such that in some clinics, about 50 per cent of IVF cycles lead to a live birth. At the same time, there have also been significant advances in genetics, genomics and stem cell biology all of which, in relation to human embryos, raise interesting and sometimes challenging ethical issues. 

I start with a question: what is the ‘moral status’ of the early human embryo? Whether the embryo arises by normal fertilisation after sexual intercourse or by IVF, there is a phase of a few days during which the embryo is undergoing the earliest stages of development but has not yet implanted into the wall of the uterus; the prospective mother is not yet pregnant. In UK law, based on the Human Fertilisation and Embryology Act (1990), these early embryos are not regarded as human persons but nevertheless should be treated with some respect. Nevertheless, there are some who oppose this view and believe that from the ‘moment of conception’ (there actually isn’t such a thing – fertilisation takes several hours) embryos should be treated as persons. In ‘conventional’ IVF this debate is especially relevant to the spare embryos that are generated during each IVF cycle and which are stored, deep-frozen, in increasing numbers for possible use in the future.  

A further dimension was added to this area of debate when it became possible to test IVF embryos for the presence of genetic mutations that cause disease. This process is called pre-implantation genetic diagnosis and enables prospective parents who are at known risk of passing on a deleterious mutation to avoid having a child who possesses that mutation. But what about the embryos that are rejected? They are usually discarded or destroyed but some are used in research. However, those who hold a very conservative view of the status of the early embryo will ask what right we have to discard/destroy an embryo because it has the ‘wrong genes’. And even for the many who hold a less conservative view, there are still several questions which remain, including ‘which genetic variants we should be allowed to select against?; should we allow positive selection for genes known to promote health in some way?’; should we allow selection for non-therapeutic reasons, for example, sporting prowess?’ These questions will not go away and there are already indications that non-therapeutic selection is being offered in a small number of countries. 

Genetic modification 

This leads us on to think about altering human genes. Initially, the issue was genetic modification (GM) which in general involves adding genes. GM techniques have been used very successfully in curing several conditions, including congenital severe immune deficiency and as part of treatment programmes for certain very difficult childhood cancers. One key feature of these examples is that the genetic change is not passed on to the next generation – it just involves the body of someone who has already been born. Thus, we call them somatic genetic changes (from the Greek, sōmatikos, meaning ‘of the body’).  

Genetic modification which is passed on to the next generation is called germline GM which means that the genetic change must get into the ‘germ cells’, i.e., the sperm or egg. Currently, the only feasible way of doing this is to carry out the genetic modification on the very early embryo. At present however, with just one very specific exception, GM of human embryos is forbidden in all the countries where it would be possible to do it. There is firstly the question of deciding whether it is right to change the genetic makeup of a future human being in such a way that the change is passed to succeeding generations. Secondly, there are concerns about the long-term safety of the procedure. Although it would involve adding specific genes with known effects, the complexity of genetic regulation and gene interactions during human development means that scientist are concerned about the risks of unforeseen effects. And thirdly, germline GM emphasises dramatically the possibility of using GM for enhancement rather than for medical reasons.  

Genome editing 

This leads us to think about genome editing. In 2011, it was shown that a bacterial system which edits the genomes of invading viruses could also work in other organisms This opened up a large array of applications in research, agriculture and medicine. However, the ethical issues raised by genome editing are, in essence, the same as raised by GM and so there is still a universal prohibition of using the technique with human embryos: germline genome editing is forbidden. Despite this, a Chinese medical scientist, He Jiankui, announced in 2018 that he had edited the genomes of several embryos, making them resistant to HIV; two babies with edited genomes had already been born while several more were on the way. The announcement caused outrage across the world, including in China itself. He Jiankui was removed from his job and then, after a trial, was imprisoned for three years; his two colleagues who collaborated in this work received shorter sentences. 

At present the universal prohibition of human germline genome editing remains in place. However, the discussion has been re-opened in a paper by an Anglo-Australian group.  They suggest that we need to develop heritable (i.e. germline) polygenic genome editing in order to reduce significantly an individual's risk of developing degenerative diseases. These includecoronary artery disease, Alzheimer’s disease, major depressive disorder, diabetes and schizophrenia. I note in passing that one of the authors is Julian Savulescu at Oxford who is already well-known for his view that parents who are able to do so, are ‘morally obliged’ to seek to have genetically enhanced children, whether by PGD, GM or genome editing. The use of polygenic editing, which would, in all likelihood, be available only to the (wealthy) few, fits in well with his overall ethical position. Needless to say, the paper, published in the prestigious journal Nature, attracted a lot of attention in the world of medical genetics. It was not however, universally welcomed – far from it. Another international group of medical scientists and ethicists has stated that ‘Human embryo editing against disease is unsafe and unproven …’ and even go as far as to suggest that the technology is ‘… going to be taken up by people who are pushing a eugenics agenda …’ remain very pertinent. 

Harder still and harder 

I have no doubt that amongst different reader there will be a range of opinions about the topics discussed so far. For anyone who is Christian (or indeed an adherent of almost any religious faith), one of the difficulties is that modern science, technology and medicine have thrown up ethical questions that could not have even been dreamed of by the writers of the Bible (or of other religious texts). We just have to use our wisdom, knowledge and general moral compass (and for some, prayer) to try to reach a decision. And if what I have already written makes that difficult, some recent developments multiply that difficulty still more.  

In the early years of this century, scientists developed methods of transforming a range of human cells into ‘pluripotent’ stem cells, i.e., cells capable of growing into a wide range of cell types. It also became possible to get both induced stem cells and natural stem cells to develop into functional differentiated cells corresponding to specific body tissues. This has huge potential for repairing damaged organs. However, other applications are potentially much more controversial. In 2023, Cambridge scientists reported that they had used stem cells to create synthetic mouse embryos which progressed at least as far as brain and heart formation within the normal pattern of mouse embryo development. 

At about the same time, the Cambridge group used individual human embryonic stem cells (from the blastocyst stage of embryonic development), to ‘grow’ early human embryos in the lab. There is no intention to use these embryos to start a pregnancy – indeed, it would be illegal to do so – but instead to study a period of embryo development which is not permitted with ‘real’ human embryos (research must not continue past 14 days of development). But how should we regard synthetic embryos? What is their moral status? For those who hold a conservative view of the normal human embryo (see earlier), should we regard these synthetic embryos as persons? Neither does the law help us. The legal frameworks covering in vitro fertilisation and early embryos (Human Fertilisation and Embryology Acts, 1990, 2008) do not cover artificial embryos – they were unknown at the times the legislation was drawn up. Indeed, synthetic embryos/embryo models are, in law, not actually embryos, however much they look like/behave like early embryos. Earlier this month, the Human Fertilisation and Embryology Authority (HFEA) discussed these developments with a view to recommending new legislation, but this will not dispel an unease felt by some people, including the science correspondent of The Daily Telegraph, who wrote that this research is irresponsible.  

But there is more. In addition to synthetic embryos, the HFEA also discussed, the possible use of gametes – eggs and sperm – grown from somatic stem cells (e.g., from skin) in the lab. Some authors have suggested that the production of gametes in vitro is the ‘Holy Grail’ of fertility research. I am not so sure about that but it is clear that a lot of effort is going into this research. Success so far is limited to the birth of several baby mice, ‘conceived’ via lab-grown eggs and normal sperm. Nevertheless, it is predicted that lab-grown human eggs and sperm will be available within a decade. Indeed, several clinicians have suggested that these ‘IVGs’ (in vitro gametes) seem destined to become “a routine part of clinical practice”.  

The lab-grown gametes would be used in otherwise normal IVF procedures, the only novelty being the ‘history’ of the eggs and/or sperm. Clinicians have suggested that this could help couples in which one or both were unable to produce the relevant gamete, but who still wanted to have children. In this application, the use of IVGs poses no new ethical questions although we may be concerned about the possibility of the gametes carrying new genetic mutations. However, some of the more wide-ranging scenarios do at the least make us to stop and think. For example, it would be possible for a same-sex couple to have a child with both of them being a genetic parent (obviously for males, this would also involve a surrogate mother). More extremely, a person could have a child of which he or she was actually, in strictly genetic terms, both the ‘father’ and the ‘mother’. What are we to make of this? Where are our limits?  

Dr Christopher Wild, former director of International Agency for Research on Cancer, explores in depth many of the developments and issue I outlined above. His article on why a theology of embryos is needed, is clear, well-written, helpful and thought-provoking. 

 

This article is based on a longer blog post with full footnotes.  

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Review
Culture
Film & TV
Music
5 min read

A complete unknown: the enigma of Bob Dylan

Chalamet commands but this biopic denies the audience its aha moment.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

A hunched man wearing dark glasses and a dark suit, walks down a New York Street at night, with his hands in his pockets.
Searchlight Pictures.

Crafting a biopic about Bob Dylan is no easy task. Known for his reclusive nature, Dylan has long avoided public introspection, rarely granting interviews and keeping a tight grip on his privacy. Enter A Complete Unknown, a film whose title is cleverly lifted from the iconic lyric from Dylan’s legendary song, 'Like a Rolling Stone'. For many, Dylan remains a complete unknown beyond his music. This film takes on the daunting challenge of unravelling, or at least presenting, Dylan’s story for a new generation.  

For Generation Z, Dylan’s genius is perhaps a distant echo, so casting Timothée Chalamet—a Gen Z cultural icon—as the main role is a masterstroke. Known for his standout roles in Dune and Wonka, Chalamet commands the attention of younger audiences, making Dylan’s story accessible and intriguing to a demographic otherwise unfamiliar with the folk legend. 

Chalamet’s dedication to the role is impressive. During the extended production, delayed by COVID, he taught himself to play the guitar, harmonica, and sing live. His performance is more than an imitation - it’s a striking incarnation of Dylan’s enigmatic persona. Through Chalamet, the audience is transported to a pivotal chapter of Dylan’s life, a time that would see a seismic shift in music history.

From folk icon to electric rebel 

This transformative moment in Dylan’s career is drawn from the book Bob Dylan Goes Electric. Much like Titanic or Finding Nemo where the climax is inevitable from the outset, the audience is well aware of what is coming: Dylan’s controversial decision to “go electric.” 

We begin by meeting Dylan as a young folk singer, heavily influenced by legends like Woody Guthrie and Pete Seeger. Arriving in New York as an ambitious teenager, he’s welcomed and mentored by the folk music community. These relationships form the foundation of his early career, but they also set the stage for heartbreak. 

The climax unfolds at the Newport Folk Festival, where Dylan debuts an electric set, shattering the expectations of his folk audience. Fans and mentors alike react with outrage—booing, throwing objects, and accusing Dylan of betraying the authenticity of true folk music. By the film’s end, Dylan, despite his eventual electrifying musical success, is no more popular – he has burned nearly every bridge, leaving a trail of fractured relationships. 

True to its title, A Complete Unknown offers no answers. Dylan’s motives remain elusive, and the audience is left with more questions than insights. It’s a daring narrative choice—presenting a guarded character who remains enigmatic to the end. There’s no traditional character arc, no emotional revelation, no intimate a-ha moment. The film respects Dylan’s mystique but denies the audience the catharsis they might expect from a biopic. 
Other biopic producers seem to be following suit.  In efforts not to be formulaic they are choosing a more lackadaisical approach to audience expectations.  In the upcoming Better Man which retells Robbie William’s life story, the singer is presented as a CGI ape. Pharell Williams’ life story is being retold through LEGO. If James Mangold, the director, who also co-wrote the screenplay with Jay Cocks was deliberately trying to subvert the genre, it seems he may have succeeded. 

From musical genius to mass appeal 

Despite its underwhelming emotional denouement, the film does leave viewers marveling at Dylan’s genius. By the age of 24, he had already written and performed some of the most iconic songs of the twentieth century including 'Blowin’ in the Wind' (1962), 'The Times They Are A-Changin’ (1964) and 'A Hard Rain’s A-Gonna Fall' (1962). Chalamet’s performance breathes life into Dylan’s music, and it’s nearly impossible to leave the theatre without humming a familiar tune. 

Around that time Dylan was also involved in the civil rights movement. He played at the historic March on Washington for Jobs and Freedom on August 28th 1963, where Martin Luther King Jr. delivered his iconic “I Have a Dream” speech. He performed at the huge rally on the National Mall between the Washington Monument and the Lincoln Memorial and his presence there alongside other prominent figures helped inspire more musicians and artists to join the struggle for racial equality. But this vital contribution is given only a few seconds of screen time and Dylan shows no other interest in justice or equality in the film. He only interacts minimally with black characters – once to mock a black girlfriend and the other to humiliate a black musician. No explanation is given.  

Dylan’s work undeniably speaks to the human experience, particularly through its reflections on social change, struggle, and hope, yet his actions and interactions seem to conflict with that message. The film therefore creates a dissonance that’s difficult to reconcile. It raises the question of whether we can, or should, separate the artist from the art—or if, in doing so, we undermine the very message they champion through their work. 

From faith to legacy 

The biopic story predates two significant conversions—Dylan’s eventual embrace of Christianity and Johnny Cash’s spiritual awakening. Both men would go on to explore faith in profound ways that would intertwine with one another, influencing both their lives and their music. Dylan’s conversion was famously sparked by an audience member throwing a crucifix onto the stage—a moment not yet reached in this film’s timeline.  Johnny Cash’s role in Dylan’s life is mentioned but not unpacked.  These threads add an intriguing layer of foreshadowing, leaving room for reflection on how faith would later influence their lives. A fascinating follow up would be to explore this relationship – for now the film only hints that perhaps the loneliness and longing for fulfilment behind the success would spark not only their friendship but also a transformative faith.  

Leaving the cinema, I found myself caught between admiration and frustration. Dylan’s genius is undeniable—his songs remain timeless, his influence immeasurable. Yet, his emotional distance and self-absorption left me unsettled.  Perhaps that’s the point. Genius, as we often discover, does not always equate to warmth or relatability. Dylan’s musical brilliance is his gift, but his guarded nature remains his curse. His songs preach peace, but he was a man in conflict with himself and with others. In the end, Dylan is presented as a complete unknown, a man who defies understanding, a riddle that continues to captivate and confound, an enigma in need of some salvation. 

 

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