Explainer
Attention
Care
Culture
Psychology
5 min read

How to help someone with ADHD to live well

Overstimulation, inner critics, and the quiet power that restores balance
An emoji-style brain divided in two with active emojis one side and calm ones the other.
Nick Jones/Midjourney.ai.

This week’s headlines about ADHD in the UK paint a troubling picture. NHS England commissioned an ADHD Taskforce which has warned that waiting lists for assessment and support are “unacceptably long”, with services buckling under the pressure of rising demand. In some areas, including Coventry and Warwickshire, NHS boards have even paused new adult referrals to prioritise children. Charities are already preparing legal challenges. 

Among the Taskforce’s key recommendations is a call for general practitioners to take on a bigger role. Rather than referring every suspected case to specialist services, GPs are to receive training to recognise and manage ADHD within primary care – a shift intended to relieve the enormous strain on the system. But this raises a human question as well as a policy one: while people wait (often for months or even years) what can families and friends do to help? And might some of these strategies reduce the need for crisis-level specialist support in the first place? 

Around  five per cent of the population is thought to have ADHD, though the true figure may be higher. Rising diagnosis rates have prompted some scepticism: are we simply getting better at recognising the condition, or is something new happening in our overstimulated modern world? 

Psychiatrists Edward Hallowell and John Ratey suggest that many of us now live in an attention environment that mimics ADHD. They call this phenomenon VAST: Variable Attention Stimulus Trait. VAST is not a disorder, and it is not “ADHD lite”; rather, it’s a product of neuroplasticity, i.e., the brain’s capacity to adapt to its environment. ADHD, by contrast, is neurodevelopmental – it is part of how a person’s brain is wired from the start. ADHD can’t be “undone” – nor would many want it to be. ADHD is a way of being that entails many strengths as well as struggles, as I have written about before. But where there are struggles, both ADHD and VAST respond to similar strategies for living well. 

Hallowell and Ratey describe the brain as operating through a set of overlapping neural networks. Two of these, the Task Positive Network and the Default Mode Network, play a key role in attention and focus. The Task Positive Network switches on when we’re engaged in a clear, structured activity: writing an email, cooking dinner, solving a problem. When it’s active, we’re absorbed and unselfconscious. The Default Mode Network, by contrast, takes over when we’re not focused on a specific task. It’s the realm of daydreaming, reflection, and big-picture thinking – reviewing what we’ve done, imagining what comes next. 

For most people, the brain glides between these two states smoothly. But in today’s hyperconnected, screen-saturated culture, many of us – especially those with VAST – flicker between them too quickly, never giving our Default Mode Network enough time to process what has just happened. The result is stress, restlessness, and mental exhaustion. 

In ADHD, though, the problem is different and deeper. Brain scans suggest that both networks may be running simultaneously, and the Default Mode Network in particular has a knack for interrupting. Imagine trying to finish a task while a running commentary in your head constantly questions its worth, urgency, or achievability. That’s the ADHD experience: the Default Mode’s chatter makes tasks hard both to start and to finish. 

But the Default Mode Network isn’t all bad. It can be a source of creativity, moral reflection, and meaning. It’s the voice that tells you a task matters, that something is worth your effort. Hallowell and Ratey liken it to the classic “angel and devil” on your shoulders – but the devil often shouts louder. That’s partly because the human brain is wired to prioritise threat. We remember criticism more vividly than praise, and replay social embarrassments more easily than successes. For people with ADHD, this negativity bias can be overwhelming. As Hallowell and Ratey put it: 

“People who have ADHD or VAST are particularly prone to head towards gloom and doom in their minds because they have stored up in their memory banks a lifetime of failure, disappointment, shame, and frustration. Life has taught them to expect the worst.” 

This relentless inner critic drives many ADHDers to self-soothe – ideally through human connection, but too often through less healthy means: food, alcohol, drugs, or risky behaviours. Statistically, people with ADHD are ten times more likely to develop an addiction, and their average lifespan is at least 13 years shorter than that of the general population. 

So how can friends and family help? Is there a way to interrupt the drive to self-medicate in self-destructive ways? The answer, remarkably, is so ancient and simple as to almost seem facile: it is love. 

When the Default Mode Network first hits upon a negative self-judgement, its instinct is to reach outward – to seek comfort and belonging. If connection is unavailable, the “devil voice” finds substitutes in addictive or numbing behaviours. But when real, safe relationships are present, they act as a protective buffer. Studies show that people with ADHD who experience strong, consistent love from partners, friends and family have lower addiction rates, better health, and longer lives. 

Of course, loving someone with ADHD can sometimes demand extra patience. Your ADHD friend or family member is likely to be the most creative, empathetic, and generous person you know, yet also the one who forgets your birthday, arrives late, or leaves your message unanswered. None of this is intentional neglect; it is the Default Mode’s interference – the whisper that says, “They probably don’t like me that much anyway.” Understanding this dynamic transforms frustration into compassion. It helps us see that behind the missed text is someone fighting an invisible cognitive tug-of-war – a loved one who needs reassurance, not reprimand. 

Even for those without ADHD, our era of constant notifications and information overload is training our brains toward VAST-like patterns. We’re pulled between self-judgment and self-justification, between doing and ruminating, with little space for rest. Learning to quiet the inner critic and nurture connection is good for all of us. 

When we tune into the gentler side of our Default Mode Network – the voice that says “You are valuable to the people around you” – mistakes lose their sting, and perfection ceases to be the price of self-worth. 

The NHS may take years to fully resolve its ADHD backlog. But in the meantime, there is meaningful work that families, friends, and communities can do. We can offer the connection that helps quiet the inner storm by being the person who reaches out, forgives the lateness, and replies with warmth even when the other couldn’t. 

This may not shorten the waiting list, but it could lengthen lives. For the millions with ADHD, and the millions more living with VAST, love is not a sentimental afterthought – it is the neurological antidote to despair. 

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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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