Article
Ambition
Comment
General Election 24
Politics
5 min read

Is it really time to “go for the jugular”?  

How to handle political enemies.
A screen grab of a news paper report with a headline and picture. The headline reads: 'Go for Keir Starmer’s jugular to rescue campaign, Rishi Sunak urged'.
The Times' 16 June headline.
The Times.

As the election campaigns trundle down the hill to election day, poll trackers have shown little meaningful change for weeks. Amongst my friends and acquaintances, I can find barely anyone who is bothering to read the campaign coverage. No doubt, news editors are just as bored as we are with the same-old, same-old. Perhaps it is they who are leaning on commentators to spice up their language, saying things like it is time to “go for the jugular”. Are they straining for headlines by provoking candidates to stop waving manifestos and start lobbing personal attacks? (And did anyone stop to consider the irresponsibility of such language, following the awful, violent murders of MPs Jo Cox and David Amess?)    

It is very uncomfortable to have enemies, which only makes it all the more astonishing that anyone ever goes into politics – professional enemy-making, if you will. And there is an incredible subtlety to the business. As a politician, one needs to be a convincing enemy to one’s enemy, but at the same time, a convincing friend to one’s enemy’s friends (in the hope that they might switch their allegiance). Then, if elected, one must serve a whole constituency, including many ‘enemies’ who didn’t actually vote for you, and probably never will. In such a complicated game of gregarious gymnastics, and with the ever worrying rise of violence and threats against MP’s, how on earth does a politician maintain any reasonable sense of safety and of self? 

An enemy who has lost his temper is one of the few people that you can trust to tell you the truth about yourself. 

Reflecting on this, I wonder whether the game of politics gives a fresh insight into those very famous words that Jesus once said: “Love your enemies.” This instruction has long baffled and inspired the great thinkers of this world. Why would Jesus say such a thing? Some focus on the way in which loving one’s enemies benefits the lover. Desmond Tutu, for example, said, “Love your enemy: it will ruin his reputation.” Or Mark Twain, somewhat more cynically, said, “Love your enemy: it will scare the hell out of them.” There are many others I could quote here, but the general theme is one of power. Loving empowers the lover to keep going in the face of hate, and it is surely the only way an MP can get through the day, serving so many people who didn’t actually vote for them.  

But looking at those who speak of enemies, there is another general theme that can be identified, one which pre-dates Jesus’ command to love enemies, and one that is to do with the way in which they help to define us. The Greek Philosopher Antisthenes is reported to have said that an enemy who has lost his temper is one of the few people that you can trust to tell you the truth about yourself. As a thinker, Antisthenes was famously cynical, one who very much subscribed to a “what doesn’t kill you makes you stronger” kind of vibe, even welcoming ill-repute because it could help one to grow in virtue.  

Given the popularity of Greek Philosophy in the first century, it is possible that many of Jesus’ listeners had Antisthenes pithy advice, or something like it, in the back of their minds when Jesus uttered his famous words. Of the many ways to understand “love your enemies”, some may have heard it as a reminder that enemies do us a kind of service. They help us to define ourselves, giving a profound (if somewhat uncomfortable) reflection of how we appear to others. Of course, enemies are biased. Like a distorted mirror, they over emphasise our bad propensities and overlook the good. But taken in the right spirit, this serves as a foil to our friends and acquaintances who may well distort the uncomfortable truth about ourselves in the opposite direction.  

Perhaps it is no bad thing for our politicians to admit their mutual enmity – not in the sense of tearing each other down but in the sense of sharpening each other up... 

As a young adult, I was given the advice not to fear enemies, but to divide them up into two categories: enemies in residence and enemies in exile. The exiled ones are the ones who are simply dangerous or nasty – the bullies, the gossips and those who may tend towards violence. To love these people is to pity them and to pray for them, but also to keep them far enough away so that they cannot do you harm. Enemies in residence, however, are the useful ones. These are the enemies that you keep just close enough so that you can hear what they have to say. They will scrutinise your words and your actions, they will cast doubt on your motivations, and they will scoff at your ambitions. All of this is both miserably uncomfortable and highly valuable, sowing just enough seeds of self-doubt that you check yourself, analyse yourself and strive to be the best that you can be.  

Perhaps Antisthenes was on to something: when it comes to harsh critique from enemies, what doesn’t kill you does indeed make you stronger. And perhaps this is one of the ways to interpret Jesus’ words, “love your enemies” – in the sense of loving what they do for you in terms of personal growth. If this is the case, then perhaps it is no bad thing for our politicians to admit their mutual enmity – not in the sense of tearing each other down but in the sense of sharpening each other up, of spurring each other on to be the best, most clearly defined versions of themselves that they can be.  

So, it is fine with me if there are enemies in politics: a person with enemies is a person who knows who they are and what they stand for. Enemies should, as Jesus advised, love each other enough to do the job properly and fairly – (this is no inlet for cowardly keyboard warriors). But even so, I didn’t care for the cheap, headline-grabbing phrase “go for the jugular” – it all sounds unnecessarily violent. As much as we and our politicians should love one another enough to be enemies, let us not love one other to death.   

Article
Culture
Film & TV
Politics
War & peace
5 min read

The story from a galaxy far, far away that's just made for these times

Andor holds up a galactic mirror to our media-saturated world.

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

A montage shows the lead characters from Andor.

It’s an unlikely setup for success: a series set in a forgotten corner of the galaxy, a prequel to a prequel, telling the backstory behind Rogue One - the fourth highest-grossing Star Wars film. It’s a show with none of the original characters—no Darth Vader, no Luke Skywalker, no Obi-Wan. And yet, Andor has garnered widespread critical acclaim and fan appreciation. This Disney+ series has become the first true Star Wars content for grown-ups. 

Disney invested heavily in acquiring the rights to both the Marvel and Star Wars franchises, paying $4 billion for each. The returns have been massive—an estimated $13 billion from the Marvel Cinematic Universe and $11 billion from Star Wars. Yet, despite the financial success, something has been lost along the way: mediocre storylines, convoluted time-travel plots, and repetitive tropes have dulled the creative edge. 

But Andor stands apart. It offers something different—a grounded, character-driven narrative with rich, resonant themes that speak directly to today’s audience. 

Tyranny needs resisting at all levels

Andor follows a number of intersecting character arcs. Although the series is named after Cassian Andor (played by Diego Luna), a disillusioned smuggler turned Rebel Alliance operative, the story is much larger than a single man.  

As the Empire tightens its grip—both openly through military might and brutality, and in the shadows with a vast array of spies, surveillance, and an ever-expanding intelligence network—the need for resistance at every level becomes urgent. Those with a voice need to speak up while there is still a semblance of democracy and freedom of speech. Money is required to fund an insurgency and foot soldiers from all walks of life need to be found and prepared to rise and challenge the systemic injustice and rising imperial oppression. 

Enter Cassian Andor, orphaned at age six and adopted by Maarva and Clem Andor. His early experiences with poverty and oppression awaken something within him—something that solidifies when Clem is executed by stormtroopers. At the other end of the spectrum is Mon Mothma, born into privilege and political influence. Her arc centres on a moral crossroads: whether she will risk her status, her wealth, and her safety to support the resistance from within the halls of power. 

The relevance of Andor's message couldn’t be timelier. In an era marked by rising authoritarianism, disinformation, and increasing political polarization, the show insists that tyranny must be resisted at every level. It reminds us that democratic institutions are fragile, and silence in the face of injustice enables oppression to grow unchecked. Whether it’s fighting against despotic leadership, the erosion of freedom of speech, or systemic inequality, Andor suggests that the burden of resistance cannot simply fall solely on the heroic few. It requires people at every level of society to act with courage, integrity, and purpose before it’s too late. 

 Truth matters 

One important storyline in Andor is how the Empire constructs a moral justification for its actions through state-controlled, propagandist media. Good people can be manipulated, and truth can be twisted. In real time, we witness spin doctors denying or reframing the brutality unfolding around them—even as the Empire violently crushes a peaceful protest in Gorman. 

Showrunner Tony Gilroy uses every world-building tool at his disposal to draw parallels with both historical and contemporary injustices. For instance, the costuming of the Empire’s senior leadership and Imperial Security Bureau agents evokes eerie similarities to Gestapo uniforms. In contrast, the Gorman resistance fighters appear as if they’ve stepped off the set of Les Misérables, echoing the June Rebellion of 1832. They even speak in a French-accented galactic dialect, reinforcing the connection. 

It's difficult not to read this as a critique of how modern news outlets reframe and re-narrate global conflicts—such as the war in Israel and Gaza—to suit and shape their audiences. This agenda-driven reporting distorts facts and desensitizes viewers, often at the expense of those suffering on the ground. The complicity of the press in disinformation and facilitating or justifying atrocities, is contributing even today to ongoing humanitarian crises in places like Sudan and Gaza. 

In a supposedly post-truth era, Andor reminds us that truth still matters. The series holds up a mirror to our media-saturated world, revealing how outrage is manufactured, narratives are controlled, and reality is often mediated through selective storytelling. It challenges us to reflect on the reliability of the news we consume—and on our own role in questioning or accepting the stories we're told. 

Which side are you on? 

One of the most compelling aspects of Andor is its portrayal of parallel lives on both sides of the conflict. While much of the action follows Cassian’s transformation from smuggler to reluctant operative to key rebel leader, we also witness the rise of Dedra Meero—a driven, ambitious surveillance officer within the ISB, the Empire’s intelligence arm. 

Dedra begins as an underdog fighting workplace sexism in a male-dominated bureaucracy. But as her career advances, so does her capacity for cruelty. She becomes one of the Empire’s most ruthless enforcers, willing to sacrifice anything and anyone in her relentless pursuit of Rebel operatives. Her story is a chilling reminder of how authoritarian systems reward efficiency and zeal, no matter the moral cost. Ironically, her single-mindedness may end up helping the rebellion—her recklessness potentially exposes secrets about the Death Star. 

Throughout the series, we see similar tactics employed on both sides—surveillance, betrayal, sacrifice. The only difference is the larger narrative arc that ultimately vindicates the Rebellion’s cause. But in building complex, believable antagonists like Dedra, Andor shows us the banality of evil—how ordinary people, convinced they are doing the right thing, can become instruments of oppression. 

The question the series leaves us with is chillingly simple: in a world sliding toward growing injustice, which side are you on? 

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