Podcast
Culture
Education
Original sin
S&U interviews
5 min read

My conversation with... Katharine Birbalsingh

A stubborn hopefulness drives Katharine Birbalsingh. Belle Tindall reflects on her conversation with the controversial headteacher for the Re-Enchanting podcast.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

A head teacher sits at her desk, holding her hands in a gesture in front of her.

Listen now

Watch now

I’m finding it very hard to sum up my conversation with Katharine Birbalsingh, to place it neatly in a mental box. But I’m wondering if that’s the value of it.  

Katharine has infamously been dubbed ‘Britain’s Strictest Headteacher’, and after spending an hour in her company, I can understand why – it’s as if an air of authority was baked into her DNA. She is the founder and headteacher of Michaela Community School in Wembley, a school which has garnered a huge amount of attention not only because of their outstanding success, but also because of the ‘clear ethos’ that Katherine accredits the success to.  

Michaela School has silent and single-file corridors, meaning that transitions between classes tend to take ninety seconds. Turning around to talk to another child in class is immediately punishable by detention, children are taught to stand for Katherine when she enters assembly, and lunch times have set conversation starters. When Katharine says, ‘I believe in strictness’, she really means it.  

It’s safe to say that Katherine has both avid admirers and passionate critics, and perhaps many people who can’t quite decide which camp to pitch their tent in.  

What struck me the most about Katharine’s approach to education during our conversation was the why behand the what. It seems to me that these behavioural expectations are not for their own sake. She defined her approach this way, 

‘It’s holding them (the pupils) to high standards, and loving them enough to do so… People don’t like strictness, but it’s a way in which you can support the most disadvantaged children’.  

Katharine’s educational philosophy is driven by a stubborn compassion, a stubborn hope, a stubborn confidence. Michaela school, a school with no kind of selection process, refuses to underestimate a single child that flows through it. Katharine has made the decision to give her life to helping children, particularly those who are so often overlooked, reach their full potential, and therefore, happiness. And who can fault that? Her school may be extreme in its methods (although I’m sure she would refute that), but I find the reasons that undergird its culture hard to find any kind of fault with.  

Another thing that I can fully agree with is Katharine’s palpable admiration for teachers, something which she believes to be lacking in common consciousness,  

‘People who aren’t teachers don’t realise just how much teachers have to give; how exhausting it is, how much energy it requires, and how intellectually demanding it is. I think that being a teacher is the biggest privilege and the hardest job. And people who haven’t done it, they just don’t realise… they don’t realise how clever you have to be, how skilled you have to be.’ 

I, like you, know and love enough people who are/have been teachers to be able to wholly agree with these words. We are not nearly thankful enough, and we need more teachers to tell us so.  

So, this was the arc of the first half of our conversation with Katharine, we were able to soak up her obvious passion for her job and the children that she spends her days with. I found myself thankful that Michaela School exists, but equally thankful that my parents did not send me there.  

Katharine is a campaigner by nature, and so the second half of our conversation with Katharine seemed to focus on some of her more controversial views on wider culture. It is at this point in the episode that you will undoubtedly be reminded that she has become quite the polarizing figure. There is plenty to admire about Katharine, there is also, as you can imagine, plenty to disagree with. I’m willing to place my own cards on the table and admit that there was much that Katharine said that I do not agree with. While there is no need to go into the specifics (what you think about her views because of this conversation is of far more importance), on reflection I have noticed that there is a theme that ties together the places where we differ in opinion and conviction: the theme is binary characterisation.  

When surveying the cultural landscape, there is a tendency (amongst us all) to place people into binary categories in a way that I’m not convinced is actually happening within the cultural landscape itself (at least, not to the extent we are assuming). There is nuance to us all, I’m afraid it is an inescapable by-product of humanity, we are not 2D creatures. And so, there is nuance to our political and cultural ideas, our convictions, perceptions, hopes and fears. Any characterisation of us that strips away such nuance is doomed to be a caricature, a mischaracterisation.  

I found her reference to ‘original sin,’ and the way she uses it as a means by which to regard children as inherently ‘naughty’ particularly interesting, not least because she does not believe in God. The whole theological concept of ‘original sin’/’the fall’ (as Marilynne Robinson refers to it on a previous episode of Re-Enchanting), isn’t binary. The Genesis literature, from which Katherine is drawing her thesis, is intent on answering the question of why good and bad seem to co-exist, why we aren’t all one-dimensionally-good, why goodness prevails in some cases, and evil is triumphant in others. Why, to borrow a phrase, what we want to do we do not do, but what we hate we do.  

Beauty and brokenness are neighbours within us, living in astonishingly close proximity – and that, as I understand it, is the reality of ‘original sin.’  

Perhaps this is where our tendencies to place people into rigid cultural categories, to treat each other as if we come with some kind of moral package-deal, comes from: what we believe about human nature becomes what we perceive when interacting with it.  

Nevertheless, interviewing Katharine from her desk in her school, with the ‘pips’ that signify the end of class as our backing track, I was reminded that Katharine is a person who lives out her convictions, and I am sure her pupils are profoundly thankful for that. Sure, she seems to make herself many an enemy whenever she stands on a national platform, but far more of her life is spent behind the doors of Michaela School, serving her community with her disposition of stubborn hopefulness.  

And so, there they are – my anything but neat reflections on my conversation with Katharine Birbalsingh, you can listen to her episode of Re-Enchanting now.  

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? 

Celebrate our 2nd birthday!

Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief