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Freedom of Belief
Politics
5 min read

No George, Christians aren’t free to worship in Iran

Apologists make a mockery of the real costs of freedom of belief.

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

A couple stand on the steps of a cathedral in Iran.
On location with George Galloway.

I guess it’s a good job he’s no longer a member of parliament, or George Galloway may be facing the same scrutiny Nigel Farage came under for his trips to the United States. 

It probably won’t surprise you to hear that the former MP for Rochdale didn’t head to the Land of the Free on his own extracurricular jaunt the other week, but instead to Tehran and Moscow.  

And no, George wasn’t there to remind Iran of its obligations to provide human rights for its citizens - as some might expect of a British MP - nor did he go to Russia to put pressure on Putin to end the war in Ukraine. 

No, George was simply visiting his comrades - distinct as they may be - and doing his bit for their distinct causes. 

Mr Galloway published two videos during his visit to Iran - both published on his X account - and both showing him standing outside the buildings of a recognised religious minority (meaning, in Iran, Jews, Zoroastrians and Assyrian or Armenian Christians. Not converts or Baha’is). 

In the first video, the man in the black hat is standing outside a synagogue in Tehran, which he tells his audience doesn’t even have a guard outside “because they don’t need one”, as the “millions” of Jews who live in Iran (actually there are less than 10,000) are so “honoured” and “cherished”. 

They even have their own members in the parliament, he tells us (actually it’s just the one), and “you didn’t know any of this, did you? Because they don’t want you to know.” 

Well, now you do.  

And, thanks again to the former Member for Rochdale, two days later you were also able to discover, much to your surprise, that Iran is also home to “so many Christian churches.” (For the record there are around 300, but none of them open to converts.) 

This time, Mr Galloway is speaking to you from outside an Armenian cathedral, still wearing the same outfit and therefore presumably recorded on the same day but published two days later - perhaps to give you enough time to digest your first lesson. 

Inside the cathedral, George assures us, there are “many worshippers quietly going about their religious obligations,” which is “quite different from the picture that is painted of Iran in Western countries,” don’t you think? 

And what would that picture be, eh, George? 

That Christians are routinely arrested and imprisoned for meeting together to worship, and in years past the leaders of their churches - including Armenians - were even murdered on those same Tehran streets on which you are now standing? 

But no matter, here at least is clear proof that one church in Iran is still functioning - as well as that synagogue; don’t forget the synagogue! - and as Mr Galloway proudly informed us 24 hours after his first video, nearly one million people (according to X it was closer to 50,000) had watched it. 

So, job done. Let’s not worry about the details. They take too much time to research, and can also trip one up when trying to make a point - especially regarding Iran’s treatment of religious minorities or, well, anyone really. 

But no matter, one can guarantee that most viewers won’t have bothered to look into it, nor scroll down far enough to reach the dissent. 

Now, I don’t know whether it was because George hadn’t quite lived up to his billing, but a few days later some “real journalists” arrived from the Grayzone website to add their own insights. 

The Brits had been told; now it was the turn of the Americans.  

“Americans may be surprised to know Christians exist in Iran and are allowed to practice their religion freely.” 

So wrote Grayzone News’ Anya Parimpil on X, alongside a post showing a short video from inside - wow, they actually let the Americans inside! - another Armenian cathedral, this time in Isfahan. 

And alongside a few more pictures of the church, Ms Parimpil posted some photographs of “ancient bibles” - no capital ‘B’ needed, it would seem, nor explanation that today in Iran Bibles are often used as evidence of a “crime” in court cases against Christians. 

Meanwhile, Ms Parimpil’s husband, Max Blumenthal, posted a long video interview with the Islamic Republic of Iran’s favourite interviewee, Mohammad Marandi, as they walked around a Tehran cemetery. 

You can watch it on YouTube if you like, but I wouldn’t recommend it; not only is it over an hour long, but in the wake of the axing of Stephen Sackur’s BBC news show HARDtalk, this one is more like an episode of SOFTtalk, in which the presenter asks only two questions of real interest - regarding the nuclear programme and popular support for the regime - to which there is never any danger of a follow-up probe. 

To paraphrase, Marandi’s answers were that the regime is wildly popular and well able to make a nuclear weapon if it wanted to but that it doesn’t because such things are “inhumane” and the Islamic Republic of Iran is, of course, renowned for its decency. 

Mr Blumenthal also posted videos of an Iranian man singing while embracing him underneath one of Isfahan’s famous bridges - with the message, “Iran is not your enemy” - and of the return of water to the local river, failing to mention, as one responder noted, that “due to the corruption and mismanagement of the horrific mullah regime, the river is basically dry all the time”. 

But no matter, one can guarantee that most viewers won’t have bothered to look into it, nor scroll down far enough to reach the dissent. 

Certainly, the overwhelming reaction to all the videos and photographs posted over the past week has been positive: essentially, a “thanks for showing us what Iran is really like and not only what the biased mainstream media (MSM!) says about it!” 

These are the days of SOFTtalk, it would appear, so I suppose we’d better get used to it. 

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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