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Church and state
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5 min read

The one thing the new Archbishop can offer the world

How an unlikely argument between the Pope and Madonna points the way for the new Archbishop of Canterbury

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

An archbishop crowns the king.
The archbishop crowns the king.

The Catholic News Agency is a news outlet whose Instagram account posts warm pictures of the Pope, Catholic saints and so on, with heart-warming, if a little anodyne, quotations. A week or so ago, it sparked one of the most unlikely social media spats in recent times - an argument between Madonna (no, not the Virgin Mary) and Pope Leo himself.

With the announcement of Sarah Mullally as the 106th Archbishop of Canterbury, this debate may have something to say to her as she moves from London (where I knew her well and worked with her as a fellow bishop) to Lambeth.

The CNA had posted a picture of a smiling, waving Pope Leo with the caption: “My priority is the Gospel, not solving the world’s problems.” It referred to an interview in which the Pope had said: “I don’t see my primary role as trying to be the solver of the world’s problems… although I think that the Church has a voice, a message that needs to continue to be preached, to be spoken and spoken loudly.”

The comments below were predictable, ranging from “This is a God-inspired pope!” to “The pope is irrelevant’ – and much worse. But among the 2000 or so comments was one by Madonna herself: “The whole point of teaching and learning the Gospel is to inspire people to love one another and make the world a better place. Not just with words but with actions, which is exactly what Jesus did. I am truly disappointed by this.”

Madonna has always had an odd relationship with the Catholic Church, and this was not the first time she has engaged with Pope Leo (or his predecessor Francis for that matter) online. But the story still went viral.

So - back to soon-to-be Archbishop Sarah.

She certainly faces a challenging inbox - divisions among Anglicans over sexuality that threaten to tear the Anglican Communion apart; safeguarding scandals; the ructions that being a female Archbishop will raise for traditionalists within the Church of England and with the Catholics and the Orthodox; the rise of Christian Nationalism, criticism of the Church’s commitment of £100m for reparations for slavery, not to mention the continue decline of Anglican congregations around the country.

So what should her priorities be as she starts her role?

I must confess I’m on Pope Leo’s side in this one. Unsurprisingly, the scholarly Augustinian Pope is a better theologian than the singer of ‘Like a Prayer’.

Pope Leo went on to say: “The values that the Church will promote in dealing with some of these world crises don’t come out of the blue, they come out of the Gospel. They come from a place that makes very clear how we understand the relationships between God and us, and between one another. Going back to the very basic things of respecting one another, respecting human dignity: where does that human dignity come from and how can we use that as a way of saying the world can be a better place, and we can treat one another better?”

It is the job of politicians – not the Church - to work out the precise policies and mechanisms that will deliver a better society. Yet of course that begs the question: what does ‘better’ mean? And that is where the church does have something to say.

Pope Leo’s point is that if the Church does make political interventions, they have to arise strictly from the very heart of its own faith. Christian leaders shouldn't get too involved in detailed policy recommendations, but they can outline their vision of what a good life together looks like, based on the story of the gospel itself.

The one thing that the church has to offer the world is Jesus - in other words, the remarkable, world-shattering belief that God the Creator entered human history, like an author stepping on to the stage of his own play. Yet he did it in the most unexpected way possible, without fanfare, simply showing a radical, determined, self-giving love, dying an excruciating death at human hands and rising from death as the first sign that death is nothing to be afraid of because it has been beaten once and for all.

To believe that is weird. It changes everything – life is not a search for wealth, friends and success but for holiness and wisdom. It is not a search for self-fulfilment but a radical turn away from self-centredness to a growing love for God our Maker. The poor not the wealthy are the ones who matter. We are held in the hands of a God whose love for us is endless. The universe is not impersonal and silent but pulses with love. Evil is a force trying to undo everything that God has created. Death is just the gateway to something far better for those who believe.

Tom Holland put it like this this: “If you're a Christian, you think that the heart of the entire fabric of the cosmos was ruptured by this strange singularity where someone who is a God and a man set everything on its head.”

And paradoxically, it is by focusing on that extraordinary message, that the Church can play its part in helping unravel some of the other problems, whether in the Church or the world.

Pope Leo was right. And maybe this is the advice for our new Archbishop: don’t start out by trying to change the world. Start with the gospel. It’s all we have to offer. Teach it, remind the church and the world of it. Use imagination, creativity, social media – whatever.

You may end up solving the world’s problems, you may not. The early Christians didn’t march on Rome, petitioning Caesar for new laws on migration across the empire or fairer treatment for slaves. They simply lived out their faith, creating communities that included everyone, worshipped Jesus and excluded idolatry. They taught, learned and lived the gospel. And eventually the world was changed.

So our new Archbishop will and must talk about immigration, assisted dying, poverty and other political issues, but she must make sure it’s always rooted in something Christian. Or as St Paul put it: “Proclaim the message, whether the time is favourable or unfavourable. Always be sober, endure suffering, do the work of an evangelist, carry out your ministry fully.”

And let the rest of us encourage her in doing that as well as she can.

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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