In this episode, Jonathan Evens takes us to Union Chapel where Natalie Bergman's soul-soaked set turned personal tragedy into communal celebration. George Pitcher evokes historical precedent for why Sarah Mullally’s appointment as Archbishop of Canterbury is about more than just breaking the stained-glass ceiling. And Belle Tindall passionately suggests that “Defending our girls” is less about safety, more about scapegoating (please be aware of potentially triggering content in this last article).