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War & peace
4 min read

Looking evil in the face

After viewing a new documentary on the Holocaust in Ukraine, a harrowed George Pitcher ponders his duty not to look away.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A mother cradles a child while another stands close by. They wear winter clothes of the 1940s and are amidst others waiting.
A Jewish family at Lubny, Urkaine, prior to the massacre there.
Hamburger Institut für Sozialforschung.

It’s a commonplace to remark that Ukraine has a troubled history. It’s almost a means of assimilating its current Russian conflict; Ukrainians are used to suffering and fighting, so here we go again. 

But, lest we forget, it’s as well to be reminded on a regular basis of the nature of Ukraine’s suffering. This week, Channel 4 broadcast a documentary called Ukraine: Holocaust Ground Zero, which traced through contemporaneous photography, academic commentary and survivors’ witness how Ukrainian Jews suffered and died in their hundreds of thousands, perhaps as many as 1.6 million, at the hands of Nazis, Soviets and Ukrainian nationalists. 

Vocabulary fails. Harrowing doesn’t begin to touch the experience of watching a programme like this. But, I think, watch it we must, especially those with a religious faith who use words like hope and faith. 

The “problem of evil”, known in scholastic circles as theodicy, has been a stumbling block for the Christian faith for centuries. If God is all-powerful, the problem states, he cannot love us if he allows this to happen; if he loves us, he cannot be all-powerful for it to happen. Ergo, he cannot both be all-powerful and all-loving. 

Counter-arguments, which needn’t detain us here, are many and varied: That the gift of free will includes the freedom to abandon God for evil; that the light of love shines brightest in darkness; that the world is fallen – lapsarian – and has to find its way back to the Garden; that God is joined to the suffering of humanity on the cross. 

After Channel 4’s film, I have to say that I’m less interested in all that than in what it actually means for us in a practical sense. I’m left wondering less why than how. I don’t want to know why God allows it. I want to know how we respond. 

Allow me to say, as honestly as I can, how I literally responded to this documentary. I had to watch it alone, on Channel 4’s website. I wonder why that is. Perhaps watching it with someone else is too much like entertainment. Perhaps there’s a fear that the act of sharing is dissipating in some way. Perhaps it’s a dirty little secret that I wanted to watch it, through clenched fingers. 

The second literal reaction I’d record is that when a photograph appeared of one of the most grotesque (though relativity here is invidious) perpetrators of the mass-murders, SS-Obergruppenführer Friedrich Jeckeln, I found myself saying at his image on the screen “rot in hell”.  

I find it hard to believe in a place of unending torment to which a benign God despatches human souls. I do believe in the hells, like this one in Ukraine, that men like him can create on earth. But I knew I’d found the limit of a human forgiveness and this was infinitely beyond it. And somehow I wished there was an eternal damnation to which Jeckeln could be consigned. 

A third reaction to identify is more passive. I had to watch it – or, rather, I couldn’t look away. Please God, may that not be said to be curiosity. Surely not, when you know how scarring it will be.  

It contained (and here perhaps I should issue a trigger warning for the rest of this paragraph) details of how the death squads moved on from men of military age to women and children, because they were too expensive to feed; how 90 orphaned children were murdered in one massacre for the same reason; how Jeckeln developed a system of execution to maximise space in mass graves called “sardines”. 

I’m conscious of the title of the site for which I’m writing when I say that what is seen can’t be unseen and the horror must stay with anyone who watched this programme. To look away is to conspire with a pretence that it isn’t there or couldn’t have happened.  

I wonder whether that means the Christian bears a duty not to look away, any more than we can look away from an innocent, naked young man left hanging in the midday sun, nailed to a cross. In witnessing these horrors, we’re not being brave, we’re acknowledging human reality. 

And that human reality means that it really is no good saying “never again”. From the ethnic cleansing of Muslims in the Bosnian war, to the Rwandan genocide of the Tutsi minority in the Nineties, to the Iranian mass graves of dissidents being revealed even today, that is a failed resolution. 

So is a faith in vain? It’s hard to argue a case for the divine in the face of 91-year-old Janine Webber, who says quietly on Channel 4:  

“They killed my brother. They buried him alive. He was seven.”  

Meanwhile, 86-year-old Bella Chernovets says of that countless million-plus:  

“God keep them in paradise.”  

Perhaps, we pray like that. I don’t know. 

It’s impossible to conclude a column like this without being glib, or fumbling for closure. Because there are no conclusions. So I’ll just stop here.  

 

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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