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4 min read

Why reducing the voting age is a mistake

Adolescence should be a safe space to be a bit daft

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

A band and audience are back lit against a stage.
Let it out.
Kylie Paz on Unsplash

The haunting book of Ecclesiastes carries these memorable words:  

For everything there is a season, and a time for every matter under heaven: 

a time to be born and a time to die, 

a time to weep, and a time to laugh 

a time to keep silence, and a time to speak 

They came to mind recently when reading of the UK government’s plan to reduce the minimum voting age to 16. Now I understand why this government might want to do this. Lowering the voting age has proved popular in other places such as Scotland. Some well brought up 16-year-olds are mature beyond their years, show an interest in politics, and are smart, articulate people. And, of course, younger people tend to be more inclined to vote for left-leaning parties like Labour. It makes electoral sense.  

But does it make generational sense?  

Adolescence is a time when we try out being grown-up for a while. Mid-teenagers are no longer children, but they are not yet fully adult. They are in the process of spreading their wings, most of them still at school, living at home under their parents’ roofs, not yet fully responsible for their own time, income, life choices and so on. They can’t legally buy alcohol, fireworks or drive a car. Yet they can buy a pet or a lottery ticket. It’s a kind of middling time, not one thing nor the other.  

And rightly so. Adolescence is a time for a certain controlled irresponsibility. We all look back with embarrassment on things we did in our teenage years. A few years ago, I watched a cricketer called Ollie Robinson make his debut for England at Lords. The best day of his life turned into the worst when some journalist desperate for a story dug up some semi-racist tweets he had posted several years before as a teenager. Some say he has never recovered, as he struggled with the media attention into his life, and has not played international cricket for over two years. We all said stupid things when we were 16 and that should be expected and forgiven as what they were – immature posturing, attempts to work out who we are in the big world, testing the water of the adult world before we dive in. Adolescence should be a safe space to be a bit daft, to get some things wrong and some things right. Hopefully we learn from our mistakes and our successes and grow up a bit through them.  

The attempt to make 16-years olds politically responsible seems to encroach upon that safe space. It risks skewing an important stage of growing up. And this seems to be a modern trend. 

Teenage years are a vital period enabling us to grow into mature adults, learning to become responsible over time. 

In the past, 21 was the age when people legally became adults, being given the ‘key to the door’, trusted to come in and out of the house independently of parents. Yet that has shifted within living memory. The legal age of adulthood was reduced to 18 in 1969. 

Jonathan Haidt recently complained that we are seeing “the complete rewiring of childhood.”  The childhood of mammals, he claimed, involves rough and tumble play, chasing games, activities that develop adult skills. In recent times, he says, we have put into the pockets of children and young teenagers, a video arcade, a porn theatre, a gambling casino, and access to every TV station. The result of indiscriminate access to smartphones has been the loss of what we recognise as childhood and its replacement by gazing at screens all day long. 

This shift to the voting age is also part of the drift to politicise everything. Everything becomes political, from your artistic tastes, to gender differences, to the food you eat, to family relationships. If politics is everything then surely everyone affected by it must vote? Yet politics has its limits. Politicians can only do so much. They can try to fix the economy, close loopholes that let harmful behaviour flourish, organise life a little better for most of us. They cannot fix the human heart, get us to love our neighbours or teach us gratitude, humility, faith, or what to worship – the most important choice of our lives. 

Not everything is political, but everything is spiritual. Everything moulds us in some way, shaping us into the people we become over time, like plasticene in the hands of a child. Teenage years are a vital period enabling us to grow into mature adults, learning to become responsible over time, being given leeway to develop our moral senses and to work out our opinions as we encounter the wider world.  

There is indeed a time to be born, and a time to die; a time to choose, and a time to play; a time to be an adult and a time to be child. Perhaps we should respect the times and seasons of life a little better, letting teenagers be teenagers and not expecting them to become adult too quickly. Most will hopefully have many years to vote if they live long healthy lives. The distinctions of time and the delicate, slow process of maturity need to be respected. We erode them at our peril.  

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Culture
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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