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Politics
Race
4 min read

Claims of institutional racism let politicians off the hook

They need to be mindful of something else baked into our institutions.

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

A TV roundtable discussion with five people against a backdrop of Parliament.
Politicians and pundits discuss the Lee Anderson issue.

Racism charges have recently divided very neatly along political lines. Tearing chunks out of each other at the Despatch Box, prime minister Rishi Sunak and Labour leader Sir Keir Starmer have both bet their houses by playing the race card on each other. 

Starmer claims the Conservative Party wallows in Islamophobia, having withdrawn the whip from its former deputy chairman for stating publicly that Islamist extremists control the Mayor of London. For his part, Sunak, yah-boos back that Labour didn’t have a runner in the Rochdale by-election, after suspending its candidate for peddling an anti-Israel conspiracy theory.  

Rochdale was duly won by the famously pro-Arab former Labour MP George Galloway. Sunak wants us to hold that Labour is as antisemitic as it was under Jeremy Corbyn.   

So there we have it. Labour is antisemitic and the Tories are Islamophobic (not a good word, but the currency of the moment). Pick your prejudice and vote accordingly at the general election. 

Whatever the validity or otherwise of these claims, it’s in the interest of both parties to accuse their opponents of being rotten to the core with these attitudes. It doesn’t really work for them to claim that Sunak personally is an Islamophobe or Starmer an antisemite.  

This has to be about the whole political parties over which they preside. It’s really about institutional racism. So when a Conservative MP, Paul Scully, has to apologise for calling some parts of Birmingham and London “no-go areas” for non-Muslims, it’s taken as a reflection on Conservatives as a whole.  

Similarly, it’s an insufficiency to criticise particular journalists for their reporting bias; a former BBC director-general has to call the entire corporation “institutionally antisemitic.”  

The apartheid governments of South Africa were systemically racist, the Conservative and Labour parties – and the BBC which reports on them – are not. 

I have a big problem with these generalisations. The political parties contain racists of both kinds, antisemitic and Islamophobic, as well as very many members of no racism at all (thankfully). And I happen to know from personal experience that the BBC operates an informal policy of equal-opportunities bigotry – there are as many Islamophobes as there are antisemites in the organisation, though together they amount to a small minority (again thankfully). 

There is, consequently, no institutional racism in these places of work, though they are all rich in the employment of racist individuals because, alas, so is the world. 

Institutional racism was a term coined in the Sixties, but it really only gained traction as an indictment of the Metropolitan Police in 1999’s Macpherson Report into the racist murder of teenager Stephen Lawrence. 

I was uneasy with that terminology then and remain so now. Police officers are (or can be) racist; the constabularies for which they work are not. If they were so, they would train their officers to be racists – and they didn’t and do not.  

Their training may have been rubbish in all sorts of ways, but there is a world of difference between omission and commission. The apartheid governments of South Africa were systemically racist, the Conservative and Labour parties – and the BBC which reports on them – are not. 

Our politicians might be mindful of that, whatever their faith or none. And they might like to note some of the imperatives of its teaching 

Two matters stem from this. The first is simply that individuals are responsible for racist attitudes, not the organisation for which they work, although those organisations have a duty to call out racists in their midst. 

The other is to recognise what we are, institutionally and systemically. The UK’s uncodified constitution has two Churches established in law, the Church of England and the Presbyterian Church of Scotland. The monarch is the supreme governor of the former, as well as head of state. 

That is simply the way it is and, this side of disestablishment of the Church, it follows that (in England and Scotland at least) we live in a Christian country, however few of its inhabitants now attend its churches. In short, Christianity is baked into our systems and institutions. 

Our politicians might be mindful of that, whatever their faith or none. And they might like to note some of the imperatives of its teaching: care for the afflicted in the story of the Good Samaritan; the welcome of strangers in the report of the Syrophoenician woman who seeks crumbs from the table; the love of neighbour; Paul’s universalism. 

This (and much else besides) is meant, in law, to define who we are. We might expect an elected servant of the state such as Lee Anderson, the Tory suspended from his party for claiming a Muslim power grab of London, or Azhar Ali, the Labour candidate similarly booted out for claiming that Israel conspires to murder its own citizens, to know something of the national creed that defines our parliamentary democracy. 

That parliament doesn’t contain institutionally racist parties, any more than the BBC or our police forces are systemically racist. Rather, we should hold individuals to account, whoever they are. Because, ultimately, claims of institutional racism let individuals off the hook. Institutional Christianity does not.   

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Culture
Film & TV
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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? 

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