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).

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