"I'm not certain that the BBC can claim to be making a wide enough range of distinctive programmes to make the case convincingly"
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A polite sentence that lands like a reprimand: Dimbleby’s “I’m not certain” is classic British understatement, the verbal equivalent of clearing your throat before saying something uncomfortable in a meeting everyone’s been avoiding. He isn’t merely doubting the BBC’s output; he’s challenging the moral basis of its exceptional status. Public-service broadcasting survives on a bargain: society funds you, and in return you make things the market won’t. “Distinctive programmes” is the keystone word. It implies risk, experimentation, regional texture, minority tastes - work that can’t be justified by ratings alone.
The phrase “wide enough range” smuggles in a bigger critique about institutional drift. It suggests a BBC tempted to chase safe formats, familiar voices, and brand-protecting middlebrow consensus, then calling it “for everyone.” Dimbleby’s line is also a warning about legitimacy in an era where legitimacy is audited constantly: by politicians looking for cuts, by competitors arguing unfair advantage, by audiences who can now compare the BBC against a global buffet of content. “Make the case convincingly” turns programming into evidence, as if the corporation is on trial and each commission is an exhibit.
Dimbleby, steeped in the culture of British broadcasting, knows the BBC’s defenses are rhetorical as much as managerial. He’s not demanding louder creativity; he’s demanding proof that the institution still earns the privilege it inherited. The sting is that he frames this as uncertainty, not accusation - forcing the BBC to answer without giving it the comfort of an outright attack.
The phrase “wide enough range” smuggles in a bigger critique about institutional drift. It suggests a BBC tempted to chase safe formats, familiar voices, and brand-protecting middlebrow consensus, then calling it “for everyone.” Dimbleby’s line is also a warning about legitimacy in an era where legitimacy is audited constantly: by politicians looking for cuts, by competitors arguing unfair advantage, by audiences who can now compare the BBC against a global buffet of content. “Make the case convincingly” turns programming into evidence, as if the corporation is on trial and each commission is an exhibit.
Dimbleby, steeped in the culture of British broadcasting, knows the BBC’s defenses are rhetorical as much as managerial. He’s not demanding louder creativity; he’s demanding proof that the institution still earns the privilege it inherited. The sting is that he frames this as uncertainty, not accusation - forcing the BBC to answer without giving it the comfort of an outright attack.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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