"Now, I cannot approve anything the council has rejected, but I can reject anything the council has approved"
About this Quote
Power doesn’t always announce itself with a speech; sometimes it hides in the fine print of procedure. Jane Alexander’s line turns on a delicious asymmetry: she’s barred from affirming what a council denies, yet fully empowered to torpedo what it endorses. That imbalance is the whole point. It’s not a complaint about bureaucracy in general; it’s a spotlight on a system designed to make “no” easier than “yes,” to privilege blockage over building.
The intent is half clarification, half warning. Alexander is drawing a boundary around her authority, but she’s also exposing how the role has been engineered: her influence is reactive, not generative. She can’t create legitimacy where the council withholds it, only withdraw legitimacy after the fact. Subtext: don’t mistake this position for partnership. If you want an ally who can champion your work, this office can’t give it to you; it can only slow you down, discipline you, or force a redo.
Coming from an actress, it lands with extra bite because it sounds like backstage talk made public: the moment when someone in a ceremonial-looking job admits the job is built for vetoes. It’s a line that could be delivered lightly, even politely, while still carrying a hard truth about governance and institutions: “approval” is often theater, but rejection is real power. The quote works because it frames authority not as leadership but as the right to interrupt.
The intent is half clarification, half warning. Alexander is drawing a boundary around her authority, but she’s also exposing how the role has been engineered: her influence is reactive, not generative. She can’t create legitimacy where the council withholds it, only withdraw legitimacy after the fact. Subtext: don’t mistake this position for partnership. If you want an ally who can champion your work, this office can’t give it to you; it can only slow you down, discipline you, or force a redo.
Coming from an actress, it lands with extra bite because it sounds like backstage talk made public: the moment when someone in a ceremonial-looking job admits the job is built for vetoes. It’s a line that could be delivered lightly, even politely, while still carrying a hard truth about governance and institutions: “approval” is often theater, but rejection is real power. The quote works because it frames authority not as leadership but as the right to interrupt.
Quote Details
| Topic | Decision-Making |
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