When you think about BBC4, what comes to mind?

Everyone still needs a place to think.

When you think about BBC4, what comes to mind? Its strapline at launch was a serious-minded “Everybody Needs a Place To Think”. And, God bless the good ship, it certainly has been that since it came into existence more than a decade ago.
It was and is the very antithesis of BBC3: while that is shrill and almost painfully young, BBC4 delivers a quieter, more ruminative experience, full of high art, big ideas from the worlds of science and philosophy, now legendary music documentaries, and of course, remarkably excellent and original British drama.
The latest in this latter category’s fine tradition is Burton and Taylor – a love-boozy, love-woozy wander in and out of the lives of Richard Burton and Elizabeth Taylor during what would be the final scene of their onagain, off-again double act.
The year is 1983 and the actors, divorced for a second time, are playing divorcees in a stage adaptation of Noël Coward’s Private Lives. The parallels are obvious and delicious – and the audience is lapping it up. Helena Bonham- Carter as Taylor is twinkly and fun and furious, bowed but ultimately unbroken; Dominic West has the swagger of a oncegreat man – you see men like him in the in street all the time. The whole thing is a delight, from start to finish.
Alas, much as the party eventually ended for Dick and Liz, the ongoing party of British-written and made drama for BBC4 is also at its close. That there are no more planned dramas from the channel is, inevitably, down to the cuts the BBC must undertake. On one level, it’s no big deal – BBC4 is hardly the home of the blockbuster drama series – there’s BBC1 for all that jazz, with BBC2 picking up any drips in the audience for its cult hits. But BBC4 has carved out a remarkable niche when it comes to producing smart, lovingly made British drama.
What will fill in the gap left behind? We look to Europe: the channel will be buying in more foreign programming, from Belgium (Salamander) and France (Spiral) and of course, Scandi-noir and Scandi-drama. From there, in the past few years we’ve had Wallander, Arne Dahl, The Bridge and, of course, the big daddies of the lot, The Killing and Borgen.
The last is a certified critical and commercial hit – an average of more than a million viewers – and in its 9pm slot on a Saturday night it is particularly suited to a certain element of the British audience who want to see a 40-something year old woman kicking ass and taking names. It also helps that Birgitte Nyborg (Sidse Babett Knudsen) is eminently crushable across the board and dips into faultless, accentless English at least once every couple of episodes. I have nothing against these developments – I enjoyed The Bridge well enough to look forward to seeing its American remake on FX whenever it comes to the UK. But I still mourn the loss of what BBC4 could be creating itself.
This is the channel that brought us The Alan Clark Diaries and Dirk Gently, after all. Where else on the BBC are we to find programmes this good? The tone of BBC4 is its most valuable asset – it might no longer use that slightly starchy tagline from its earliest incarnation, but it doesn’t make it any less true. It is a place to think.
BBC1, for all its virtues, is not the place for Women In Love (2011, starring Rosamund Pike and Rory Kinnear) or Room at the Top (2012, with the always watchable Maxine Peake); it is where Mrs Brown and her Boys live, still fracking laughs out of cross-dressing, and where the unashamedly populist Count Arthur Strong is currently plying his trade. And while BBC2 can put on a good show when it comes to art and culture, the kind of drama that would have been found on BBC4 feels a little out of place. Unless it’s a rerun, of course.
So what now for a peculiarly British strand of drama? Who knows? America keeps galloping along, delivering us antiheroes by the bucket load – soon Breaking Bad will return – and Netflix will continue to deliver. We’ll muddle along somehow – but we will all be much poorer.
The ongoing party of British-written and made drama for BBC Four, like Room at the Top (pictured), is coming to a close. Photograph: BBC Pictures.

Bim Adewunmi writes about race, feminism and popular culture. Her blog is  yorubagirldancing.com and you can find her on Twitter as @bimadew.

This article first appeared in the 29 July 2013 issue of the New Statesman, Summer Double Issue

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SRSLY #20: Friends, Lovers, Divers

On the pop culture podcast this week, we talk albums from Joanna Newsom, Bjork and Grimes, Todd Haynes film Carol, and comedy web series Ex-Best.

This is SRSLY, the pop culture podcast from the New Statesman. Here, you can find links to all the things we talk about in the show as well as a bit more detail about who we are and where else you can find us online.

Listen to our new episode now:

...or subscribe in iTunes. We’re also on Stitcher, RSS and SoundCloud – but if you use a podcast app that we’re not appearing in, let us know.

SRSLY is hosted by Caroline Crampton and Anna Leszkiewicz, the NS’s web editor and editorial assistant. We’re on Twitter as @c_crampton and @annaleszkie, where between us we post a heady mixture of Serious Journalism, excellent gifs and regularly ask questions J K Rowling needs to answer.

If you’d like to talk to us about the podcast or make a suggestion for something we should read or cover, you can email srslypod[at]gmail.com.

You can also find us on Twitter @srslypod, or send us your thoughts on tumblr here. If you like the podcast, we'd love you to leave a review on iTunes - this helps other people come across it.

The Links

Joanna Newsom, Bjork and Grimes

Joanna Newsom’s Divers doesn't seem to be on Spotify, but you can get it on iTunes here. Listen to Grimes’ Art Angels here and Bjork's Vulnicura here.

This is a good piece about Joanna Newsom.

This piece makes the comparison with Elena Ferrante that we talk about on the podcast.

Here's Grimes's own post about Bjork.

Tavi Gevinson's interview with Joanna Newsom (where she talks about liking Grimes).



Ryan Gilbey's review of Carol, which he calls “as tantalising as hearing a tender ballad on a tinpot transistor”.

Anna's piece about the photographers that influenced the visual style of the film.

An interesting Q & A with director Todd Haynes.



The full series is available to watch for free here.

Meghan Murphy on friendship break-ups.


Your questions:

We love reading out your emails. If you have thoughts you want to share on anything we've discussed, or questions you want to ask us, please email us on srslypod[at]gmail.com, or @ us on Twitter @srslypod, or get in touch via tumblr here. We also have Facebook now.


Our theme music is “Guatemala - Panama March” (by Heftone Banjo Orchestra), licensed under Creative Commons. 


See you next week!

PS If you missed #19, check it out here.

Caroline Crampton is web editor of the New Statesman.

Anna Leszkiewicz is a pop culture writer at the New Statesman.