The £84 Wine Lunch That Sparked a Golden Age of Anti-Racist British TV
In 1984, a seemingly ordinary lunch at the Ivy restaurant became a pivotal moment in British television history. Farrukh Dhondy, an Indian-born writer working on Channel 4's groundbreaking multi-ethnic shows like No Problem! and Tandoori Nights, was surprised when the broadcaster's founding chief executive, Jeremy Isaacs, ordered an £84 bottle of wine. Isaacs offered Dhondy the role of commissioning editor, a move that would help ignite a radical wave of anti-racist programming in the UK.
A Radical Shift in Broadcasting Philosophy
Before the early 1980s, British TV often patronised audiences of colour with assimilationist content. Programmes such as BBC Hindi's Nai Zindagi Naya Jeevan focused on integrating into British life, while sitcoms like Love Thy Neighbour and Mind Your Language mocked Caribbean and South Asian cultures. Sarita Malik, professor of media and culture at Brunel University London, describes this as an era of "assimilationist TV," where cultural differences were accepted but political dissent was not.
However, activist groups like the Campaign Against Racism in the Media (CARM) and the Black Media Workers Association (BMWA) began protesting racist programming, pushing broadcasters to change. Launched in 1982 under Margaret Thatcher's government, Channel 4 emerged with a radical remit, featuring a dedicated multicultural department and commissioning independent producers previously excluded from the industry.
The Direct-Speech Revolution and Its Legacy
Channel 4 adopted a "direct-speech" philosophy, ensuring discussions came directly from communities rather than being mediated by industry professionals. This approach led to iconic shows like Bandung File, commissioned by Dhondy and edited by Tariq Ali and Darcus Howe. The documentary and current affairs programme uniquely presented "third world" and ethnic minority interests to diverse audiences, addressing issues from consumer rights to immigration law.
Other notable programmes included the Asian magazine show Eastern Eye and Black on Black, the first British programme made by Black journalists. Channel 4's strategy also involved training Black and Asian people in behind-the-camera roles, funding small companies led by people of colour to decentralise production. This era inspired the BBC and ITV to diversify their output, with the BBC launching Ebony, its first culture review aimed at the Black community.
From Golden Age to Backward Steps
By the turn of the millennium, the landscape shifted. The rise of digital TV and Freeview increased competition, leading to more populist programming. Under New Labour, multiculturalism reverted to assimilationist ideals, and Channel 4 disbanded its multicultural department after Dhondy's departure. Today, while ethnic minorities may be "disproportionately" represented on screen, they hold only 8% of creative production roles and 9% of leadership positions in the industry.
Dhondy criticises the current focus on representation alone, noting it often results in superficial portrayals, such as Black families in soap advertisements, without addressing structural issues. The BFI's new season, Constructed, Told, Spoken, explores this "counter-history," screening archival episodes to highlight forgotten multi-ethnic programming. Curator Xavier Alexandre Pillai emphasises the importance of financial and structural investment, noting that the 1980s success relied on dedicated units, significant funding, and worker organising.
Revisiting History to Inform the Future
The BFI archive reveals a complex past, challenging the notion of steady progress in TV diversity. Pillai points out that contemporary dramas like Small Axe are valuable, but real-time accounts from events like the Grunwick strike or Deptford fire offer crucial context often missing today. Without acknowledging this history, there's a risk of revising the past unfairly, focusing only on racist sitcoms rather than the broader anti-racist efforts.
As Dhondy reflects, television mirrors the national conversation—a multilayered and contested dialogue that remains unfinished. The BFI season serves as a reminder that change is possible, urging a reevaluation of how British broadcasting can once again embrace dissent and diversity meaningfully.
