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John Cleese blasts BBC for deleting 11 Mitchell & Webb sketches

By GoNews Pulse Editorial Team••Updated Oct 16, 2026
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John Cleese blasts BBC for deleting 11 Mitchell & Webb sketches

**John Cleese Calls BBC “Social Engineering” After Removing 11 Mitchell & Webb Sketches**

The BBC has pulled 11 sketches from the comedy series *That Mitchell & Webb Look* ahead of its 20th‑anniversary release on iPlayer, prompting former Monty Python star John Cleese to denounce the cuts as “social engineering.” The network confirmed earlier this week that jokes featured in David Mitchell and Robert Webb’s show had been removed before it was made available again online.

As many as 11 sketches were deleted, including a self‑referential skit in which Mitchell and Webb joked about the appropriateness of Blackface while wearing it.

The removed material ranged from a Civil War reenactor parody that mocked a conflict in the Democratic Republic of Congo to a makeover‑show spoof involving a woman in a burqa who later reveals Mitchell in Blackface.

In another cut, the duo satirized an “English Civil War” skit that escalated into a racist confrontation, only to halt the reenactment when one threatened with a machete, concluding “It’s racist. Very, very racist. Shame.” These edits came as the series celebrates two decades of television comedy.

## Background & Context

*That Mitchell & Webb Look* first aired in 2006 and has been praised for its sharp wit and intelligent satire. The BBC announced that the 20‑year‑old sketch show would return to iPlayer, stating: “That Mitchell and Webb Look has been made available on BBC iPlayer.

This is a 20‑year‑old sketch show; in consultation with the programme makers, we have included the ones that still work today and not the ones that don’t.” The decision to excise content was reportedly driven by a desire to keep material “appropriate for modern day audiences,” .

Earlier this year, Cleese criticized UKTV for removing an episode of *Fawlty Towers* from its Gold Box Set because it contained “racial slurs.” He remarked: “The Major was an old fossil leftover from decades before.

We were not supporting his views, we were making fun of them,” adding that the removal was a sign that some viewers “are too stupid to see that.” These comments foreshadowed his reaction to the BBC’s latest cuts.

## What People Are Saying

Cleese took to X/Twitter to label the edits as “social engineering,” adding: “If the BBC could prioritise making great programmes ahead of social engineering they might be worth the licence fee.” He later shared a post from comedian James Dreyfus, who wrote: “So, the BBC have decided that 11 of Mitchell & Webb’s sketches are no longer deemed ‘appropriate for modern day audiences,’ despite ALL their material comes from an intelligent source base, that pokes fun at & ridicules the foolish & ignorant.” Dreyfus also noted that people “have the nerve to suggest that ‘we’d miss the BBC if it suddenly disappeared’…?

Not in its current incarnation, believe me…”

In response, Cleese reiterated: “The BBC knows what’s best for us. And some of us know what’s best for the BBC.” These statements signal frustration from comedians who feel that creative content is being altered to fit a perceived cultural gatekeeping stance.

## What Happens Next

The BBC has declined to offer further comments beyond the earlier statement about iPlayer availability. It remains unclear whether additional sketches will be reinstated or if future releases will face similar scrutiny.

Cleese’s public outcry, coupled with Dreyfus’s support, may prompt a wider debate over editorial control in classic comedy archives. Meanwhile, fans of *That Mitchell & Webb Look* can still access the episodes that remain on iPlayer, while discussions about the excised material continue to circulate online.

The episode serves as a reminder that even beloved shows can become flashpoints when older content clashes with contemporary sensibilities.

Why It Matters

The BBC’s decision to excise eleven sketches from *That Mitchell & Webb Look* underscores a broader industry trend toward tightening control over legacy content in light of evolving cultural norms. For fans, the removal means access to only a curated subset of the show’s sharp satire, potentially erasing moments that were once central to its comedic legacy. Creators and comedians view such edits as an infringement on artistic intent, raising questions about who holds the authority to determine what is considered appropriate for modern viewers. The backlash led by John Cleese—a figure synonymous with boundary‑pushing humor—signals a growing resistance among comedy veterans against what they see as a capitulation to political correctness. Meanwhile, broadcasters argue that edits protect institutions from reputational risk and align programming with current audience expectations. This clash highlights the delicate balance between preserving historical authenticity and adapting to present‑day sensibilities, a debate that reverberates across streaming platforms, archives, and cultural institutions worldwide. The outcome will shape how classic shows are curated for future generations and influence contractual clauses on content ownership and editorial control in the entertainment industry.

Our Take

The BBC’s removal of eleven sketches from a beloved comedy series cannot be justified by vague notions of modern appropriateness. Comedy thrives on pushing boundaries, and the decision to erase content because it may offend some audiences is a thin veil over political correctness. While protecting institutions from backlash is understandable, it should not come at the expense of artistic integrity or historical record. Fans deserve access to the original material, even if it contains outdated tropes; context can be provided instead of censorship. By labeling the cuts as “social engineering,” Cleese correctly points out that these edits serve an agenda that prioritizes ideological conformity over creative expression. Broadcasters should adopt a transparent approach: clearly label potentially offensive content, provide contextual commentary, and allow viewers to make their own choices. In doing so, they respect both the creators’ vision and the audience’s intelligence without resorting to erasure. The industry must learn that preserving legacy content with integrity is more valuable than sanitizing it for a supposedly more enlightened public.

GoNews Pulse Editorial Team

This article was prepared for publication by GoNews Pulse and checked for publication requirements under our editorial standards. We review available information and correct material errors when they are identified.

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