From Zoo Quest to Ocean: The evolution of David Attenborough’s voice for the planet

Over the course of seven decades, Sir David Attenborough’s documentaries have reshaped how we see the natural world, shifting from colonial-era collecting trips to urgent calls for environmental action.

His storytelling has inspired generations, but has only recently begun to confront the scale of the ecological crisis. To understand how far nature broadcasting has come, it helps to return to where it started.

When Attenborough’s broadcasting career began in the 1950s, Austrian filmmakers Hans and Lotte Hass were already pushing the boundaries of what was possible by taking cameras below the sea and touring the world aboard their schooner, the Xafira.

In one of their 1953 Galapagos films, a crewman handled a sealion pup, having crawled across the volcanic rock of Fernandina honking at sealions to attract them. A penguin and giant tortoise were brought on board Xafira. And as Lotte Hass took photographs, she’d beseech some poor creature to “not be frightened” and “look pleasant”.

This is a world away from today’s expectations, where both research scientists and amateur naturalists are taught to observe without touching or disturbing wildlife. When the Hasses visited the Galápagos, it was still five years before the creation of the national park and the founding of the island’s conservation organisation Charles Darwin Foundation. Now, visitors must stay at least two metres from all animals – and never approach them.

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At the same time, television was beginning to shape public perceptions of the natural world. In 1954, Attenborough was working as a young producer on Zoo Quest. By chance, he became its presenter when zoologist Jack Lester became ill.

The programme followed zoologists collecting animals from around the world for London Zoo. Zoo Quest was filmed in exotic locations around the world and then in the studio where the animals found on the expedition were shown “up close”.

Attenborough has since acknowledged that Zoo Quest reflected attitudes that would not be acceptable today. The series showed animals being captured from the wild and transported to London Zoo – practices which mirrored extractive, colonial-era approaches to science.

Yet, Zoo Quest was also groundbreaking. The series brought viewers face-to-face with animals they might never have seen before and pioneered a visual style that made natural history television both entertaining and educational. It helped establish Attenborough’s reputation as a compelling communicator and laid the foundations for a new genre of science broadcasting – one that has evolved, like its presenter, over time.

After a decade in production, Attenborough returned to presenting with Life on Earth (1979), a landmark series that traced the evolution of life from single-celled organisms to birds and apes. Drawing on his long-standing interest in fossils, the series combined zoology, palaeobiology and natural history to create an ambitious new template for science broadcasting.

Life on Earth helped cement Attenborough’s reputation as a trusted communicator and became the foundation of the BBC’s “blue-chip” natural history format – big-budget, internationally produced films that put high-quality cinematic wildlife footage at the forefront of the story. The series did not simply document the natural world. It reframed it, using presenter-led storytelling and global spectacle to shape how audiences understood evolutionary processes.

For much of his career, Attenborough has been celebrated for showcasing the beauty of the natural world. Yet, he has also faced criticism for sidestepping the environmental crises threatening it. Commentators such as the environmental journalist George Monbiot argued that his earlier documentaries, while visually stunning, often avoided addressing the human role in climate change, presenting nature as untouched and avoiding difficult truths about ecological decline.

Building on the legacy of Life on Earth, Attenborough’s later series began to respond to these critiques. Blue Planet (2001) expanded the scope of nature storytelling, revealing the mysteries of the ocean’s most remote and uncharted ecosystems. Its 2017 sequel, Blue Planet II, introduced a more urgent tone, highlighting the scale of plastic pollution and the need for marine conservation.

Although Blue Planet II significantly increased viewers’ environmental knowledge, it did not lead to measurable changes in plastic consumption behaviour – a reminder that awareness alone does not guarantee action. The subsequent Wild Isles (2023) continued the shift towards conservation messaging. While the main series aired in five parts, a sixth episode – Saving Our Wild Isles – was released separately and drew controversy amid claims the BBC had sidelined it for being too political. In reality, the episode delivered a clear call to action.

Attenborough’s latest film, Ocean, continues in this more urgent register, pairing breathtaking imagery with an unflinching assessment of ocean health. After decades of gentle narration, he now speaks with sharpened clarity about the scale of the crisis and the need to act.

A voice for action

In recent years, Attenborough has taken on a new role – not just as a broadcaster, but as a powerful voice in environmental diplomacy. He has addressed world leaders at major summits such as the UN climate conference Cop24 and the World Economic Forum, calling for urgent action on climate change. He was also appointed ambassador for the UK government’s review on the economics of biodiversity.

On the subject of environmemtal diplomacy, Monbiot recently wrote: “A few years ago, I was sharply critical of Sir David for downplaying the environmental crisis on his TV programmes. Most people would have reacted badly but remarkably, at 92, he took this and similar critiques on board and radically changed his approach.”

Attenborough not only speaks. He listens. This is part of his charm and popularity. He is learning and evolving as much as his audience.

What makes Attenborough stand out is the way he speaks. While official climate treaties often rely on technical or legal language, he communicates in emotional, accessible terms – speaking plainly about responsibility, urgency and the moral imperative to protect life on Earth. His calm authority and familiar voice make complex issues easier to grasp and harder to dismiss.

Frequently named Britain’s most trusted public figure, Attenborough has become something of an unofficial diplomat for the planet – apolitical, measured, and often seen as a voice of reason amid populist noise. Despite his criticisms, Attenborough’s documentaries walk a careful line between fragility and resilience, using emotionally ambivalent imagery to prompt reflection. He shares his wonder with the natural world and brings people along with him

Ocean shows our blue planet in more spectacular fashion than Lotte and Hans Hass could ever have imagined. But it is also Attenborough’s most direct reckoning with environmental collapse. With clarity and urgency, it confronts the damage wrought by industrial trawling and habitat destruction.

After 70 years of gently guiding viewers through the natural world, Attenborough’s voice has sharpened. If he once opened our eyes to nature’s wonders, he now challenges us not to look away. As he puts it: “If we save the sea, we save our world. After a lifetime filming our planet, I’m sure that nothing is more important.”

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The authors do not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and have disclosed no relevant affiliations beyond their academic appointment.