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Climate shouldn’t be only a story for documentaries.
Paranormal: Caught on Camera is not the kind of television show you’d typically expect to read about in a research paper. Recent episodes include “Haunted Doll Bites Child” and “UFO Takes Off in Argentina”; a critic once described it as unsuitable for viewers who have developed “some powers of critical thought.” But credit where credit is due: Caught on Camera cites “climate change” as a possible cause of increased sightings of the Loch Ness monster.
This, alas, is the kind of meager victory the climate movement is often forced to celebrate.
According to research by USC Annenberg’s Norman Lear Center, there were just 1,228 mentions of “climate change” in the nearly 200,000 hours of unscripted TV that aired in the U.S. in the six months between September 2022 and February 2023. (Fifty-eight of those mentions were on “paranormal/mystery” programs, including Caught on Camera.) The situation is even worse for scripted film and TV: Between 2016 and 2020, just 0.6% of 37,453 scripts used the words “climate change” during their runtime. While there are notable exceptions — An Inconvenient Truth won the 2007 documentary Oscar, and The Day After Tomorrow and Don’t Look Up were mainstream hits — climate mostly remains off-screen even as nearly half the population says it has affected their lives.
Starting a Climate Film Festival, then, might seem foolish — because what would you even program? But New Yorkers are about to find out: The inaugural CFF will open Friday with a sold-out screening of the documentary Searching for Amani at the Explorer’s Club in Manhattan, with the festival’s 58 other films to be screened primarily at the Firehouse Cinema over Saturday and Sunday in a de facto kick-off to Climate Week. “Once we started digging, we found that there were an incredible number of these stories being told, but no one was really bringing them together under this rubric,” Alec Turnbull, who co-founded CFF with his wife, J. English Cook, told me.
The supply, however, is noticeably lopsided. CFF received “well over 300 submissions” during its open call for movies this past spring, according to Turnbull — enough that he and the volunteer screeners were able to winnow their broad interpretation of a “climate movie” from anything with “an environmental lens that didn’t have explicit climate themes” to movies specifically about climate.
In the end, though, unscripted documentary-style films and shorts came to dominate roughly 63% of the CFF slate. Only two of the program’s full-length features — the found-footage film Earth II and DreamWorks’ animated movie The Wild Robot — are fictional climate narratives.
This disparity might lead to the impression that there are too many climate documentaries in the world. (Seriously, how many more movies and shows can be made about regenerative farming?) While that isn’t the case — at least compared to something like the oversaturated true crime genre — documentary filmmaker might have more access to the subject than their peers in Hollywood because the medium has a “long history of addressing social issues,” Erica Lynn Rosenthal, the director of research at USC Annenberg’s Norman Lear Center, told me.
At least some mismatch is also likely due to “self-selection bias,” according to Turnbull. He told me that narrative filmmakers might not have submitted to something called the “Climate Film Festival” simply because they “don’t think about the work they’re doing as a climate story.” Another reason might just be endemic to film festivals. “Documentaries are really great for the festival circuit, for impact screenings, and for coupling with resources and workshops,” which boost their visibility even if they “don’t always make it to a broader audience” afterward, Tehya Jennett, whose short scripted horror film “Out of Plastic” is playing at CFF, told me.
According to the Norman Lear Center, however, nearly half of mainstream audiences said they want to see fictional stories that “include climate-related storylines” on screen. That’s far from trivial. “We know from decades of research that stories have the power to shift people’s hearts and minds and move them to action on a variety of topics, whether it’s health behavior or social issues,” Rosenthal said.
Sam Read, a CFF jury member and the executive director of the Sustainable Entertainment Alliance, an advocacy consortium that works to reduce the entertainment industry’s environmental impact, confirmed that the demand for climate narratives “currently outstrips the supply.” But he stressed to me that what makes a climate moment in a script doesn’t have to be something preachy, moralistic, alarmist, or even terribly overt, pointing to examples like the most recent season of Hacks, which included a bottle episode about climate change, and True Detective: Night Country, with its environmental and Indigenous plotlines.
“If you’re writing a sitcom and the mom is an office worker, could you make the mom a solar panel technician?” he asked, adding: “There are ways to both help people see what a clean energy future can look like while also exploring how this is affecting communities and how people are responding to it.”
Scripted examples, though, remain relatively rare. In the Norman Lear Center’s research, just 10% of the thousands of mentions of extreme weather in film and TV shows actually made any sort of link to global warming, perhaps because producers or executives worry that referencing climate change is political and might estrange half their audience. “The idea that [climate change] is going to alienate or turn off audiences is really an outdated perception,” Rosenthal said. Still, it’s even harder to push for experimentation and risk-taking when the film industry at large is struggling. And despite how it might look at CFF, it’s the documentarians who have been hit extra hard by the post-COVID turbulence in the movie world.
Of course, none of this is to say that documentaries are any less creative, ambitious, or worthy of being in a festival slate than their scripted counterparts. In fact, the Climate Film Festival’s centerpiece, The Here Now Project, is a documentary entirely composed of found footage of real people filming weather disasters during 2021. “Two people in the film actually say, ‘This is a horror movie,’” Greg Jacobs, who co-directed the documentary with Jon Siskel, told me.
Maybe it doesn’t really matter, then, in what exact form these stories are getting told: in a world with a changing climate, truth and fiction are equally strange.
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What he wants them to do is one thing. What they’ll actually do is far less certain.
Donald Trump believes that tariffs have almost magical power to bring prosperity; as he said last month, “To me, the world’s most beautiful word in the dictionary is tariffs. It’s my favorite word.” In case anyone doubted his sincerity, before Thanksgiving he announced his intention to impose 25% tariffs on everything coming from Canada and Mexico, and an additional 10% tariff on all Chinese goods.
This is just the beginning. If the trade war he launched in his first term was haphazard and accomplished very little except costing Americans money, in his second term he plans to go much further. And the effects of these on clean energy and climate change will be anything but straightforward.
The theory behind tariffs is that by raising the price of an imported good, they give a stronger footing in the market; eventually, the domestic producer may no longer need the tariff to be competitive. Imposing a tariff means we’ve decided that a particular industry is important enough that it needs this kind of support — or as some might call it, protection — even if it means higher prices for a while.
The problem with across-the-board tariffs of the kind Trump proposes is that they create higher prices even for goods that are not being produced domestically and probably never will be. If tariffs raise the price of a six-pack of tube socks at Target from $9.99 to $14.99, it won’t mean we’ll start making tube socks in America again. It just means you’ll pay more. The same is often true for domestic industries that use foreign parts in their manufacturing: If no one is producing those parts domestically, their costs will unavoidably rise.
The U.S. imported over $3 trillion worth of goods in 2023, and $426 billion from China alone, so Trump’s proposed tariffs would represent hundreds of billions of dollars of increased costs. That’s before we account for the inevitable retaliatory tariffs, which is what we saw in Trump’s first term: He imposed tariffs on China, which responded by choking off its imports of American agricultural goods. In the end, the revenue collected from Trump’s tariffs went almost entirely to bailing out farmers whose export income disappeared.
The past almost-four years under Joe Biden have seen a series of back-and-forth moves in which new tariffs were announced, other tariffs were increased, exemptions were removed and reinstated. For instance, this May Biden increased the tariff on Chinese electric vehicles to over 100% while adding tariffs on certain EV batteries. But some of the provisions didn’t take effect right away, and only certain products were affected, so the net economic impact was minimal. And there’s been nothing like an across-the-board tariff.
It’s reasonable to criticize Biden’s tariff policies related to climate. But his administration was trying to navigate a dilemma, serving two goals at once: reducing emissions and promoting the development of domestic clean energy technology. Those goals are not always in alignment, at least in the short run, which we can see in the conflict within the solar industry. Companies that sell and install solar equipment benefit from cheap Chinese imports and therefore oppose tariffs, while domestic manufacturers want the tariffs to continue so they can be more competitive. The administration has attempted to accommodate both interests with a combination of subsidies to manufacturers and tariffs on certain kinds of imports — with exemptions peppered here and there. It’s been a difficult balancing act.
Then there are electric vehicles. The world’s largest EV manufacturer is Chinese company BYD, but if you haven’t seen any of their cars on the road, it’s because existing tariffs make it virtually impossible to import Chinese EVs to the United States. That will continue to be the case under Trump, and it would have been the case if Kamala Harris had been elected.
On one hand, it’s important for America to have the strongest possible green industries to insulate us from future supply shocks and create as many jobs-of-the-future as possible. On the other hand, that isn’t necessarily the fastest route to emissions reductions. In a world where we’ve eliminated all tariffs on EVs, the U.S. market would be flooded with inexpensive, high-quality Chinese EVs. That would dramatically accelerate adoption, which would be good for the climate.
But that would also deal a crushing blow to the American car industry, which is why neither party will allow it. What may happen, though, is that Chinese car companies may build factories in Mexico, or even here in the U.S., just as many European and Japanese companies have, so that their cars wouldn’t be subject to tariffs. That will take time.
Of course, whatever happens will depend on Trump following through with his tariff promise. We’ve seen before how he declares victory even when he only does part of what he promised, which could happen here. Once he begins implementing his tariffs, his administration will be immediately besieged by a thousand industries demanding exemptions, carve-outs, and delays in the tariffs that affect them. Many will have powerful advocates — members of Congress, big donors, and large groups of constituents — behind them. It’s easy to imagine how “across-the-board” tariffs could, in practice, turn into Swiss cheese.
There’s no way to know yet which parts of the energy transition will be in the cheese, and which parts will be in the holes. The manufacturers can say that helping them will stick it to China; the installers may not get as friendly an audience with Trump and his team. And the EV tariffs certainly aren’t going anywhere.
There’s a great deal of uncertainty, but one thing is clear: This is a fight that will continue for the entirety of Trump’s term, and beyond.
Give the people what they want — big, family-friendly EVs.
The star of this year’s Los Angeles Auto Show was the Hyundai Ioniq 9, a rounded-off colossus of an EV that puts Hyundai’s signature EV styling on a three-row SUV cavernous enough to carry seven.
I was reminded of two years ago, when Hyundai stole the L.A. show with a different EV: The reveal of Ioniq 6, its “streamliner” aerodynamic sedan that looked like nothing else on the market. By comparison, Ioniq 9 is a little more banal. It’s a crucial vehicle that will occupy the large end of Hyundai's excellent and growing lineup of electric cars, and one that may sell in impressive numbers to large families that want to go electric. Even with all the sleek touches, though, it’s not quite interesting. But it is big, and at this moment in electric vehicles, big is what’s in.
The L.A. show is one the major events on the yearly circuit of car shows, where the car companies traditionally reveal new models for the media and show off their whole lineups of vehicles for the public. Given that California is the EV capital of America, carmakers like to talk up their electric models here.
Hyundai’s brand partner, Kia, debuted a GT performance version of its EV9, adding more horsepower and flashy racing touches to a giant family SUV. Jeep reminded everyone of its upcoming forays into full-size and premium electric SUVs in the form of the Recon and the Wagoneer S. VW trumpeted the ID.Buzz, the long-promised electrified take on the classic VW Microbus that has finally gone on sale in America. The VW is the quirkiest of the lot, but it’s a design we’ve known about since 2017, when the concept version was revealed.
Boring isn’t the worst thing in the world. It can be a sign of a maturing industry. At auto shows of old, long before this current EV revolution, car companies would bring exotic, sci-fi concept cars to dial up the intrigue compared to the bread-and-butter, conservatively styled vehicles that actually made them gobs of money. During the early EV years, electrics were the shiny thing to show off at the car show. Now, something of the old dynamic has come to the electric sector.
Acura and Chrysler brought wild concepts to Los Angeles that were meant to signify the direction of their EVs to come. But most of the EVs in production looked far more familiar. Beyond the new hulking models from Hyundai and Kia, much of what’s on offer includes long-standing models, but in EV (Chevy Equinox and Blazer) or plug-in hybrid (Jeep Grand Cherokee and Wrangler) configurations. One of the most “interesting” EVs on the show floor was the Cybertruck, which sat quietly in a barely-staffed display of Tesla vehicles. (Elon Musk reveals his projects at separate Tesla events, a strategy more carmakers have begun to steal as a way to avoid sharing the spotlight at a car show.)
The other reason boring isn’t bad: It’s what the people want. The majority of drivers don’t buy an exotic, fun vehicle. They buy a handsome, spacious car they can afford. That last part, of course, is where the problem kicks in.
We don’t yet know the price of the Ioniq 9, but it’s likely to be in the neighborhood of Kia’s three-row electric, the EV9, which starts in the mid-$50,000s and can rise steeply from there. Stellantis’ forthcoming push into the EV market will start with not only pricey premium Jeep SUVs, but also some fun, though relatively expensive, vehicles like the heralded Ramcharger extended-range EV truck and the Dodge Charger Daytona, an attempt to apply machismo-oozing, alpha-male muscle-car marketing to an electric vehicle.
You can see the rationale. It costs a lot to build a battery big enough to power a big EV, so they’re going to be priced higher. Helpfully for the car brands, Americans have proven they will pay a premium for size and power. That’s not to say we’re entering an era of nothing but bloated EV battleships. Models such as the overpowered electric Dodge Charger and Kia EV9 GT will reveal the appetite for performance EVs. Smaller models like the revived Chevy Bolt and Kia’s EV3, already on sale overseas, are coming to America, tax credit or not.
The question for the legacy car companies is where to go from here. It takes years to bring a vehicle from idea to production, so the models on offer today were conceived in a time when big federal support for EVs was in place to buoy the industry through its transition. Now, though, the automakers have some clear uncertainty about what to say.
Chevy, having revealed new electrics like the Equinox EV elsewhere, did not hold a media conference at the L.A. show. Ford, which is having a hellacious time losing money on its EVs, used its time to talk up combustion vehicles including a new version of the palatial Expedition, one of the oversized gas-guzzlers that defined the first SUV craze of the 1990s.
If it’s true that the death of federal subsidies will send EV sales into a slump, we may see messaging from Detroit and elsewhere that feels decidedly retro, with very profitable combustion front-and-center and the all-electric future suddenly less of a talking point. Whatever happens at the federal level, EVs aren’t going away. But as they become a core part of the car business, they are going to get less exciting.
Current conditions: Parts of southwest France that were freezing last week are now experiencing record high temperatures • Forecasters are monitoring a storm system that could become Australia’s first named tropical cyclone of this season • The Colorado Rockies could get several feet of snow today and tomorrow.
This year’s Atlantic hurricane season caused an estimated $500 billion in damage and economic losses, according to AccuWeather. “For perspective, this would equate to nearly 2% of the nation’s gross domestic product,” said AccuWeather Chief Meteorologist Jon Porter. The figure accounts for long-term economic impacts including job losses, medical costs, drops in tourism, and recovery expenses. “The combination of extremely warm water temperatures, a shift toward a La Niña pattern and favorable conditions for development created the perfect storm for what AccuWeather experts called ‘a supercharged hurricane season,’” said AccuWeather lead hurricane expert Alex DaSilva. “This was an exceptionally powerful and destructive year for hurricanes in America, despite an unusual and historic lull during the climatological peak of the season.”
AccuWeather
This year’s hurricane season produced 18 named storms and 11 hurricanes. Five hurricanes made landfall, two of which were major storms. According to NOAA, an “average” season produces 14 named storms, seven hurricanes, and three major hurricanes. The season comes to an end on November 30.
California Gov. Gavin Newsom announced yesterday that if President-elect Donald Trump scraps the $7,500 EV tax credit, California will consider reviving its Clean Vehicle Rebate Program. The CVRP ran from 2010 to 2023 and helped fund nearly 600,000 EV purchases by offering rebates that started at $5,000 and increased to $7,500. But the program as it is now would exclude Tesla’s vehicles, because it is aimed at encouraging market competition, and Tesla already has a large share of the California market. Tesla CEO Elon Musk, who has cozied up to Trump, called California’s potential exclusion of Tesla “insane,” though he has said he’s okay with Trump nixing the federal subsidies. Newsom would need to go through the State Legislature to revive the program.
President-elect Donald Trump said yesterday he would impose steep new tariffs on all goods imported from China, Canada, and Mexico on day one of his presidency in a bid to stop “drugs” and “illegal aliens” from entering the United States. Specifically, Trump threatened Canada and Mexico each with a 25% tariff, and China with a 10% hike on existing levies. Such moves against three key U.S. trade partners would have major ramifications across many sectors, including the auto industry. Many car companies import vehicles and parts from plants in Mexico. The Canadian government responded with a statement reminding everyone that “Canada is essential to U.S. domestic energy supply, and last year 60% of U.S. crude oil imports originated in Canada.” Tariffs would be paid by U.S. companies buying the imported goods, and those costs would likely trickle down to consumers.
Amazon workers across the world plan to begin striking and protesting on Black Friday “to demand justice, fairness, and accountability” from the online retail giant. The protests are organized by the UNI Global Union’s Make Amazon Pay Campaign, which calls for better working conditions for employees and a commitment to “real environmental sustainability.” Workers in more than 20 countries including the U.S. are expected to join the protests, which will continue through Cyber Monday. Amazon’s carbon emissions last year totalled 68.8 million metric tons. That’s about 3% below 2022 levels, but more than 30% above 2019 levels.
Researchers from MIT have developed an AI tool called the “Earth Intelligence Engine” that can simulate realistic satellite images to show people what an area would look like if flooded by extreme weather. “Visualizing the potential impacts of a hurricane on people’s homes before it hits can help residents prepare and decide whether to evacuate,” wrote Jennifer Chu at MIT News. The team found that AI alone tended to “hallucinate,” generating images of flooding in areas that aren’t actually susceptible to a deluge. But when combined with a science-backed flood model, the tool became more accurate. “One of the biggest challenges is encouraging people to evacuate when they are at risk,” said MIT’s Björn Lütjens, who led the research. “Maybe this could be another visualization to help increase that readiness.” The tool is still in development and is available online. Here is an image it generated of flooding in Texas:
Maxar Open Data Program via Gupta et al., CVPR Workshop Proceedings. Lütjens et al., IEEE TGRS
A new installation at the Centre Pompidou in Paris lets visitors listen to the sounds of endangered and extinct animals – along with the voice of the artist behind the piece, the one and only Björk.