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The show isn’t exactly accurate. It isn’t entirely not accurate, either.
Edie Dillman lives in the first certified passive house in New Mexico. She and her architect husband, Jonah Stanford, are founders of a company called B.Public Prefab that builds and supplies prefabricated panels for highly energy efficient homes.
So when The Curse began to air on Showtime this past fall, following an aspiring HGTV host couple Asher and Whitney Siegel, played by Canadian awkwardness spelunker and conceptual comic Nathan Fielder alongside America’s sweetheart Emma Stone, who are trying to get their show, “Flipanthropy” — during which they build and sell passive homes in Española, a town half an hour north of Santa Fe — picked up by the network, Dillman and her husband found out about it.
“I was aware the second it launched,” Dillman told me. “There’s some very obvious correlations of a husband and wife team doing passive homes in northern New Mexico, for sure. So people started texting saying, ‘are you watching this? This is horribly painful.’ They were right.”
The show plumbs new depths of discomfort for Fielder, who before this was best known for his conceptual reality shows Nathan For You and The Rehearsal. The Curse opens with a producer dabbing the eyes of an elderly woman dying of cancer with water and even blowing menthol on them to get her to cry when the Siegels offer her son a job at the upscale coffee shop they’ve brought into town. And it only gets more uncomfortable from there: Asher takes a $100 bill away from a young girl after giving it to her on camera and spills a Powerade on a former coworker in order to steal from his computer; the poor little girl’s father, meanwhile, goes through what might be the most uncomfortable chiropractor appointment of all time (some viewers thought he had died), courtesy of Whitney.
Dillman seemed good-natured about the whole thing, even acknowledging that “any press is good press” and that the show was probably the most media attention the passive house community has ever gotten.
She was also refreshingly forthright about her own position — literally. “I think it's fair to tell you, as a journalist writing about this, I'm sitting in my own home that is a certified passive house and has the plaque that is almost identical to the plaque they have in the show, so it's a little too close to home,” she said. “Be kind in your reporting.”
The Curse is not a broadside against the passive house movement, which began in Germany in the 1980s and is based on using advanced building techniques — namely lots of insulation and thick windows that eliminate “thermal bridging,” where big differences in temperature create air flows that lead to inefficient air loss — to minimize the amount of energy needed to heat and cool a home. The target of the show is more the narcissism of do-gooders, how publicly virtuous behavior can mask and enable private avarice (the couple at the center of the show have an ultimate plan to goose the value of property they own in the town; Stone’s character is also the daughter of notorious Santa Fe slum lords) and how reality TV warps everything it touches.
But the vehicle The Curse chooses for its narcissistic, selfish, and emotionally damaged protagonists is nevertheless an oddly specific one. Not only have Whitney and Asher explicitly ripped off the design of their passive homes from artist Doug Aitken, whose designs famously feature mirrored exteriors, there’s even a German character clearly based on Passive House founder Wolfgang Feist who is brought in to explain the principles of passive homes.
The show does correctly identify some of the precise anxieties of the passive house movement. Any number of FAQs and guides to passive houses address the exact issues that come up in The Curse, such as whether you can open windows and doors or how homes are cooled in hot weather.
One buyer on the show tosses out an induction stove because he wants to be able to stir-fry, while in perhaps the series’s cringiest scene, another prospective buyer couple pulls out of a deal in part because of how long it takes for their prospective home to cool when a door is opened. The male half of the couple is already sweating when he enters the house and almost immediately asks for a glass of water. While trying to air himself out, he asks if there’s enough wattage for some air conditioning units.
“The answer to that is you don’t need one,” Whitney says, explaining that because the home “functions like a thermos,” it will never go below 65 degrees Fahrenheit or above 78.
“But 78 is sweltering,” the man says, before Whitney and Asher explain that because they had opened the door, it will take five to seven hours for the temperature to adjust.
The scene, Dillman said, “was a really funny exaggeration, and what's painful is we often use the thermos analogy.”
But, she told me in a follow-up email, “I just want to say that opening doors and windows does not create hours of discomfort. My teenagers were horrified by that scene, as they have lived in a passive house for 12 years and have never experienced anything like that.”
Dillman noted that passive homes can have air conditioning and gas ranges, although for maximum carbon reduction and air quality, electrified cooking is best. The way the show depicts perfectionism, meanwhile, is “rightly satirized,” she said. Still, the idea of “a perfect home that you can't open windows and doors,” was “really damaging and inaccurate — funny, but inaccurate.”
Dillman said few of the projects her company works on actually clear the passive house certification bar. “People are interested in the benefits, but not necessarily the gold star,” she told me.
Those benefits and how they’re achieved are explained at great length in The Curse — to the point that the third main character, an unctuous reality TV producer Dougie played by Benny Safdie, just about loses it. “This shit sucks, alright,” he says. “And it’s boring — really boring. I’m watching a guy talk about air for four minutes.”
But The Curse also milks drama from some of the thornier facets of the passive house movement, especially where it intersects with politics. When the couple drops out of buying the sweltering home, Asher calls another prospective buyer, who rolls up in a pickup truck sporting a pro-cop Blue Lives Matter decal. He loves the home — other “eco” homes he’s looked at “don’t even consider” thermal bridging, and he “love[s] that they’re basically off the grid.”
Instead of accepting that sustainable building practices can be appealing to people besides liberal do-gooders, Whitney — whose own goals of getting “Flipanthropy” picked up by HGTV, increasing the value of the real estate she and her husband own, and, most importantly, getting people to like and respect her are only glancingly associated with sustainability per se — goes near-catatonic with Asher.
“I actually loved that,” Dillman said. While she acknowledged that the stereotypical buyer of a passive home is a “white, liberal, do-gooder sustainability nut,” she also recognized that the energy independence a passive house offers might just as obviously appeal across the political spectrum. “It’s where the right and left somewhat come together and really agree,” Dillman told me.
While some of the downsides of passive home construction depicted on The Curse were “super inaccurate,” Dillman said, “I think seeing the humor in it and the morality is important.”
“I mean,” she added, “it’s really terrifyingly good satire.”
Read more about climate-related home design:
The Deadly Mystery of Indoor Heat
How to Prepare Your House for a Hotter Future
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Current conditions: Bosnia’s capital of Sarajevo is blanketed in a layer of toxic smog • Temperatures in Perth, in Western Australia, could hit 106 degrees Fahrenheit this weekend • It is cloudy in Washington, D.C., where lawmakers are scrambling to prevent a government shutdown.
The weather has gotten so weird that the U.S. National Oceanic and Atmospheric Administration is holding internal talks about how to adjust its models to produce more accurate forecasts, the Financial Timesreported. Current models are based on temperature swings observed over one part of the Pacific Ocean that have for years correlated consistently with specific weather phenomena across the globe, but climate change seems to be disrupting that cause and effect pattern, making it harder to predict things like La Niña and El Niño. Many forecasters had expected La Niña to appear by now and help cool things down, but that has yet to happen. “It’s concerning when this region we’ve studied and written all these papers on is not related to all the impacts you’d see with [La Niña],” NOAA’s Michelle L’Heureux told the FT. “That’s when you start going ‘uh-oh’ there may be an issue here we need to resolve.”
There is quite a lot of news coming out of the Department of Energy as the year (and the Biden administration) comes to an end. A few recent updates:
Walmart, the world’s largest retailer, does not expect to meet its 2025 or 2030 emissions targets, and is putting the blame on policy, infrastructure, and technology limitations. The company previously pledged to cut its emissions by 35% by next year, and 65% by the end of the decade. Emissions in 2023 were up 4% year-over-year.
Walmart
“While we continue to work toward our aspirational target of zero operational emissions by 2040, progress will not be linear … and depends not only on our own initiatives but also on factors beyond our control,” Walmart’s statement said. “These factors include energy policy and infrastructure in Walmart markets around the world, availability of more cost-effective low-GWP refrigeration and HVAC solutions, and timely emergence of cost-effective technologies for low-carbon heavy tractor transportation (which does not appear likely until the 2030s).”
BlackRock yesterday said it is writing down the value of its Global Renewable Power Fund III following the failure of Northvolt and SolarZero, two companies the fund had invested in. Its net internal rate of return was -0.3% at the end of the third quarter, way down from 11.5% in the second quarter, according toBloomberg. Sectors like EV charging, transmission, and renewable energy generation and storage have been “particularly challenged,” executives said, and some other renewables companies in the portfolio have yet to get in the black, meaning their valuations may be “more subjective and sensitive to evolving dynamics in the industry.”
Flies may be more vulnerable to climate change than bees are, according to a new study published in the Journal of Melittology. The fly haters among us might shrug at the finding, but the researchers insist flies are essential pollinators that help bolster ecosystem biodiversity and agriculture. “It’s time we gave flies some more recognition for their role as pollinators,” said lead author Margarita López-Uribe, who is the Lorenzo Langstroth Early Career Associate Professor of Entomology at Penn State. The study found bees can tolerate higher temperatures than flies, so flies are at greater risk of decline as global temperatures rise. “In alpine and subarctic environments, flies are the primary pollinator,” López-Uribe said. “This study shows us that we have entire regions that could lose their primary pollinator as the climate warms, which could be catastrophic for those ecosystems.”
“No one goes to the movies because they want to be scolded.” –Heatmap’s Jeva Lange writes about the challenges facing climate cinema, and why 2024 might be the year the climate movie grew up.
Whether you agree probably depends on how you define “climate movie” to begin with.
Climate change is the greatest story of our time — but our time doesn’t seem to invent many great stories about climate change. Maybe it’s due to the enormity and urgency of the subject matter: Climate is “important,” and therefore conscripted to the humorless realms of journalism and documentary. Or maybe it’s because of a misunderstanding on the part of producers and storytellers, rooted in an outdated belief that climate change still needs to be explained to an audience, when in reality they don’t need convincing. Maybe there’s just not a great way to have a character mention climate change and not have it feel super cringe.
Whatever the reason, between 2016 and 2020, less than 3% of film and TV scripts used climate-related keywords during their runtime, according to an analysis by media researchers at the University of Southern California. (The situation isn’t as bad in literature, where cli-fi has been going strong since at least 2013.) At least on the surface, this on-screen avoidance of climate change continued in 2024. One of the biggest movies of the summer, Twisters, had an extreme weather angle sitting right there, but its director, Lee Isaac Chung, went out of his way to ensure the film didn’t have a climate change “message.”
I have a slightly different take on the situation, though — that 2024 was actuallyfull of climate movies, and, I’d argue, that they’re getting much closer to the kinds of stories a climate-concerned individual should want on screen.
That’s because for the most part, when movies and TV shows have tackled the topic of climate change in the past, it’s been with the sort of “simplistic anger-stoking and pathos-wringing” that The New Yorker’s Richard Brody identified in 2022’s Don’t Look Up, the Adam McKay satire that became the primary touchpoint for scripted climate stories. At least it was kind of funny: More overt climate stories like last year’s Foe, starring Saoirse Ronan and Paul Mescal, and Extrapolations, the Apple TV+ show in which Meryl Streep voices a whale, are so self-righteous as to be unwatchable (not to mention, no fun).
But what if we widened our lens and weren’t so prescriptive? Then maybe Furiosa, this spring’s Mad Max prequel, becomes a climate change movie. The film is set during a “near future” ecological collapse, and it certainly makes you think about water scarcity and our overreliance on a finite extracted resource — but it also makes you think about how badass the Octoboss’ kite is. The same goes for Dune: Part Two, which made over $82 million in its opening weekend and is also a recognizable environmental allegory featuring some cool worms. Even Ghostbusters: Frozen Empire, a flop that most people have already memory-holed, revisitedThe Day After Tomorrow’s question of, “What if New York City got really, really, really cold?”
Two 2024 animated films with climate themes could even compete against each other at the Academy Awards next year. Dreamworks Animation’s The Wild Robot, one of the centerpiece films at this fall’s inaugural Climate Film Festival, is set in a world where sea levels have risen to submerge the Golden Gate Bridge, and it impresses on its audience the importance of protecting the natural world. And in Gints Zilbalodis’ Flow, one of my favorite films of the year, a cat must band together with other animals to survive a flood.
Flow also raises the question of whether a project can unintentionally be a climate movie. Zilbalodis told me that making a point about environmental catastrophe wasn’t his intention — “I can’t really start with the message, I have to start with the character,” he said — and to him, the water is a visual metaphor in an allegory about overcoming your fears.
But watching the movie in a year when more than a thousand people worldwide have died in floods, and with images of inundated towns in North Carolina still fresh in mind, it’s actually climate change itself that makes one watch Flow as a movie about climate change. (I’m not the only one with this interpretation, either: Zilbalodis told me he’d been asked by one young audience member if the flood depicted in his film is “the future.”)
Perhaps this is how we should also consider Chung’s comments about Twisters. While nobody in the film says the words “climate change” or “global warming,” the characters note that storms are becoming exceptional — “we've never seen tornadoes like this before,” one says. Despite the director’s stated intention not to make the movie “about” climate change, it becomes a climate movie by virtue of what its audiences have experienced in their own lives.
Still, there’s that niggling question: Do movies like these, which approach climate themes slant-wise, really count? To help me decide, I turned to Sam Read, the executive director of the Sustainable Entertainment Alliance, an advocacy consortium that encourages environmental awareness both on set and on screen. He told me that to qualify something as a “climate” movie or TV show, some research groups look to see if climate change exists in the world of the story or whether the characters acknowledge it. Other groups consider climate in tiers, such as whether a project has a climate premise, theme, or simply a moment.
The Sustainable Entertainment Alliance, however, has no hard rules. “We want to make sure that we support creatives in integrating these stories in whatever way works for them,” Read told me.
Read also confirmed my belief that there seemed to be an uptick in movies this year that were “not about climate change but still deal with things that feel very climate-related, like resource extraction.” There was even more progress on this front in television, he pointed out: True Detective: Night Country wove in themes of environmentalism, pollution, mining, and Indigenous stewardship; the Max comedy Hacks featured an episode about climate change this season; and Industry involved a storyline about taking a clean energy company public, with some of the characters even attending COP. Even Doctor Odyssey, a cruise ship medical drama that airs on USA, worked climate change into its script, albeit in ridiculous ways. (Also worth mentioning: The Netflix dating show Love is Blind cast Taylor Krause, who works on decarbonizing heavy industry at RMI.)
We can certainly do more. As many critics before me have written, it’s still important to draw a connection between things like environmental catastrophes and the real-world human causes of global warming. But the difference between something being “a climate movie” and propaganda — however true its message, or however well-intentioned — is thin. Besides, no one goes to the movies because they want to be scolded; we want to be moved and distracted and entertained.
I’ve done my fair share of complaining over the past few years about how climate storytelling needs to grow up. But lately I’ve been coming around to the idea that it’s not the words “climate change” appearing in a script that we need to be so focused on. As 2024’s slate of films has proven to me — or, perhaps, as this year’s extreme weather events have thrown into relief — there are climate movies everywhere.
Keep ‘em coming.
They might not be worried now, but Democrats made the same mistake earlier this year.
Permitting reform is dead in the 118th Congress.
It died earlier this week, although you could be forgiven for missing it. On Tuesday, bipartisan talks among lawmakers fell apart over a bid to rewrite parts of the National Environmental Policy Act. The changes — pushed for by Representative Bruce Westerman, chairman of the House Natural Resources Committee — would have made it harder for outside groups to sue to block energy projects under NEPA, a 1970 law that governs the country’s process for environmental decisionmaking.
When those talks died, they also killed a separate deal over permitting struck earlier this year between Senator Joe Manchin of West Virginia and Senator John Barrasso of Wyoming. That deal, as I detailed last week, would have loosened some federal rules around oil and gas drilling in exchange for a new, quasi-mandatory scheme to build huge amounts of long-distance transmission.
Rest in peace, I suppose. Even if lawmakers could not agree on NEPA changes, I think Republicans made a mistake by not moving forward with the Manchin-Barrasso deal. (I still believe that the standalone deal could have passed the Senate and the House if put to a vote.) At this point, I do not think we will see another shot at bipartisan permitting reform until at least late 2026, when the federal highway law will need fresh funding.
But it is difficult to get too upset about this failure because larger mistakes have since compounded the initial one. On Wednesday, Republican Speaker Mike Johnson’s bipartisan deal to fund the government — which is, after all, a much more fundamental task of governance than rewriting some federal permitting laws — fell apart, seemingly because Donald Trump and Elon Musk decided they didn’t like it. If I can indulge in the subjunctive for a moment: That breakdown might have likely killed any potential permitting deal, too. So even in a world where lawmakers somehow did strike a deal earlier this week, it might already be dead. (As I write this, the House GOP has reportedly reached a new deal to fund the government through March, which has weakened or removed provisions governing pharmacy benefit managers and limiting American investments in China.)
The facile reading of this situation is that Republicans now hold the advantage. The Trump administration will soon be able to implement some of the fossil fuel provisions in the Manchin-Barrasso deal through the administrative state. Trump will likely expand onshore and offshore drilling, will lease the government’s best acreage to oil and gas companies, and will approve as many liquified natural gas export terminals as possible. His administration will do so, however, without the enhanced legal protection that the deal would have provided — and while those protections are not a must-have, especially with a friendly Supreme Court, their absence will still allow environmental groups to try to run down the clock on some of Trump’s more ambitious initiatives.
Republicans believe that they will be able to get parts of permitting reform done in a partisan reconciliation bill next year. These efforts seem quite likely to run aground, at least as long as something like the current rules governing reconciliation bills hold. I have heard some crazy proposals on this topic — what if skipping a permitting fight somehow became a revenue-raiser for the federal government? — but even they do not touch the deep structure of NEPA in the way a bipartisan compromise could. As Westerman toldPolitico’s Josh Siegel: “We need 60 votes in the Senate to get real permitting reform … People are just going to have to come to an agreement on what permitting reform is.” In any case, Manchin and the Democrats already tried to reform the permitting system via a partisan reconciliation bill and found it essentially impossible.
Even if reconciliation fails, Republicans say, they will still be in a better negotiating position next year than this year because the party will control a few more Senate votes. But will they? The GOP will just have come off a difficult fight over tax reform. Twelve or 24 months from now, demands on the country’s electricity grid are likely to be higher than they are today, and the risk of blackouts will be higher than before. The lack of a robust transmission network will hinder the ability to build a massive new AI infrastructure, as some of Trump’s tech industry backers hope. But 12 or 24 months from now, too, Democrats — furious at Trump — are not going to be in a dealmaking mood, and Republicans have relatively few ways to bring them to the table.
In any case, savvy Republicans should have realized that it is important to get supply-side economic reforms done as early in a president’s four-year term as possible. Such changes take time to filter through the system and turn into real projects and real economic activity; passing the law as early as possible means that the president’s party can enjoy them and campaign on them.
All of it starts to seem more and more familiar. When Manchin and Barrasso unveiled their compromise earlier this year, Democrats didn’t act quickly on it. They felt confident that the window for a deal wouldn’t close — and they looked forward to a potential trifecta, when they would be able to get even more done (and reject some of Manchin’s fossil fuel-friendly compromises).
Democrats, I think, wound up regretting the cavalier attitude that they brought to permitting reform before Trump’s win. But now the GOP is acting the same way: It is rejecting compromises, believing that it will be able to strike a better deal on permitting issues during its forthcoming trifecta. That was a mistake when Democrats did it. I think it will be a mistake for Republicans, too.