Entertainment can accelerate the energy transition

In times of upheaval, reading a new book can bring one back to earth. We recommend Nexus: A Brief History of Information Networks from the Stone Age to AI by Yuval Noah Harari. As with his other works, Harari unpacks complex systems that shape human existence — and this time, what keeps echoing is this: the transformative power of story. 

The stories we tell — about ourselves, our societies and our future — hold the greatest potential to drive progress. Nowhere is this more critical than in the fight against climate change.

As climate scientists emphasize daily, what and how we communicate about the planet's condition is at a critical juncture. Compelling storytelling can either drive action or fuel apathy. Our ability to communicate climate risks and solutions may be the most powerful tool we have to shape the future.

At the just-concluded COP29 summit in Baku, climate leaders once again negotiated global emission targets and financing strategies. While past COPs produced critical milestones, there is growing frustration about the lack of tangible progress. 

As world leaders debate, sectors like entertainment are stepping up, showing how industries can lead when political negotiations stall. Real world progress saw UK broadcasters agree on a method to measure the climate change impact of their content. 

The path is clear. As one of the world's most influential sectors, entertainment is uniquely positioned to shape global narratives and model the practical, low-carbon transition that pushes boundaries and shifts how we talk about sustainability and decarbonization.

Buy Now! The Shopping Conspiracy, from Netflix and summer blockbuster Twisters from Universal Pictures are recent examples of high-profile entertainment exploring overconsumption and extreme weather. These stories may move us to ask ourselves, “What changes can I make today? What change will I make now?”

Here’s the thing, though: producing these stories has a carbon cost. The film and television industry is responsible for significant emissions — 16.6 tonnes CO2 equivalent per content hour. |

To put that in practical terms, creating one hour of content consumes the equivalent of powering 10.79 households for a year. Thousands of content hours are made annually worldwide. To combat this, many leading global production companies are adopting greener practices, from sustainable studio spaces, to circularity in design, to clean energy and diversion best practices.

However, in the transition we cannot get stuck in a "good enough" mentality and practice. There is always more to a story. Outside the echo chamber, the fatigue of how difficult it is to shift an industry is clear. These challenges bring us back to how and what we communicate. 

There are a ton of myths out there. Early efforts to green film were met with resistance, which typically sounded like, ‘There is no money.’ However, more than a decade later, there are numerous supplier and vendor solutions. Data from key players illustrates the cost-benefit analysis and how to maximize those decarbonization dollars whether shooting in London, Los Angeles or Vancouver. 

Some people may be unaware that there are many opportunities to gain new skills in sustainable production practices at low to no cost, with unions, guilds and educational institutions actively supporting members with tools and training.

New mantra: get the word on the floor and engage everyone. 

Notably, in the last four years, the adoption of sustainability and decarbonization in the sector has grown exponentially. That is down to a few crucial points, (with examples). 

• Mandates, policy, and funding
  • This initiative  between Creative BC and the Indigenous Screen Office provides direct production funding for sustainability and decarbonization.
• Leadership and cooperation from studios, broadcasters, film funders, film commissions
  • The formation of Green Frame this September; a coalition of Canadian funders collaborating toward shared sustainability efforts and goals.
• Sustainability and decarbonization is good business. 
  • The global market for green technology and sustainability is projected to grow from USD $28.6 billion in 2024 to USD $134.9 billion by 2030.
• Being sustainable is positive, optimistic, and looks forward to building together.

That last point is a critical one. It feels good to be optimistic and work on solutions. They may not be perfect. However, they can and will improve as we put them into practice.

At the end of Nexus, Harari leaves us contemplating global cooperation, finding shared stories, and the myth of the Law of the Jungle; not the predator / prey narrative, but one of ecological symbiosis and cooperation. 

Climate change affects us all — no one is immune. We are all players in this real-world drama. Let’s script the future where we decarbonize rapidly, thrive socially and economically, and create a world worthy of a blockbuster audience. 

The creative economy will lead us toward a sustainable future. It is up to us to hone our messages, to tell the stories that inspire action, make sustainability and decarbonization achievable and inclusive, and ensure our efforts have a meaningful, global impact. 

Zena Harris is the founder and president of Green Spark Group. Melanie Windle is the executive director of the Sustainable Entertainment Society, and executive producer of the Sustainable Production Forum.