Hollywood Weaves in Climate Themes

In Pixar’s “Hoppers,” Mabel is the main character, an animal rights advocate who clashes with a corrupt mayor over a project that threatens to replace a cherished beaver habitat with artificial trees.

In the CBS drama “Fire Country,” the protagonists face increasingly intense wildfires as part of Cal Fire, the recognized name for California’s Department of Forestry and Fire Protection.

Hulu’s political thriller “Paradise” envisions a near-future marked by severe global environmental disasters that exacerbate the gap between the wealthy and the poor.

Historically, Hollywood has avoided environmental themes, fearing audiences might perceive them as educational or preachy. However, the undeniable reality of climate-related disruptions and, at times, devastation across the U.S. and globally has made these themes unavoidable.

As extreme weather events dominate headlines, climate and related issues are increasingly being depicted in films and television as integral to contemporary life.

For environmentalists and advocates, this represents a significant shift, highlighting dire conditions but also inspiring hope for advancements in green technology and sustainable energy.

“Climate is no longer just an abstract policy topic for audiences. It’s become personal, affecting everything from wildfires in their area to changes in seasonal temperatures and insurance costs,” explains Sam Read, executive director of the Sustainable Entertainment Alliance (SEA). “When these issues become part of daily life, they naturally become part of the stories we create and seek out.”

Mainstream entertainment has often played a role in driving societal change, from campaigns against drunk driving to evolving attitudes toward same-sex marriage.

“Research indicates that storytelling is incredibly influential. It shapes societal norms and influences how people, especially the youth, think,” notes Dr. Yalda Uhls, founder of UCLA’s Center for Scholars and Storytellers.

The Sustainable Entertainment Alliance comprises major Hollywood studios and streaming platforms, including Disney, NBCUniversal, Warner Bros. Discovery, Netflix, and Sony Pictures. It aims to support the inclusion of climate narratives in mainstream media by educating writers, producers, and directors on the subject matter and creative potential.

“When discussing environmental storytelling, people often assume it means creating sad documentaries about melting ice caps,” Read explains. “However, these stories can explore the human experience within a changing climate in many ways – they can be comedic, tragic, or thrilling, without being confined to a single genre.”

The SEA evolved from the Green Production Guide, initiated by the Producers Guild of America and several major studios in 2010. One of its newest initiatives is the Green Title Database, a comprehensive list of films and TV shows incorporating climate narratives to varying degrees.

This database serves as a resource for the industry, educators, and activists. As described by the alliance, “These films and shows educate us on our past, help us visualize potential futures, and inform our approach to addressing climate change.” The database includes entries dating back to 2018 and is accessible via the SEA’s website.

Box office performances, viewership ratings, and awards show that audiences are engaging with stories focused on environmental themes. Films like Netflix’s “Train Dreams” and Apple’s “The Lost Bus” offer profound insights into deforestation and the risks of ignoring fire prevention. Sally Field is gaining recognition for her role as a retiree in Netflix’s “Remarkably Bright Creatures,” which subtly addresses the challenges of ocean warming and octopus overfishing.

James Cameron’s “Avatar” series has long stood out in Hollywood. The latest films, 2022’s “The Way of Water” and 2025’s “Fire and Ash,” provide allegorical reflections on real-world climate issues. Two decades ago, it required Cameron’s influence as a successful filmmaker to get the original “Avatar” approved by 20th Century Fox.

“There weren’t any major, high-budget environmental films at the time,” Cameron shared with CBS News in November 2025.

When Cameron first proposed “Avatar” to Fox, an executive reportedly commented, “It’s a good script, but can we remove all the tree-hugging stuff?” Cameron replied, “The whole point of making this movie is because of that tree-hugging stuff.” Despite initial skepticism, “Avatar” eventually broke box office records, and Hollywood’s reluctance to embrace environmental themes has diminished over time. The alliance continues to promote the creative work being done in TV and film to inspire more bold ideas.

“Media is one of our most powerful tools, especially with its 24/7 presence today,” says UCLA’s Uhls. She highlights how public opinion on same-sex couples and LGBT rights shifted rapidly in the 1990s and 2000s, paralleling the broadcast of influential TV series like NBC’s “Will & Grace” and Fox’s “Glee.”

“I believe ‘Glee’ was pivotal in changing LGBTQ biases quickly because it resonated with adolescents,” Uhls explains. “At that age, they’re open-minded, developing their identity, and more sensitive to their environment compared to older generations.”

Uhls, a former senior studio executive at Sony Pictures and MGM, pursued a doctorate in developmental psychology, becoming one of the first researchers to study social media’s impact on youth. She founded UCLA’s Center for Scholars and Storytellers in 2019.

Surveys indicate that climate change ranks low among interest areas for many young Americans. Uhls attributes this to the complexity and perceived hopelessness of the topic.

“It’s not that young people don’t care about the climate. The issue is that it’s often presented with doom and gloom,” Uhls says. “It leaves them feeling powerless, as the news and many stories emphasize fear. This can lead to avoidance.”

However, when handled by skilled storytellers, this complexity can be captivating.

“Storytelling captivates because it draws the audience into the characters’ world,” Uhls says. “Viewers form a para-social bond with characters, making the message feel organic rather than preachy.”

Today, media consumption significantly shapes perceptions of politics, social issues, and culture, more so than traditional group interactions.

“Young people primarily engage with entertainment media. They distrust systems like government, education, and financial institutions. Storytelling is one of the few avenues to reach them,” Uhls says. “But the content must be engaging and not feel like educational propaganda.”

Read and his team at SEA agree.

“There’s a tremendous opportunity for creatives to tackle these challenges and craft compelling stories. Audiences are drawn to narratives that reflect their own experiences,” Read states.

“From a business perspective, there’s potential for stories that connect with audiences by mirroring reality,” he adds. “We’re pursuing this because we see a genuine opportunity from both creative and business standpoints.”

Environmental disasters have long inspired post-apocalyptic narratives. AMC Network’s adaptation of “The Walking Dead,” which launched in 2010, depicted a bleak vision of America plagued by zombies and resource scarcity.

Today, series like HBO’s “The Last of Us,” Prime Video’s “Fallout,” FX’s “Alien: Earth,” and Apple TV’s “Silo” explore humanity’s struggle to survive in toxic, war-torn environments. Yet, in recent hits, there is a thread of hope. In DreamWorks Animation’s “The Wild Robot,” Roz the robot survives on a harsh island through adaptability and the kindness of other creatures.

“Alien: Earth” examines AI’s role in synthetic creation, while “Silo” has gained attention for its plot about 10,000 people surviving a chemical bomb explosion during a U.S.-Iran conflict.

This spring, “Project Hail Mary,” starring Ryan Gosling, emerged as a sleeper hit. Like “Alien: Earth” and “Silo,” it features a scientist who could inspire young audiences to pursue environmental science.

The SEA has broadened its focus to what Read calls “our cultural footprint,” emphasizing outreach to showrunners, screenwriters, and directors. It introduced the Green Lens Award at the SXSW festival in March to honor films or TV programs that depict the human experience of climate change or propose sustainable strategies.

The first recipient was “Plantman & Blondie: A Dress Up Gang Film,” directed by Robb Boardman. The film follows a recluse who ventures out of his shell due to his involvement with a “rogue horticultural crusader armed with a mysterious dossier of negligent plant owners.”

While narrative storytelling is a key focus for the SEA, the alliance also seeks to make Hollywood’s operations more sustainable. They are promoting solar base camps and EV charging for location shoots and monitoring new production incentive legislation, like Illinois’ recent 5% tax credit for sustainable productions.

Read emphasizes that expanding the SEA’s mission is crucial amidst today’s overwhelming media landscape.

“Climate change is daunting and complex,” Read says. “Art provides a powerful means for exploring its societal impact and how people are adapting.”