Jerry Mathers
Was it me?
i'll keep it in mind.
Woke is a joke; entertainment edition
- Thread starter Diogenes
- Start date
Jerry Mathers
Was it me?
genociding white people is on the agenda.
I suspect that you're correct. The cultural appropriation is well-advanced already.
Jerry Mathers
Was it me?
Much appreciated, Jerry.
Yakuda
Verified User
Id burn my ship
View: https://x.com/CharlotteCGill/status/2074912286989295910?s=20
Fact check:
The post's core claims are accurate and well-supported by public evidence.
Charlotte Gill (an independent journalist focused on "woke waste"/public spending) highlights how Climate Spring, a UK-based global organization, actively works with major broadcasters and production companies to integrate climate narratives into TV, film, and theatre.
This includes script development, editorial consulting on "climate elements," world-building workshops, and funding support.
She notes partners like ITV, Channel 4, BFI, and Cannes, plus private funders and some public/taxpayer-linked money (e.g., via Wellcome Trust).
She frames it as deliberate cultural embedding ("we are being targeted from every angle"), linking to a government precedent exposed via FOI.
Overall, this is solid reporting on a real trend in entertainment production. Whether it's positive influence, benign storytelling, or overreach is subjective—but the described activities are real.
Fact check:
The post's core claims are accurate and well-supported by public evidence.
What the post and linked content claim
Charlotte Gill (an independent journalist focused on "woke waste"/public spending) highlights how Climate Spring, a UK-based global organization, actively works with major broadcasters and production companies to integrate climate narratives into TV, film, and theatre.
This includes script development, editorial consulting on "climate elements," world-building workshops, and funding support.
She notes partners like ITV, Channel 4, BFI, and Cannes, plus private funders and some public/taxpayer-linked money (e.g., via Wellcome Trust).
She frames it as deliberate cultural embedding ("we are being targeted from every angle"), linking to a government precedent exposed via FOI.
Verification of key facts
- Climate Spring exists and does exactly this: Their own website confirms the mission: "champions the power of storytelling to transform our cultural response to the climate crisis." They provide development funding, editorial consulting on climate elements in scripts/TV/film, training, workshops, and support for 60+ projects across genres (crime, thriller, rom-com, etc.). They explicitly partner with ITV, Channel 4, BFI, Film London, Cannes, and many production companies (e.g., Quay Street, All3Media, Mammoth Screen).
- Specific ITV example ("After the Flood"): Climate Spring publicly announced providing editorial advice on climate elements, helping with story context, visuals, and even a field trip to real flood sites in Yorkshire. The series is described as a thriller that "reveals the real impacts of climate change." This matches Gill's screenshot/reference.
- Broader ecosystem: Similar efforts exist via other groups (e.g., Good Energy, Redford Center, NRDC fellowships) funding climate stories in Hollywood and beyond. UK theatre has initiatives like Climate Change Theatre Action and prizes. This is not hidden—it's openly promoted as a strategy to shift public attitudes through culture ("stories not stats," "hopeful narratives," building "agency").
- Funding: Mostly private/philanthropic (common for such orgs). Gill notes Wellcome Trust involvement (a major UK charity). Wellcome receives significant UK taxpayer/government support historically through its endowment origins, grants, and research ecosystem (though it's independent). The exact £105M figure for 2020-24 isn't directly verified here but aligns with Wellcome's scale of public-adjacent funding.
- Government precedent: Lewis Brackpool's FOI work (widely reported/circulated) shows UK officials discussed embedding messaging (including on climate, COVID, etc.) into soaps/entertainment like EastEnders. This is factual, even if the "targeted" framing is interpretive.
Context and caveats
- Not secret/propaganda in the conspiratorial sense: These are transparent industry collaborations between creatives, NGOs, funders, and broadcasters. Climate Spring emphasizes "compelling stories" over didactic messaging, and similar narrative efforts exist for many causes (e.g., anti-smoking, diversity, public health). Mainstream media and entertainment have long incorporated social issues.
- Perspective: Gill's piece is opinionated/critical (viewing it as top-down cultural influence and taxpayer-adjacent waste). Climate advocates see it as necessary cultural shift given scientific consensus on climate risks. Audiences can judge the resulting content on merit—many stories succeed or fail regardless of advisory input.
- No major inaccuracies found: Partners, activities, and examples check out against primary sources. The "exclusive" angle is her investigation tying it together with funders.
Overall, this is solid reporting on a real trend in entertainment production. Whether it's positive influence, benign storytelling, or overreach is subjective—but the described activities are real.
