HALLE: A couple decades ago, Hollywood hadn’t really embraced climate change. It was mostly relegated to documentaries – and didn’t really hit the big time until the early 2000s. When the Day After Tomorrow depicted a climate apocalypse.
MOVIE CLIP
EVA: And Al Gore released the famous documentary, An Inconvenient Truth.
INCONVENIENT TRUTH/Al Gore: It takes a sudden jolt sometimes before we become aware of a danger. If it seems gradual, even if it really is happening quickly, we're capable of just sitting there and not responding.
HALLE: Times are starting to change.
EVA: We’re seeing filmmakers weave the fact that the climate is changing into the fabric of pop culture. Now, a lot of times, this is subtle. Like in The Amazing SpiderMan 2 – the one with Andrew Garfield, my favorite Spiderman. The big tech company in the movie announces plans to expand hydropower to create a fully green electric grid. And then the company lets a supervillain use the electric grid to attack Spiderman
You’re too late Spider-man. I designed this power grid and now I’m going to take back what is rightfully mine.
EVA: –even if it’s a superhero movie with a crazy plot, at least it acknowledges the current state of our world.
HALLE: Similar to how Glass Onion, a murder-mystery sequel to Knives Out, isn’t about climate change but it’s definitely in the background. Hydrogen fuel gets a mention and then Kathryn Hahn’s character references it as part of her campaign bid for Senator.
CLAIRE: I’m a hard line on climate change. If that scares you, go stick your head back in the sand.
EVA: And then there are movies designed to take the issue of our warming planet head-on. Movies that try to move audiences beyond the inaction Al Gore mentioned.
HALLE: Yeah, like the divisive blockbuster comedy, “Don’t Look Up.” It uses a meteor hurtling toward Earth – and the sputtering attempts to stop it — as a metaphor.
Your breathing is stressing me out!
This will affect the entire planet.
I know, but it's, like, so stressful.
HALLE: it’s still pretty rare for movies to acknowledge global warming. But you’re about to meet two people trying to change that.
<<theme music>>
EVA: I’m Eva Tesfaye.
HALLE: I’m Halle Parker, and you’re listening to Sea Change.
EVA: Today, we hear more about how the silver screen is tackling the hottest topic of our time. First, we talk with the Oscar-nominated screenwriter behind “Don’t Look Up” about creating a climate movie that gets people’s attention.
HALLE: Then, we talk to the woman behind a new nonprofit that created a test to determine whether the reality of climate change is being represented in any given film. And how her group is working with screenwriters to integrate climate into their scripts.
PROMO BREAK
DAVID SIROTA INTRO
EVA: David Sirota is an award-winning journalist and screenwriter. He co-wrote the script for “Don’t Look Up” with filmmaker Adam McKay.
HALLE: The movie follows low-level astronomers as they try to warn everyone about an asteroid heading towards Earth.
EVA: It stars a slew of Hollywood heavyweights like Jennifer Lawrence, Leonardo DiCaprio, Meryl Streep,…the list goes on. It’s an apocalyptic dark satire that manages to bring the hilarity even as it becomes clear catastrophe will not be avoided.
HALLE: Coming up, Sea Change’s Carlyle Calhoun talks with David Sirota about the film …why scientists loved it …and why we need humor amidst the climate crisis.
Don't Look Up Interview
Carlyle: So you and Adam McKay, who's the film's director, co wrote and co produced the film. What were some of the early conversations the two of you had that led to this project?
David: Well, I did a lot of reporting on climate stuff for a long time and, um, I was concerned that climate reporting in general just didn't seem to land. you do a story and it just, wouldn't sort of, uh, prompt the kind of discussion no matter how big a revelation it was. And I was lamenting this to him and I said to him,
It kind of feels like there's an asteroid headed towards Earth and nobody cares. And. He was in the process of trying to figure out how to do a climate movie. And He said, well, wait a minute. I wonder if that's the story. Uh, and so from there, we sort of gamed it out.
Like, what would it be like if, an asteroid was headed towards earth and nobody seemed to care, or there was too much of a distraction machine. and out of that. Came, essentially, the nugget for the movie,
Carlyle: mm hmm. Mm hmm. And I want to ask you about that with storytelling and,crafting a compelling narrative around the climate crisis. And I've heard from editors before, Oh, climate stories are so hard because there isn't really somebody to point to as a bad guy. And so it's hard to kind of form a compelling narrative around that. And I'm wondering what your response is to that.
What, what role do you think? antagonists or villains should play in climate related storytelling.
David: I think it's absolutely critical for, uh, the bad guys,the people creating the problems, the people making decisions that exacerbate the problems, for all of them to be named and to be identified. we don't just have a climate crisis.It didn't just emerge suddenly out of nothing. Uh, it is the result of specific decisions by specific people with a specific goal.
business model. We're talking about the fossil fuel industry, uh, that knew what it was doing. And the reason to know that, is not just to blame for blame's sake. It's to know what kinds of decisions, we now need to make.
Carlyle: To, to reverse, to make different decisions. But it's also to create a deterrent, uh, to say that if you do this kind of thing, uh, we as a society will hold you accountable.And so on that note, I mean, did you and Adam enjoy writing the kind of final scenes of what happens to those few elite who, who leave earth and, uh, and, and end up on another planet, uh, in the future.
I don't think this is going to work out quite well.
I wonder. Are those. Feathers.
David: Yeah. I actually was not involved in that. It was almost a little bit of an Easter egg surprise for me.
That we were worried about was that, um, there would be some pressure to have the world not blow up, uh, to, to somehow have the world be saved.
Carlyle: Mm
David: but we argued vehemently that the message won't be as powerful if it's like every other movie where the hero or the set of heroes saves the world. I think the last scene
my takeaway from that is, uh, that it's a message about this idea that certain people can survive or, or flee, uh, or make it safe for themselves by isolating themselves is a false hope.
it's a delusion to think that we're just gonna, you can flee the earth or create a bunker for yourself, uh, and, and make yourself safe while everyone else suffers.
Carlyle: Yeah. And I think we're understanding that, unfortunately, more and more as even places that we think of as so called safe, um, are, you know, being devastated by impacts of climate change The the film is does not have a hopeful ending and there's not a lot of hope in it from the beginning I think we kind of understand that it's not going to end. Well, And was that a decision that you all made from the outset?
David: Well, look. There was a question at the very beginning of when Adam was thinking about making a climate movie. How do you make a movie that's not just a dystopian, Mad Max, post apocalyptic world? That was the fundamental challenge. I think we cracked it. I think the metaphor that we came up with worked.
I think the movie is really fun and funny. With serious stuff, obviously, and dark, very scary and depressing stuff mixed in and I hope we struck the right balance, um, because I do think one of the things that I, I fear with the climate debate is that things feel so dark, so unfixable, uh, that, that people disconnect.
Our movie is not meant as prophecy. Our movie is cautionary. I don't think we're at the end of Don't Look Up yet. In our society. I don't think we're all just sitting at the table waiting for the for the asteroid to to hit the planet We we are earlier on in the movie and and thankfully so that we can do a lot To avert the worst part of the climate crisis but but the movie is designed to try to wake us up and say that if we Continue to not look up then this may be where we head, uh, in the story of humanity.
Carlyle: And I, a big theme that is in the film is climate denial. And you and Adam really wrote in a way that kind of explains the origins of denial as kind of this top down idea promoted by special interests. And so I'm, I'm just wondering about that theme in the film
David: Well, what we tried to do was use familiar phrasings and familiar tropes people hear every day in media and in politics And then apply them to the situations in the fictional story of the movie.
And then. To use the film to underscore how ridiculous this form of distraction and denialism really is. I think that's what a film can do that perhaps, a news program, uh, has a little bit more trouble doing. that the film, people know they're watching a fictional story, their kind of guard is down, their political filter is down.
Uh, and so you can better underscore. Take a step back and say, look at how ridiculous this is, for instance, the story that we just reported in the last 24 hours, when you have the Congress people, From the areas and on the Gulf Coast that are being evacuated right now, that those Congress people are currently concurrently to this happening, this evacuation, this giant Hurricane Milton, that they are concurrently pushing legislation to try to block the government from declaring a climate emergency.
Right? I mean, that's essentially the same thing as a president telling people, Oh, Not to look up at the sky! At the incoming asteroid. And so what the movie can do is step back a bit and say, Now do you see how ridiculous this is?
Carlyle: And you're talking about the, the bill that it's being dubbed the Real Emergency Act that basically frames the climate crisis as a false emergency. And it's so, I mean, it just mirrors Meryl Streep's, character, she plays a president in the film, of just, trying to downplay what, you know, this comet headed for Earth means. And because it's politically not favorable for her, which is the same reason why these politicians who happen to take a whole lot of money from the fossil fuel industry, you know, the same reason that, you know, climate change poses a political problem for them.
David: Absolutely. And one of my favorite parts of the film is when the Jennifer Lawrence character comes back home and her parents don't want to let her in the house because they're mad that she's become this person speaking out about the incoming comet.
Movie: Mom, Dad, so glad to be home.
Lock the door. No politics, none. What are you talking about? Your dad and I are for the jobs that comment will provide.
David: and I think what we tried to do with that, it's one of my favorite scenes is, Spotlight this alleged tension between jobs and the economy and human survival, that what, what's, what's been done in our political discourse is to say that essentially we have to destroy the the livable atmosphere, or in the movie's case, the planet, in the name of creating jobs and creating wealth.
Carlyle: And what happens to her character after that is, is another thing that just is so mirrored in, in society now of, of. a lot of climate scientists is she's sidelined.
David: I mean, one of the best reactions to the movie. was how many scientists really told us effectively that they felt, for the first time, they felt seen. And you know, one of the, the points of the movie, was to say we should be listening to these people, not vilifying them.
Carlyle: Yeah. Yeah. And I, I wanna make sure we do get to the comedy of this movie though, because I think that is part of why it was. so effective as you blended the the series with the with the comic. So tell me about what it was like to write some of these funny scenes and what is your favorite comic moment in the film?
David: Boy, um, I think scene to scene,there are serious scenes mixed in with hilarious scenes.
I mean, one of the scenes that, that I, you know, helped create, there was a subplot of Hollywood is going to release A movie called Total Devastation on the day of the impact, which still makes me laugh. Uh, and you know, there's this very famous movie star who I won't mention. Uh, who makes a cameo as the central sort of, uh, cheesy B action movie star of the movie Inside the Movie. And he gives a, An interview inside of don't look up in which he's asked about this, you know, there's this now this, uh, furious debate.
Should you look up? Should you look down?
Movie Clip: Now I know a lot of Hollywood is supporting the Just Look Up movement. But I haven't seen a pin like that. Yeah. Yeah. This pen. Is pinpoints both up and down. Because I think as a country, we need to stop. Arguing. And, and, and virtue signaling, just get along. That is so refreshing. I think we're all tired of the politics.
David: It's sort of like making fun of how Hollywood would Uh, oftentimes tries to like take no position, uh, and you know, you're, you're laughing. At how, um, pathetic and sad our reality has become. And in making the movie that's supposed to be in service of saying, it doesn't have to be this ridiculous. We just have to become aware of how ridiculous it is first, right? The hope is that from there we can, we can start making different decisions now that we're, we, we understand the absurd reality that we're living inside of.
Carlyle: Yes, absolutely. And you brought up Hollywood there and kind of its stance on climate change. So what are your thoughts on, on Hollywood's action or inaction on this?
David: Well, I think that the entertainment industry is in a very risk averse posture right now. and I think that's, that's very, very problematic because the arts in general, movies and TV in specific are one of the places where the society is supposed to negotiate and struggle with some of those, some of the most difficult issues.
And I think. as Hollywood has become more corporatized, uh, as the political environment in America has become more fraught, there's sort of a, a risk aversion that anything risky is bad, so let's just stick with, uh, either remaking movies that have already been made, relaunches and the like, reboots, uh, or Um, let's make things from franchises that are, um, not seen as controversial.
Like, you know, the Marvel franchise and the like. So I, I fear this, this, culture death, if you will, this, it feels very stifling and I'm very concerned about it. I had hoped, frankly, that Don't Look Up's huge global success would prompt more movies like it to be made.
That was my idealistic hope, you know, if we make it, if it's successful, there'll be a lot more movies like this. That hasn't happened yet. Um, and I don't, look, I don't think one movie can change a whole paradigm, but my hope is that we look back in 10, 15 years, and we can look at Don't Look Up as, that was one of the films that that started to break the proverbial ice, now I've heard some people say, well, yo, your movie didn't solve the climate crisis. It's like, yeah, okay. Guilty as charged. One movie did not solve the climate crisis. My real pushback to that is something like three, four hundred, five hundred million people across the world saw the movie.
If I delivered a, a very clear and, and what I think is an important urgent message to four hundred or five hundred million people across the globe, that's a bigger success than anything else I've ever been involved in. Uh, period, end of story. If we can replicate that day after day, year after year to really raise the awareness, raise the sense of urgency, ultimately the hope is that will create the political conditions for real policy change.
Carlyle: Yeah. And so even though collective action is not successful in Don't Look Up, you still have hope for collective action on climate change.
David: Absolutely I remain optimistic. I wouldn't do the work that I do in journalism or on stuff like Don't Look Up. I wouldn't do that work if I wasn't fundamentally an optimist at heart. So I remain optimistic. But I also know that the forces of pessimism, the forces of trying to demoralize us and say that nothing can happen, they're powerful forces too.
Demoralization is, is, uh, the enemy of progress. And the folks who want to make us think this is an unfixable problem, they have a deliberate agenda. They're profiting off this. Uh, we, we have to not allow them to deter us and to demoralize us.
Carlyle: Yeah. And that's why you're continuing to shine a light on this and, and reminding people, uh, to look up Well, David Sirota, thank you so much for joining us and I appreciate this conversation.
David: Thank you. Thanks so much for having me.
PROMO BREAK
INTRO ANNA JANE JOYNER
HALLE: Anna Jane Joyner loves movies. Especially when they acknowledge our climate reality. We heard David talk a lot about “Don’t Look Up.” But one of Anna Jane’s favorites is an action-thriller set in Texas called How to Blow Up a Pipeline.
ANNA: it's kind of an Oceans 11 meets Gen Z climate activists
EVA: A group of young environmental activists conspire to destroy an oil pipeline. And it explores all the ethical dilemmas that come with eco-terrorism. All of that makes for a riveting drama but, most importantly, she says it’s just a good movie.
ANNA: I would love it even if it had nothing to do with climate change
HALLE: That’s what she wants to do with her organization, Good Energy: help writers make good movies that weave in the fact our climate is changing.
EVA: Carlyle talked with Anna Jane about her work and why so much of what we see on screens doesn’t touch on climate change.
Anna Jane Joyner Interview
Carlyle: So what led you to start Good Energy and what is the problem that
you're looking to solve?
Anna Jane: Well, I guess starting with like the personal origin story is that I, come from a family and background where storytelling is really highly prioritized. My father is a prominent pastor, uh, which is a form of storytelling more than anything else. But he's also written over a hundred books. And even though growing up evangelical had, uh, it's many, many downsides. I do think, uh, being immersed in, religion, which is just a set of stories you kind of innately understand the power of story. My, my family is from, Western North Carolina, the Blue Ridge mountains. Um, but we grew up spending the summers on the Gulf coast of Alabama, which is where my mom's family goes back generations, like property we live on, uh, has been in my family five generations and so, yeah, so stories are where I went when I was feeling overwhelmed or needed courage, um, or just to see the world through a different angle, um, so I had worked in, in the climate space for about 15 years, primarily, uh, kind of what you would think of as traditional climate campaigns, And I was living down on the Gulf Coast.
I knew intellectually I was moving to hurricane country and, The front lines of climate change, which part of, part of the draw was like moving to this place. It's very sacred to my family, uh, that really forms me but that, you know, won't be around, you know, much longer comparatively. but I had not taken into account the emotional experience and anxiety of dealing with, you know, the, the fear of hurricanes six months a year now. So all that to say, I was struggling with my own mental health and where I go is stories when I am in those situations. And I just, like, it really, really bothered me that there was no stories in TV and film, very little at that point in novels, um, and I knew through a couple of other friends who had worked for color of change that there were narrative, support organizations in Hollywood, you know, working with TV and film writers and creative executives to integrate and portray their issues, you know, color changes, case racial justice, but also, you know, all kinds of other organizations and issues.
And there wasn't anything for climate, which is struck me as a really, really big gap given that. You know, Hollywood is, is the most powerful storytelling engine of our world. And, and so that's where the idea for good energy was. I needed those stories. I needed to see myself on screen. Uh, I needed help, uh, kind of channeling all of these really big and scary emotions into something that I could connect with and, you know, kind of learn from and grow.
And, and that made me feel seen. And also just strategically, there wasn't anything in Hollywood
Carlyle: you were seeing gaps in the way the traditional environmental and climate movement was using storytelling or not and then also the gaps in Hollywood? What was the strategy you were creating with good energy?
Anna Jane: Yeah. so the gaps, you know, in the climate movement, they just didn't put money into it. because they didn't realize how important it was that you really couldn't win on a big societal issue without storytelling and artists and creatives.
So they had incredible policy work, campaigning, scientific work, legal strategy, but, you know, people weren't hearing about it. And when they were, it was in this very technical, boring. Not story focused language, which is really hard to grab onto and care about and even understand.
the research, you know, that shows what kinds of stories, are most, emotionally engaging, come, primarily from TV and film and there's all kinds of reasons that is, you know, film especially is very, they call it transportive. So you just get totally lost in the story. You don't even realize you're taking information in. because you're engrossed with the characters, parasocial relationships, so seeing yourself in characters, having an actual relationship with them, that in a lot of ways is akin to relationships you have in real life, and, you know, going on the journey with them, all of those things are, are just very impactful.
Carlyle: you think about the power of story all the time, but I think if you, if you're just a normal person, not in this field, maybe you don't even realize that that is how we're all constantly making sense of the world through stories. That's how we connect with people. You said that, uh, you work with a neuroscientist who said, it's a falsehood that storytelling is the best form of communication it's actually the only form of communication. And so, why are we having a problem doing that effectively in terms of climate action?
Anna Jane: So humans have evolved to tell stories for over 30, 000 years. always from the very beginning, um, it's how we remembered things because before the written word it was, you know, the better the story, the more likely you were to remember it and for it to, you know, travel further across different tribes to be remembered by and retold by future generations.
Um, it was You know, the best stories are what was were the most persuasive. It was how we you know, just persuaded people in our tribe and others around us. Um, it's also where we found joy in, you know, like, you know, retelling and telling these stories and comedy and, you know, helped cope with loss and death and change.
And so, and so it's, it is literally evolutionarily ingrained into us. We are storytelling animals. That has always been the case. It is still the case today, whether or not people realize it. Uh, and what Dr. Angus Fletcher, uh, was talking about, who was an advisor on our playbook for screenwriting in the age of climate change is if you're not being given information in a story, you're either attaching it to a story that you already have, um, or you're just completely blocking out the information and not taking it in. Um, which, you know, we can see quite evidenced by how, you know, how people are, dealing with climate change and how, kind of far right conservatives and climate deniers and, people in the climate space and progressives and moderates can look at the same amount of information, come up with dramatically different stories and conclusions and act on them accordingly.
Or, you know, the vast majority of people who are not scientists or policy wonks or If they're given information that is issue focused, that is hard to comprehend, that is not interesting, they're just blocking it out.
Carlyle: so how does Good Energy work with Hollywood? How do you work with screenwriters? What's the relationship like there?
Anna Jane: So it's really, um, there's kind of two pieces to the work that we do. Part is inspiration, bringing them a larger menu of riveting characters and climate stories beyond just the apocalypse, uh, eco terrorist and shame, or just really, really boring, or really, really terrifying news stories that they don't really understand and don't spark ideas.
We do that through convenings. We do that through a lot of media. Uh, we do that through, uh, directly consulting on television and film projects and then the kind of, and then we do academic research so that we know that we have a baseline to start with.
So we, we wanted to test my hypothesis that, uh, there wasn't enough climate in TV and film, uh, scripted TV and film in particular. And so we worked with USC's media impact project at the Norman Lear Center and looked at over 37,000 scripts that aired between, uh, 2016 and 2020. Um, and only 2. 8 percent of them mentioned climate change or anything related to it.
Carlyle: 2. 8%.
Anna Jane: 2.8% between 2016 and 2020.
Carlyle: Was that surprising to you?
Anna Jane: I knew it was really, really low, but that is really, really low. So, um, so I wouldn't say surprising, but, uh, you know, it was good to know where we're starting from and, and, being able to measure our progress,
Carlyle: Well, I guess if you were just to list what you're hearing from, writers and other people involved in Hollywood at, at why there, there's not more on screen representation of, of the climate crisis now, what do you think are the biggest challenges?
Anna Jane: I would say there was a lot of fear at the beginning. Like one writer told me that there were two things you never pitch in a writer's room and it was abortion and climate change, because it would just be shot down as being too political, being something that would alienate audiences or that was, just especially with climate, there was a lot of fear that it was just boring, and would come off as preachy.
Um, and so showing the economic value of these stories is a, it is a big. carrot, especially for executives, but also writers. Writers need their stories to be commercially successful too.
Carlyle: you grew up on the Gulf Coast and also in the North Carolina Mountains, and you recently wrote an op ed about Hurricane Helene for the L. A. Times and around the same time you were at the New York City Climate Week, and you describe all this like happy sun imagery and signs that say hope and you wrote: “there's no solving a hurricane wiping out Western North Carolina, hundreds of miles from the sea. Only focusing on optimism is like telling a cancer patient that everything will be okay if they just stay positive.”
So I think a lot of people working in storytelling struggle with this balance and in the climate space. And I want to ask you about how you think about this
Anna Jane: Yeah. I mean, I, in the climate movement, I think some ways there's as much, as much climate denial in the climate movement as outside of it, which is, you know, psychologically necessary. you can't just sit around thinking about this. How scary all this is and be able to function as a human being and do your work.
So you have to kind of compartmentalize, um, but I think that that draw to optimism and hope I, I, I've always referred to it as, uh, uh, rainbows and solar panels. makes sense from a psychological perspective when you're immersed in this all the time, but I just think the best stories, the only stories that really have impact are authentic and, and people who are paying attention to that, which is this crisis, which is more and more people know we're in a crisis and know there's not an easy solution to this crisis.
And so you have to be honest. You know, and authentic about, this being a challenge that we need a lot of courage and a lot of people to be involved in, but we also have to honor that there are already places that we have lost. There's already people who have died, you know, including in Asheville and, and Western North Carolina just recently.
Uh, there's places that even if we stopped burning all fossil fuels tomorrow would still not make it. You know, there's places that have already been lost, South Pacific islands, and the Gulf coast, especially, I don't think it's, even if, if we stopped burning fossil fuels tomorrow, the Gulf coast is still going to suffer a lot.
People are still going to migrate. It's not going to look like what we know, you know, that we know and love where my family has spent generations. Um, And so we have to honor that we have. We can't pretend like that's not a big part of this. honoring that grief, helping people to work through it, the anger, anxiety, the uncertainty, the fear, the terror, all of that has to happen.
And stories are an amazing way to help do that. And that is a climate action, right? Because that is what moves people from a place of overwhelm to a place of agency and feeling like they have the emotional in addition to the practical information to be able to do something about this. And so even if it's a story that shows no kind of solution, no kind of action, no kinds of, happy ending, um, that just acknowledges to the audience what you're feeling is real, it is understandable, showing people, that you can relate to, um, experience. Experiencing those emotions. Those are critical stories. Those are the stories I need the most, you know, but of course we also need hopeful stories where there are happy endings where solutions are a big part of it. Uh, communities working together, all of the incredible victories, and we should be showing those and celebrating them and showing all the amazing multidimensional flawed humans who made those things happen and the struggles that ensued, but it has to be all of them, you know, it has to be, and they have to be authentic and honest stories or they just won't persuade and reach people or move people.
Carlyle: So what do you hope will come from increasing storytelling on screen about climate change?
Anna Jane: The goal is not to, you know, inspire people to become climate activists to pass legislation. You know, the goal, like that is one part of it or a piece of it that I hope some stories do.
But it's also just to help people learn how to be human in the age of climate change and whatever that means to them in a variety of different kinds of stories that evoke a variety of different kinds of emotions. Um, because we will not, you know, humans have never survived without stories. We would not have survived without stories and we will not survive this without stories.
Carlyle: Well, Anna Jane, thank you so much for joining us and talking to Sea Change.
Anna Jane: Awesome. Thank you so much for having me.
OUTRO
Thanks for listening to Sea Change. This episode was hosted by me, Eva Tesfaye, and Halle Parker. Sea Change’s managing producer, Carlyle Calhoun conducted the interviews. Our sound designer is Emily Jankowski and our theme music is by Jon Batiste.
Sea Change is a WWNO and WRKF production. We're a part of the NPR Podcast Network and distributed by PRX. Sea Change is made possible with major support from the Gulf Research Program of the National Academy of Sciences, Engineering, and Medicine.
WWNO's Coastal Desk is supported by the Walton Family Foundation, the Meraux Foundation and the Greater New Orleans Foundation. We'll be back in two weeks!
