Climate change denial: a history

“Climategate” was the latest in a long line of baseless, right-wing attacks on scientists.

On 31 March, the House of Commons science and technology committee, charged with investigating potential wrongdoing by Phil Jones and his colleagues at the University of East Anglia (UEA), concluded that there was "no case to answer" on the allegation of scientific dishonesty. An international panel commissioned by UEA in consultation with the Royal Society agreed. Yet, after a media frenzy back in December over what was inevitably called "Climategate", the vindication of the climate scientists has received very little coverage at all.

Vindication is not as sexy as accusation, and many people are still suspicious. After all, some of those emails, taken out of context, sounded damning. But what they show is that climate scientists are frustrated, because for two decades they have been under attack.

In the late 1970s, scientists first came to a consensus that global warming was likely to result from increasing greenhouse gases released by burning fossil fuels. This idea had been around since the turn of the century, but the development of computer models now made it possible to make quantitative predictions. Almost immediately, a small group of politically connected and conservative scientists began to question these conclusions. As the scientific evidence got stronger, their attacks became more unprincipled. They used data selectively and often misrepresented what was being published in the scientific literature.

In 1992, world leaders gathered in Rio de Janeiro to sign the United Nations Framework on Climate Change. President George W Bush promised to translate the written document into "concrete action". Three years later, the Intergovernmental Panel on Climate Change (IPCC) declared that the human impact on the earth's climate was no longer a prediction, but an observed fact. That's when things started to get ugly.

In the early 1990s, a group of sceptics claimed that Roger Revelle, one of the first climate scientists, had changed his mind about global warming and no longer believed it was a serious problem. The claim was repeated through several news outlets, including the Washington Post. When a graduate student named Justin Lancaster - who had worked closely with Revelle before his death in 1991 - tried to insist that Revelle had not changed his view, he was sued for libel. Lancaster was obliged to settle out of court. The charges were repeated again and again, and echo on the net today.

In 1996, when the IPCC released its second assessment report, stating that the human impact on climate was "discernible", a fossil-fuel-industry-funded group called the Global Climate Coalition accused the IPCC author Benjamin Santer of making unauthorised changes to make global warming appear more certain than it was. The following year, Frederick Seitz, chairman of the libertarian George C Marshall Institute, repeated the charges in the Wall Street Journal in an op-ed piece headlined "A major deception on global warming".

Letters were sent to US members of Congress demanding an investigation and then from Congress to the US energy department, demanding that it withdraw funding from the laboratory that employed Santer.

Massive attack

Had Santer made unauthorised changes to the IPCC report? No: his changes were made in response to peer review. He was doing what every scientist is expected to do - and what IPCC rules required him to do - accepting criticism and using it to make the science clearer. Frederick Seitz was a former president of the National Academy of Sciences, so it was not plausible that he did not know about the peer-review process.

In 2007, the claims were repeated in Unstoppable Global Warming: Every 1,500 Years, a book whose premise is that "human-emitted CO2 has played only a minor role" in contributing to global warming. The authors are Dennis Avery and Fred Singer, a physicist with a track record of challenging scientific evidence who had taken part in the previous attack on Santer.

Both the IPCC and Santer's co-authors took considerable pains to set the record straight, denying that Santer had done anything wrong. Yet, in their book, Avery and Singer reassert that "scientific reviewers discovered that major changes had been made 'in the back room' after they had signed off on the science chapter's contents" and that "Santer single-handedly reversed the 'climate science' of the whole IPCC report". The idea that any one individual could reverse the entire IPCC process is absurd, and yet, like the "Revelle changed his mind" claim, it remains on the internet today.

Climate scientists have been subjected to repeated attacks of this kind. In 2005, Congressman Joe Barton of Texas demanded that Professor Michael Mann, director of the Earth System Science Centre at Pennsylvania State University, produce a huge volume of paperwork relating to his research. In February, Senator James Inhofe of Oklahoma accused a dozen climate scientists of criminal violations of federal law, based on alleged evidence contained in the UEA emails. Recently, Virginia's attorney general, Ken Cuccinelli, went after Mann again, asking for the University of Virginia to produce thousands of pages of documents relating to Mann's work when he taught there.

We, too, have been objects of attack. When one of us (Naomi Oreskes) published a review in the journal Science of the book The Republican War on Science, in which we noted some connections not pursued in that book, Science was threatened with a lawsuit unless it published a rebuttal. (We supplied documents, Science held firm, and the threat went away.)

Blaming scientists for speaking truth to power is an old story. Scientists have long recognised that both the government and public can be
reluctant to accept scientific evidence leading to discomfiting conclusions. In 1949, when the USSR detonated its first atomic bomb, the US had to face the reality that it had lost its monopoly on nuclear weapons. Scientists had been warning of this since 1945, but the success of their predictions did not increase their standing. When they then said that any attempt to stay ahead of the Soviets by building the H-bomb would only speed up the arms race, they were accused of being disloyal. As Harold Urey, who won the Nobel Prize in Chemistry in 1934, wrote: "Because we [scientists] told disagreeable truths, we have even been accused of wishing to give up our progress because we are impractical dreamers or plain traitors."

What is most disagreeable to many "resistors" of global warming is the fear of climate change being used as a warrant for heavy-handed government intervention. There is a parallel with 1949: fear of the Soviet Union then was not fear of a potential invasion, but that the Soviets would export communism to Europe, from where it might spread to the US.

Today, US conservatives and right-wing com­mentators are red-baiting once again. In December, the columnist Charles Krauthammer alleged that "with socialism dead . . . the left was adrift until it struck upon a brilliant gambit: metamorphosis from red to green". Patrick J Michaels, some-time policy scholar at the libertarian Cato Institute, labelled plans for a cap-and-trade system to control greenhouse gases as "Obamunism". The irony is that in 1990, Bush installed a cap-and-trade regime to reduce acid rain because it was an acceptably market-based mechanism. Yet now, when Congress is finally taking the model seriously, conservatives call it communism by other means.

Market failure

“Climategate", and the wider attacks on climate science, had nothing to do with the science itself, and neither did the entire earlier history of global-warming denial we have studied. Scientists have just been an easy target. The real issue is the politics of defending the free market.

Since the mid-1990s, the fossil-fuel industry has made common cause with old cold warriors, maverick scientists and conservative and libertarian think tanks to undermine climate science. The obvious reason is that climate change is what Nicholas Stern calls "the greatest and widest-ranging market failure ever seen". If the free market has failed, then governments will need to act. And that is precisely what various constituencies, from Inhofe to Cuccinelli and a host of think tanks, do not want. It was also what Seitz and his colleagues didn't want. These scientists were passionately anti-communist, and viewed any form of government regulation as a step towards socialism.

No wonder we see the rise of McCarthyite tactics today: the stakes, at least in some people's eyes, are the same. But what these people seem to have forgotten from the 1950s is that McCarthyism didn't just destroy the careers of many innocent people: in the end, it destroyed Joe McCarthy, too.

Naomi Oreskes and Erik Conway are the authors of "Merchants of Doubt: How a Handful of Scientists Obscured the Truth on Issues from Tobacco Smoke to Global Warming", published by Bloomsbury (£20)

This article first appeared in the 31 May 2010 issue of the New Statesman, The war on the veil

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Seasons change, Gilmores stay the same

Gilmore Girls is fundamentally about two things: inheritance and community. The four seasons are crucial in exploring those themes.

If you’re out on the road, feeling lonely and so cold / All you have to do is call my name / And I’ll be there. The Gilmore Girls theme, a special version of Carole King’s “Where You Lead” featuring extra vocals from her daughter, plays each episode over images of autumnal New England foliage, and always reminded me of another song on Tapestry, “You’ve Got a Friend”. Winter, spring, summer or fall / All you have to do is call / And I’ll be there.

“Winter”, “Spring”, “Summer” and “Fall” are the episodes that make up Gilmore Girls: A Year in the Life, Netflix’s revival of the Noughties TV series. Fans won’t be at all surprised to see Netflix lean on the four seasons to organise the new show, a fundamental principle of the original series. This integral structure remains even as they dispense with other structures of the previous seven seasons, instead of the original 22-episode year, there are just four episodes used to narrate the Gilmores’ 2016, and each one has ballooned from 45 minutes to 90. And that familiar opening? Gone.

MISS PATTY: And flutter, flutter, flutter, flutter, flutter… and leaves! Where are my leaves? I got pumpkins, I got Pilgrims, I got no leaves.

Until 2016, every episode of Gilmore Girls included the same opening credits, with shots of red and gold leaves, a Connecticut town in the throes of autumn. So, those leafy fall shots would appear at least once an episode, even though the show’s picture-perfect town, Stars Hollow, would spend each series transitioning in and out of each of the four seasons. Of course, Stars Hollow is not a real place under the influence of real changes in the weather: it’s filmed on the perpetually sunny Warner Brothers lot in Los Angeles. And New England is so inextricably associated with autumn splendour, Stars Hollow so relentlessly idyllic, you might have expected the makes of Gilmore Girls to suspend Stars Hollow in a perennial fall, with Rory and Lorelai clutching hot coffees as they tread autumn leaves underfoot all year round. (It might make thematic sense, too: Gilmore Girls’ narrative of a precocious 16-year-old, brimming with brains and potential, slowly failing to achieve her own impossible goals fits both with the season’s connotations of academic beginnings and promise, and with its longer-standing cultural affiliation with maturity, pensive reflection and wistfulness.)

DARREN: Stars Hollow is charming. The last time we drove through there, there was a pumpkin patch.
LORELAI: Sounds like us.
DARREN: In March.
LORELAI: Oh, that would be the year the pumpkins arrived late.

The idea of Stars Hollow in perpetual autumn even comes up in a few episodes. Pumpkins arrive in March, autumnal events continue until the very end of November. Fall decorations are seemingly mandatory for local businesses.  But while every Gilmore Girls viewer can immediately conjure an image of Stars Hollow in fall, so too will they have an equally memorable selection of images of the town in winter, spring, and summer. No season goes unmarked. In fact, in the hyperreal utopia of Stars Hollow, seasons are exaggerated and picturesque: an overabundance of harvest vegetables, fluffy snow, budding blossoms, or falling leaves.

LORELAI: Grass is just not this green — not outside of Pleasantville, it isn’t.
CHRISTOPHER: So, what exactly are you saying?
LORELAI: I’m suggesting they brought in sod.
CHRISTOPHER: You suspect sod.
LORELAI: Yes, or spray paint. Maybe they spray-painted the grass when they spray-painted these trees, ‘cause, I mean, there’s autumnal foliage and then there’s autumnal foliage. It’s over the top, people.

But the seasonal obsession is more than just a way to emphasise the perfection of Stars Hollow. It’s an organising principle for the show’s structure, action and themes.

***

When Kelly Bishop (the actor who plays the most senior Gilmore girl, Emily) received the script for Gilmore Girls, she was stunned by the sheer weight of it. “I kept flicking it over, and looking at the thickness of it,” she told EW. “It was too thick to be a sitcom.” Gilmore Girls, consisting of hour-long episodes that make little sense out of order, but with its emphasis on witty dialogue over dramatic plotlines, hovers in a strange space between sitcom and drama.

Sitcoms are, by definition, situational — they often rely on characters thrown together in a confined space, be it the family living room, friends flatsharing or colleagues in a shitty office space. Comedy is often drawn from the familiarity of the specific surroundings: as a result, fans of The Simpsons or Friends or The Office could accurately draw floor-plans of the shows’ unchanging sets. So, too, could you draw a map of Stars Hollow, if you’ve seen enough episodes (trust me, I’ve done it). The action of a sitcom is often suspended in time and space: episodes end back where they began, the next opening as though nothing of note has happened since. Dramas, though, tend to thrive on progression of both character and plot; casts moving inexorably forward through time and space.

LORELAI: God, the town looks beautiful.
LUKE: Same as always.
LORELAI: No, it’s always different this time of year. It’s magical.
LUKE: If you say so, sure. Oh look, there’s the magical plumbing supply store where I bought a magical float for my toilet last week.
LORELAI: You disappoint me.
LUKE: Oh look. There’s the magical Luke’s Diner, right underneath the apartment that Jess magically lit by leaving every stinkin’ light on.

So, for Gilmore Girls to straddle both these genres, Stars Hollow must hold most of the show’s action and the majority of its ensemble cast, while still allowing the passing year to make its mark on the town. The seasons allow this. Much of this work is done in the background, as the set design changes from episode to episode, but characters are also constantly remarking on the changes in the town with each passing month, as Lorelai does when snow envelops the square.

The result is not just a keen sense of place, but of a place moving through time.

***

TAYLOR: Every other store in town has fall decorations.
LUKE: Hoorah for the mob mentality.
TAYLOR: We’re talking a few streamers and a paper turkey. How’s it gonna hurt to have a paper turkey?
LUKE: No turkey, no squash, no pumpkins. Nothing colored orange.
TAYLOR: OK, you don’t like orange. That’s fine. Autumn has many varied hues to toy with. This is the Autumn Festival. Your shop is right across the street from the Horn of Plenty! You’re smack dab in the middle of everything. You have to decorate.
LUKE: I don’t have to do anything but serve food.
TAYLOR: We’re talking about the spirit of fall!
LUKE: You know where you can stick the spirit of fall?

Gilmore Girls, with its principle cast of family members, and its sprawling ensemble cast of Stars Hollow residents, is fundamentally about two things: inheritance and community. The four seasons similarly become an important device for exploring those themes.

Small rural communities have long organised themselves around the seasons. Stars Hollow is no different — except in the ridiculous extent of its embrace of all things seasonal. Each season of Gilmore Girls is organised around the constant onslaught of annual festivals: the End of Summer Madness Festival that, well, ends summer, the Teen Hayride, the 24-Hour Dance Marathon the Autumn Festival complete with Cornucopia Can Drive and Horn of Plenty, November’s Old Muddy River Bridge Knitathon, the commemorations of the Battle of Stars Hollow, the Winter Carnival, the Snowman-Building Contest, the Christmas Procession, January’s Founders’ Firelight Festival, the Bid-on-a-Basket festival, Groundhog Day, St Patrick’s Day, the Purim festival, a whole host of springtime weddings and engagement parties, the springtime Movie Night in the Square, the annual Easter Egg Hunt, the Hay Bale Maze at the Spring Fling Festival, and the Festival of Living Pictures are just selection of the events honoured in Stars Hollow.

LORELAI: Oh, hey! Turn out the lights.
LUKE: For what? It’s not the real procession, it’s just the rehearsal.
LORELAI: So, it’s pretty.
LUKE: And why do they need to rehearse it? It’s the same thing every year.
LORELAI: Come on Luke, please. It’s hard to imagine living somewhere else isn’t it?

These aren’t just background quirks, lending us an increased sense of familiarity with the town as we’re told over and over that these events unfold in the same, strange way every single year. They’re linchpins which hold key plot events in place. Both Jess and Dean tell Rory they love her, with less than positive consequences, during the supposedly romantic Founder’s Firelight Festivals. Rory’s romantic relationship with Jess speeds up when he bids on her basket at the Bid-on-a-Basket festival, which is also where Sookie and Jackson become engaged. Her relationship with Dean ends (the second time) in spectacular fashion at the Dance Marathon. Luke begins his romantic relationship with Lorelai when dancing with her amidst springtime decorations in the town square at Liz and TJ’s wedding. The list goes on.

The result is that the lives of our main characters, the lives of the smaller Stars Hollow characters, and small-town seasonal events are all inextricably linked to the same calendar. Particularly in the early seasons, every significant relationship, for both Rory and Lorelai, becomes rooted in the community of Stars Hollow. Public acts of citizenship and private expressions of love overlap. To live in Stars Hollow is to live every aspect of your life communally, communing with others, and with nature itself.

LORELAI: Do you know that the best things in my life have happened when it snowed?
RORY: Why, yes, I do.
LORELAI: My best birthday.
RORY: Your first kiss.
LORELAI: Your first steps. They all happened when it snowed.

***

The seasonal structure of the show also brings with it a sense of inevitability, as, in the midst of these reliable annual ceremonies, Gilmore Girls explores ideas of inheritance across the generations. In the grand houses of Emily and Richard’s world (and Lorelai, Christopher and Logan’s youths) inheritance both metaphorical and literal is an encouraged part of family life: but it feels forced and uncomfortable, restricting individuality in favour of decorum and reputation. In Stars Hollow, inheritance functions in a different, but no less crucial, way: more subtle and natural, as constant and eternal as the circles of life. For children who grow up with their parents in Stars Hollow, inheritance seems predestined, even if it didn’t seem so to the characters it affects.  

Many characters are surprised by what they inherit from their parents: Luke never expected to care so much for his father’s old hardware store, Lane is shocked to discover that after years of aching to break out of her mother’s conservative ideals, she’s not comfortable with having sex before marriage. Jess never thought he would pick up a book on intimacy from his uncle Luke, let alone read it sincerely, nor to learn so much valuable advice from him about communication in relationships.

LUKE: You do not want to grow up to be like your mom.
RORY: Sorry, too late.

Of course, that sense of inescapable legacies is taken to extremes in Rory and Lorelai’s relationship: in the very first episode, Lorelai exclaims to her daughter, “After all, you’re me!” While Rory at 16  is, in some ways, a vision of everything Lorelai at 16 was not (responsible, excited by her education, chaste, keeping a constant, serious eye on her future), as the series unfolds, that changes, as Rory becomes more impulsive, reckless and romantic. Viewers are relentlessly confronted by parallels between Rory and Lorelai’s romantic choices: Christopher is to Lorelai as Logan is to Rory, Luke is to Lorelai as Jess is to Rory. Seasons change, Gilmores stay the same.

LORELAI: He kind of looks like Christopher.
LUKE: The grocery kid?
LORELAI: Yeah. He looks like Christopher.
LUKE: And Christopher is Rory’s dad?
LORELAI: The hair, the build, something about the eyes. He reminds me of Christopher.
LUKE: Well that’s not too surprising.
LORELAI: You’re going to quote Freud to me? ’Cause I’ll push you in front of a moving car. This talk was going so well.
LUKE: You and Rory are a lot alike. It’s not surprising you would have similar tastes in men.

It is an inexorable, unavoidable logic, then, that sees Gilmore Girls: A Year in the Life, a show with more interest in the unfolding seasons and the passage of time than ever, that sees Rory finally become her mother. The show’s much-anticipated final four words (“Mom,” “Yeah?” “I’m pregnant”) see Rory at 32, the same age as her mother when the series began, in a similar position to her mother at 16: single, pregnant, unfocused in her career. Some found it frustratingly obvious and pessimistic, others found it optimistic and apt. I’d sum it up in the same way Lorelai comments on her repeating circumstances with her own mother: with a grimly ironic toast “to the circle of life”.

But however you feel about the ending, Gilmore Girls has pulled off one impressive feat. As Lorelai and Rory sit together in the bandstand, and the show cuts to black, it doesn’t feel like the show has ended at all. The fictional landscape of Stars Hollow has a life that extends beyond the screen, as inevitable as the seasons themselves.

Anna Leszkiewicz is a pop culture writer at the New Statesman.