Why Market-based Solutions Won’t Solve the Climate Crisis

‘Capital is seeking a path to maintain rather than to change.’

For those of us who are deeply concerned about the rapidly escalating climate disaster (like yours truly), it was certainly great to hear prominent voices in finance – such as hedge fund manager Larry Fink of Blackrock – start to express the need for urgent action in recent years. The days of climate denial and massive lobbying of the fossil industry are finally over, so it seems. However, according to Adrienne Buller, researcher at think tank Common Wealth, we have only moved on to a new illusion called ‘green capitalism’. Her book ‘The Value of a Whale’ is an antidote against the wishful notion that ‘the market’ is going to solve all problems.

It is easy to understand the appeal of green capitalism to politicians and investors alike. Through measures like ‘carbon offsets’, green capitalism aims to solve climate and biodiversity problems with minimal disruption to the current economic system. Carbon offsets make it possible for businesses to pay somebody to plant forest, so they can keep on polluting.

Ironically, in recent bootleg fires in Oregon and California, thousands of square kilometers of forest went up in smoke that was designated for the carbon offsets of companies including BP and Microsoft. Our response to ecological disaster is still determined by old economic thinking. Our institutions are still very much in the grip of this old mindset and this is the reason we are not making any real progress in addressing the escalating climate emergency.

Putting a Price Tag on Everything
The book is called ‘The Value of a Whale’ because in our current political climate every discussion about the ecological crises we are facing is framed in terms of markets and profits. In the neoliberal frame of mind, a transition directed by governments is considered undesirable and without chance. Reducing emissions will create untenable burdens for citizens and enormous debts for future generations. The only solution is that markets must solve the problem. To do this, the externalities of ecological damage must be adequately priced.

The IMF (International Monetary Fund) actually calculated the value of a whale. A specimen of the great whale is valued at two million dollars. This is based on its carbon capture capabilities and tourism income. The author says it may be weird to put an animal in a spreadsheet, but when discussing green capitalism the question is very relevant. After all, the global trade in carbon molecules is about to begin.

So why does Buller believe that putting a price on carbon won’t solve the climate crisis? The first problem is a practical one. Our current global economy is completely dependent on the earth’s ecosystems. These highly complex interdependencies are impossible to capture in prices, models and financial products. A second problem is that carbon pricing is employed because many economists find it the most efficient solution. But do we need efficiency? To radically reduce emissions, we need effectiveness more than anything. We also need solutions which are ethical and just, and carbon pricing doesn’t address these considerations at all. If a billionaire wants to be launched into space for fun? Fine, as long as he pays. Pricing is no equalizer for all parties.

ESG in Financial Markets Falls Short
During the Covid19 pandemic, the financial world saw a major boom in ESG (Environmental, Social and Governance). ESG-labels are given to funds that invest ethically and environmentally conscious. More awareness is a good thing, right? Yet, argues Buller, we are falling way short to what we could do. Let alone what we should be doing to prevent global warming to pass 1,5 degrees which is the upper limit to remain safe on the planet (which is already out of reach, says Bill Gates).

The problem with ESG-ratings, Buller writes, is that they are mostly concerned with reporting, and not so much with realizing actual impact in reducing carbon emissions. Again, they are not effective, except in greenwashing the activities of the financial sector. What we need to accomplish in a very short timeframe, is the recreation of the infrastructures of the global economy (energy, transport, agriculture, fertilizer, etc). Is carbon pricing the best means to do this? Why let markets decide rather than just designing an effective reduction plan? Because the latter solution would be far more disruptive to companies and capital. Carbon pricing gives politicians an excuse to not enforce much stricter regulations sooner. States and political operatives can use carbon pricing to visibly respond to democratic demands for action while minimizing individual accountability and, crucially, avoiding direct confrontation with fossil capital or with the underlying economic dynamics in which the ecological crises originates, namely the accumulative, expansionary and externalizing drives of capitalism.

In the EU, reducing emissions is therefore left to the free markets in the forms of tradable permits. Smart financial engineers have already developed derivatives around these permits that can be traded and swapped. Some large polluters have profited from these financial instruments to make money from polluting rather than paying for it. Little studies have been done into the effectiveness of carbon pricing, but the ones that have been done in the EU conclude that 0% or 1,5% lower emissions were accomplished. And this is considered the crown jewel of progressive EU climate policy! The fact that big companies are embracing carbon pricing, should be a clear marker that they see this as relatively painless measures. They can continue to do business as usual, add some more ESG-reporting to please regulators and capital providers, and as a bonus get a nice branding story to tell their customers. All this, once again, distracts from creating serious regulation with the much needed impact.

Another problem, even if big polluters want to change radically, is that they need their shareholders to go along. Shareholders are insulated from responsibility from the ecological and social havoc their investments cause. As we have seen in the 2008 financial crisis, society bears the risk. Asset management giants Blackrock and Vanguard own 20 percent of most S&P 500 companies. with the threat of huge selloffs, they can sway every management to first and foremost protect their investments. For the hugely influential asset management industry only one thing counts: the aggregate growth of the total asset pool.

ESG-investing might give us the impression that investors are moving their money from dirty to clean companies. In reality, it is mostly money changing hands between stock investors. There is hardly any link between these investments and the actions taken by a company. ESG is good at creating the impression of material progress while very little is really accomplished. Investing, Buller writes, is very different from making an investment. Investing might be entirely speculative with no material impact in the real world. A lot of money is made from failures.

Conclusion
The current ‘green capitalist’ movement is designed for – the name says it – capitalists, whose primary aim was and always will be accumulation. Because of the nature of climate risk with radical uncertainty due to cascading and self-reinforcing impacts, complex feedback loops and potential tipping points, we must adhere to a ‘precautionary principle’ – taking all the steps we are capable of in recognition of the fact that even a small chance of a catastrophic outcome is not one worth taking. Capitalism cannot and will not do this.

Yes, we are still trapped in old economic thinking. Even the lauded EU Green Deal is not based on rapidly curbing emissions, addressing inequality, reducing materials and so on. Rather, the inherent bias of world leadership and our international institutions is toward an imagined market-led efficiency of capital allocation that will not be realized, and which has no likelihood of being effective at delivering on the immensely complex challenge of overhauling our economy’s relationship with the natural systems that support it. Priority is on the creation and guarantee of new profitable areas for investors.

There is no easy solution going forward, but as Buller argues, market-based thinking isn’t it. We have to open our minds to how we want to live and what is ecologically possible, and organize our societies accordingly. Then we need strong political leaders to make this happen and accept that a price will have to be paid by everybody.

TV Dungeon: Six Feet Under

(2001 – 2005, USA)

Creator: Alan Ball
Cast: Peter Krause, Michael C. Hall, Frances Conroy, Lauren Ambrose, Mathew St. Patrick, Freddy Rodriquez, Rachel Griffiths

5 Seasons (63 Episodes)


‘Every Day Above Ground is A Good One’

Alan Ball, the screenplay writer of American Beauty, once again displays his darkly comic view on suburban life (and death) in a series of marvelous splendor. This time around we follow the Fishers, a family that runs a funeral parlor in Los Angeles. After father Nathaniel Sr. (Richard Jenkins) dies in the pilot episode (comically getting crushed by a bus while lighting a smoke in his new hearse), his funeral business is left to his two sons Nate and David.

Nate (Peter Krause), the oldest son, is a good-looking, somewhat egocentric guy who never had much interest in the family business. David (Michael C. Hall) on the other hand has almost made it a sacred task to become a skilled mortician. He is frustrated that his father was always more fond of his brother Nate that he has now left half of his business. But mostly he resents himself for his homosexuality. This is communicated to the audience through conversations between David and his deceased father. Talking to the dead is a normal phenomenon in Six Feet Under. It is also used as a device to let the characters self reflect and express their feelings to the audience.

The youngest sibling is spontaneous daughter Claire (Lauren Ambrose) who is introduced while she is taking crystal meth with her new boyfriend Gabe when hearing the news of her fathers death. Mother Ruth, portrayed with great intensity by Frances Conroy, deals with her husband’s loss by throwing herself in a series of relationships. She frequently expresses her strong need to share more with her family, but never really opens up herself. She is a character that can easily switch from sympathetic to sometimes downright abominable. A trait all the major characters in the series share at some point during the five season stretch.

All the characters and their relationships evolve greatly throughout the series. From Nate’s difficult relationship with the initially self-centered Brenda (Rachel Griffiths), a young woman who was exposed to psychiatry at a young age and is now living the self fulfilling prophecy that everything will go wrong, to David’s relationship with the handsome black policeman Keith (Mathew St. Patrick) who also went through a difficult childhood. Then, there is also the ambitious mortician Federico (Freddy Rodriquez), the very conventional and often bourgeois apprentice of Nathaniel Sr. who wants a partnership in the Fisher’s business. Both Ruth and Claire go through several relationships throughout the series that basically all fail at a certain point.

All the cast-members perform exceptionally well. Nate is portrayed with great confidence by Krause, who can switch from selfish to empathetic in no time. Nate’s AVM seizures are nailed with frightening accuracy by Krause. Hall, who hardly had any acting experience at that point in his career, is unforgettable as David, the character that arguably goes through the biggest development during the course of the series. The excellent Conroy and Ambrose as Ruth and Claire complete the dysfunctional Fisher family with their tantrums and occasional outbursts. The regular cast is often accompanied by guest-actors such as Lili Taylor, James Cromwell and Kathy Bates.

The theme death is off course elaborately explored throughout the series. Every episode starts with the death of a one time appearing character. These deaths are always perfectly in line with the feel of the series as they range between sad, dramatic, disturbing and funny. The mourning process is also fantastically observed and much attention has been given to the prosthetic effects used to create the often mutilated corpses that the Fisher’s have to embalm. The themes are all beautifully interwoven and composed with subtle visual symbolism, clever humor and poignant situations. The beautiful cinematography is evident from the brilliant opening credits on to the dreamy sequences later in the series.

There is a political agenda as well. David and Keith struggle with the unfair treatment of homosexuals and Claire’s left-liberal ideas clash with George Bush’s America. Six Feet Under is one of these shows where everything fits in perfectly. The greatest triumph is perhaps the shimmering final act (more specifically the final four episodes of season 5). It is beyond much doubt that Alan Ball and his team of writers, actors and directors have created the most memorable ending to a TV series to date. Not to say that the preceding stuff is not worthwhile. It is a powerhouse series on both comical and dramatic grounds and I urge you strongly to watch it. It might change your outlook on life, and it will certainly affect your view on death.

Double Bill #03: The Terminator & Terminator 2: Judgment Day

Forget all the sequels for a minute, and consider the first two The Terminator movies as a diptych. As a diptych, they work perfectly. The first one is a hyper tense thriller, the second one a sensational action movie. The major downside of The Terminator movies, I always thought, is that you have to accept an extremely unlikely plot point. We’re supposed to buy that in the future, the resistance somehow found out about the machines’ new time travel capabilities, and destroyed their one and only time machine after they used it for the very first time. Not only that, the resistance also managed to send through one of their own soldiers before they blew it up. Since the humans are shown to be pretty much cannon fodder in their own environment, how would they be able to penetrate the machines’ base of operations? Anyway, this plot device was necessary to get a futuristic killer robot into the present to stalk the Conners (Sarah in the first, John in the second). Once you accept this unlikely scenario, the execution of both movies is pretty much perfect. In the first Terminator, Schwarz is truly scary as the ultimate hunter-killer. A great move by writer-director James Cameron is that Arnie’s T-800 joins the good team in part 2, but it is now technologically outdated. The new and improved terminator – the T-1000 – is perhaps the coolest non-human character ever created for a film. These movies have inspired countless others with their stories and special effects. The Matrix would never have happened if it wasn’t for these terminators. With more than a whiff of philosophy (“it is in your nature to destroy yourselves”), the two The Terminator movies also deliver deeper, underlying messages apart from just giving us the spectacle. Although there is more than enough from that. In T2, it even goes on pretty much non-stop. You could consider that another downside or just as a realistic screenplay measure following the unlikely time travel plot. After all, once you have a killer like the T-1000 on your tail, a non-stop rollercoaster is what you would get.

The Verdict – Crimes of the Future

The Master of Body Horror, David Cronenberg (now 79 years old), returns with a concept typical for him. In an unspecified future, evolution has taken a weird turn; humans don’t feel pain anymore and some grow new organs at rapid speed (‘accelerated evolution syndrome’). One of these persons is Saul Tensor (Viggo Mortensen, also getting older but he still ‘has it’). He forms a performance duo with Caprice (the always excellent Léa Seydoux). Together they perform the live removal of Saul’s newly developed organs in front of excited audiences. When Saul has a zipper in his stomach installed, which his partner finds sexually arousing and then performs fellatio on it, the movie reminds of a mix of Existenz (Cronenberg’s last science fiction film in which humans have a portal in their spine to connect them to virtual reality) and Cronenberg’s Crash (in which a group of people get sexually aroused from car crashes). It is typical of the Canadian writer/director to try to turn his audience on with images of grotesque organically shaped technology and horribly morphed bodies and their insides. It is a weird movie, even by the standards of the King of Venereal Horror, but those who have become accustomed to his style know it is probably also strangely fascinating. And it is. What also helps is the eerie music by his regular composer Howard Shore and the great cast, which also includes Kristen Stewart. How did he ever prepare his actors to get into character for this freakish story?

Crimes of the Future is now available on Amazon Prime

The verdict: to stream or not to stream? For Cronenberg completists, to stream. For all others it depends; can you stomach a dancer with his mouth and eyes sewn shut and ears attached all over his body?