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Charlotte Gill – The Daily Sceptic Aug 4, 2026

This week, The Great British Sewing Bee managed to push the climate agenda into its otherwise harmless show in what was termed “Reduce, Re-use, Recycle Week”.

Sewers were given three tasks “focused on the environment and sustainability”: first to create underpants from old t-shirts; second to transform material intended for landfill into “a garment with drama at the back”; and third to make outfits with an environmental message.

The third challenge was by far the most ideologically heavy-handed. “Throughout history, fashion has been used as a tool for protest, a statement for resistance and a spark for social change,” began presenter Sophie Willan, introducing the task to contestants. “So the judges want you to create an outfit with an environmental message that’s close to your heart.”

When quizzed later about the impetus for the challenge, Sewing Bee judge Patrick Grant told Willan: “Fashion designers have always been people that are kind of very socially engaged, and a big part of that is them having strong views on all sorts of things, and they want to put those forward through the clothes that they make.”

Luckily the designers didn’t seem to mind having their “strong views” decided for them by the judges and programme creators. “It is incredibly important to be environmentally conscious. Because we’re killing the planet,” one sewer was filmed saying. Another making a “Save Our Seas” protest dress was asked by Grant: “Why is the plastic thing so important to you?” She replied: “It’s so detrimental to the animals and the beauty of the sea.”

The show also featured a segment with a fashion historian on how “fashion has been at the heart of many protest movements”, from the Suffragettes and the Women’s Social and Political Union, to Black Lives Matter and environment activists. The message was clear: environmental activism makes you anti-Establishment, rather than utterly conformist and useful to the extremely wealthy eco industry.

As if that wasn’t enough indoctrination, this same week the BBC streamed The Rapture, a psychological thriller based on the book by self-described “climate and ecological fiction writer” Liz Jensen. It follows Bethany Krall, a 17 year-old locked in a high-security psychiatric hospital who can predict the future – including adverse weather events. “As temperatures rise, a convicted murderer foretells apocalyptic disaster – is she a manipulative psychopath or does she know the truth? High-stakes thriller crackling with danger,” reads the BBC description of the show.

The Rapture is packed with references to climate change, and it soon becomes obvious who the goodies and baddies are meant to be – the latter often being people who say the UK needs a mixed energy portfolio including oil (how evil!) In one scene, a goodie character explains how a baddie organisation was “lobbying to overturn Net Zero” (the horror!)

Viewers will have no idea that the show was informed by climate consultants from the organisation Climate Spring, whose funders include the Wellcome Trust (which received £105,998,100 from taxpayers between 2020-24), Unbound Philanthropy (based in the US), and Luminate, the philanthropic arm of Pierre Omidyar, a French-born Iranian-American who founded eBay. Why are these foreign funders helping to promote climate narratives on British TV, you might quite reasonably wonder.

Climate Spring works with ITV, Channel 4 and many others (such as Mammoth Screen, which produced The Rapture) to embed climate narratives into film and TV. It is a partner of the Climate Playwriting Prize, in which a winner will be optioned for Shakespeare’s Globe, among other initiatives.

Unfortunately this is just the tip of the iceberg when it comes to ‘Edutainment’: entertainment that tries to ‘educate’ viewers into political positions, in this case on the climate. Shockingly, for years the taxpayer- and National-Lottery-funded Arts Council England (ACE) has been asking artists to show their commitment to “Environmental Responsibility” when applying for grants. This is listed as one of ACE’s four “Investment Principles”, which also include “Inclusivity and Relevance”.

Personally, I find it very hard to make sense of the science on climate change: it’s an enormously complex subject that I am not an expert on. What I do know is that using drama to promote climate narratives is a quick way to suggest your side deals in fiction.

Charlotte Gill regularly publishes about the use of taxpayers’ money to fund Left-wing causes and Left-wing researchers in Woke Waste, her Substack. You can subscribe here.

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