Studies on crisis communication show that storytelling can expand people’s imaginations, their sense of possibility, and their motivation to engage. They demonstrate that hope and agency can be fostered through nuanced and non-manipulative narratives. Sustainability is of course NOT something that can be imposed on creators or audiences. The task is to develop stories that invite reflection and make sustainable futures conceivable without prescribing them. Research shows that media coverage of the climate crisis peaked around COP15 in 2009 and has declined ever since. Looking at Jyllands-Posten, Berlingske, and Politiken climate communication is at a relatively low level in 2025. One of the challenges is that many people are fed up with statistics, graphs, worst-case and dystopian scenarios. And unlike crises such as pandemics or wars, the climate crisis has no endpoint. Communicating it therefore requires long-term motivation and emotional endurance, In the film and series domain we see some examples of stories engaging meaningfully with climate-related themes. For instance, the TV 2 series Families Like Ours. Or Phie Ambo’s Fire, Water, Earth, Air. They explore human–and nature relations in thoughtful ways. Such examples demonstrate that climate-conscious storytelling IS possible and can be artistically rich also. The researcher Maxwell Boykoff argues for more creative modes of engagement, pointing to formats such as climate-themed stand-up as ways to reconnect audiences emotionally with climate debates. He suggests a broader need for creative approaches to sustainability communication. Film and series have particular potential. They allow audiences to experience crises through characters — to understand their perspectives, dilemmas, and feelings. Underdog characters often manage to illustrate how agency can emerge even in constrained circumstances.