RAINN WILSON

The stories we tell as artists cannot ignore the science, writes the co-founder of Climate Basecamp

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SAMUEL BECKETT WOULD HAVE BEEN AS DELIGHTED AS A TODDLER with a bubble blower at the dark absurdity of my situation. On Nov. 6, 2024, hundreds of people braved Los Angeles traffic and sat for the first preview performance of Beckett’s Waiting for Godot at the Geffen Playhouse. An eerie, discordant sound cue droned as I waited for the lights to bloom and thereby begin the 2½-hour odyssey of despair and postmodern hijinks. But as the lights came up, I had only one thought: “I wonder what the hell is left of my goddamn house?”