Want to know how the world really ends? Look to TV show Families Like Ours

The Guardian

11-05-2025

The climate crisis has taken a new and frightening turn, and in the expectation of disastrous flooding, the entire landmass of Denmark is about to be evacuated. Effectively, the country will be shutting itself down and sending its 6 million people abroad, where they will have to cope as best they can. Huge numbers of northern Europeans are therefore being turned into refugees: a few might have the wealth and connections to ease their passage from one life to another, but most are about to face the kind of precarious, nightmarish future they always thought of as other people's burden.
Don't panic: this is not a news story – or not yet, anyway. It's the premise of an addictive new drama series titled Families Like Ours, acquired by the BBC and available on iPlayer. I have seen two episodes so far, and been struck by the very incisive way it satirises European attitudes to the politics of asylum. But what has also hit me is its portrayal of something just as modern: how it shows disaster unfolding in the midst of everyday life. At first, watching it brings on a sense of impatience. Why are most of the characters so calm? Where are the apocalyptic floods, wildfires and mass social breakdown? At times, it verges on boring. But then you realise the very clever conceit that defines every moment: it is really a story about how we all live, and what might happen tomorrow, or the day after.
The writer and journalist Dorian Lynskey's brilliant book Everything Must Go is about the various ways that human beings have imagined the end of the world. 'Compared to nuclear war,' he writes, 'the climate emergency deprives popular storytellers of their usual toolkit. Global warming may move too fast for the planet but it is too slow for catastrophe fiction.' Even when the worst finally happens, most of us may respond with the kind of quiet mental contortions that are probably better suited to literature than the screen. Making that point, Lynskey quotes a character in Margaret Atwood's novel The Year of the Flood: 'Nobody admitted to knowing. If other people began to discuss it, you tuned them out, because what they were saying was both so obvious and so unthinkable.'
These days, that kind of thinking reflects how people deal with just about every aspect of our ever-more troubled world: if we can avert our eyes from ecological breakdown, then everything else can be either underestimated or ignored. There is a kind of moment, I would wager, that now happens to all of us. We glance at our phones or switch on the radio and are assailed by the awful gravity of everything, and then somehow manage to instantly find our way back to calm and normality. This, of course, is how human beings have always managed to cope, as a matter of basic mental wiring. But in its 21st-century form, it also has very modern elements. Our news feeds reduce everything to white noise and trivia: the result is that developments that ought to be vivid and alarming become so dulled that they look unremarkable.
Where this is leading politically is now as clear as day. In the New Yorker, Andrew Marantz wrote, in the wake of Trump's re-election, about how democracies slide into authoritarianism. 'In a Hollywood disaster movie,' he writes, 'when the big one arrives, the characters don't have to waste time debating whether it's happening. There is an abrupt, cataclysmic tremor, a deafening roar … In the real world, though, the cataclysm can come in on little cat feet. The tremors can be so muffled and distant that people continually adapt, explaining away the anomalies.' That is true of how we normalise the climate crisis; it also applies to the way that Trump and his fellow authoritarians have successfully normalised their politics.
Marantz goes to Budapest, and meets a Hungarian academic, who marvels at the political feats pulled off by the country's prime minister, Viktor Orbán. 'Before it starts, you say to yourself: 'I will leave this country immediately if they ever do this or that horrible thing,'' he says. 'And then they do that thing, and you stay. Things that would have seemed impossible 10 years ago, five years ago, you may not even notice.' The fact that populists are usually climate deniers is perfect: just as searingly hot summers become mundane, so do the increasingly ambitious plans of would-be dictators – particularly in the absence of jackboots, goose-stepping and so many other old-fashioned accoutrements. Put simply, Orbán/Trump politics is purposely designed to fit with its time – and to most of its supporters (and plenty of onlookers), it looks a lot less terrifying than it actually is.
Much the same story is starting to happen in the UK. On the night of last week's local elections, I found myself in the thoroughly ordinary environs of Grimsby town hall, watching the victory speech given by Reform UK's Andrea Jenkyns, who had just been elected as the first mayor of Greater Lincolnshire. For some reason, she wore a spangly outfit that made her look as if she was on her way to a 1970s-themed fancy dress party, which raised a few mirthless laughs. She said it was time for an end to 'soft-touch Britain', and suddenly called for asylum seekers to be forced to live in tents. That is the kind of thing that only fascists used to say, but it now lands in our political discourse with not much more than a faint thump.
Meanwhile, life has to go on. About 20 years ago, I went to an exhibition of works by the French photographer Henri Cartier-Bresson – one of which was of a family of four adults picnicking by the Marne, with their food and wine scattered around them, and a rowing-boat moored to the riverbank. When I first looked at it, I wondered what its significance was. But then I saw the date on the adjacent plaque: '1936-38.' We break bread, get drunk and tune out the noise until carrying on like that ceases to be an option: as Families Like Ours suggests, that point may arrive sooner than we think.
John Harris is a Guardian columnist