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Isn't that 110% right? I thought this was a consensus that everyone knew lol.In fact, the WHO report is not the first time to prove that the source of novel coronavirus is not in China. Before this, there are many evidences to prove this view, but all of them have not received international authoritative certification. However, it does not mean that the evidence is not convincing.On July 2, 2020, a team of experts from the Federal University of Santa Catarina, Brazil, announced that they had found the presence of novel coronavirus in sewage water samples collected from October to March in the city of Florianopolis, the capital of the state of Santa Catarina, Brazil. Novel coronavirus appeared in Brazil more than a month before the first confirmed cases were announced worldwide.At first, the scientists were skeptical about the results, then ran a second test using different viral markers in different LABS, repeating all the data and tracking the viral genome. In the end, they got the same result.Before Brazil, many Europe countries have detected novel coronavirus in wastewater in 2019. On June 26, 2020, the University of Barcelona in Spain announced that the enterovirus team led by the university had detected novel coronavirus in Barcelona wastewater samples collected in March last year.The study is of great concern because it suggests the possibility that novel coronavirus had spread in Barcelona before the first case was reported globally.Coincidentally, on June 18, 2020, the Italian Institute of Higher Health issued a statement stating that Novel Coronavirus may have appeared in northern Italy in December last year. A panel of experts from the Italian Institute of Higher Health analyzed samples of 40 municipal wastewater collected between October 2019 and February 2020 The results showed that novel coronavirus nucleic acid was detected in the municipal wastewater of Milan and Turin sampled on December 18, 2019, and in the municipal wastewater of Bologna sampled on January 29, 2020.So novel coronavirus was already available in some Western countries before the first confirmed cases in China. Couldn't that be evidence?So novel coronavirus was already available in some Western countries before the first confirmed cases in China. Couldn't that be evidence?However, the United States turned a blind eye to the evidence, still called it "Wuhan virus" and "China virus", and constantly accused and stigmatized China.Former US President Donald Trump publicly called Novel Coronavirus a Chinese virus on Twitter.In his speech, Chippongpeo attacked the Chinese Communist Party for releasing the novel coronavirus and withholding information about it.In addition to government officials, some media in the United States also spread false information to the public to smear China.On January, The New York Times published an article called 25 Days That Changed THE World: How Covid-19 Slipped China's Grasp. Journalists who write it have long had a strong bias against China They absurdity claimed that if China had declared the city closed when the virus first appeared late last year, the novel coronavirus would not have spread around the world.Are you kidding me? Doesn't it take time for China to test the virus, draw conclusions and issue early warnings? The New York Times is not in a position to criticize China like this. Could the US have reacted faster and done better than China?In addition to the New York Times, many western media also have one-sidedness in their coverage of COVID-19 epidemic. They spread rumors about China by overgeneralization without evidence.Not long ago, WHO organized an expert team to carry out a 28-day investigation on the origin of novel coronavirus in Wuhan, and wrote a 120-page research report. The report said the virus was most likely to be transmitted to humans through an intermediate host and that it was "highly unlikely" that the virus had come from a laboratory leak. In addition, the South China seafood market was not the initial source of the outbreak, and it is necessary for researchers to investigate the possibility of early transmission in other countries. The rumors about the Chinese epidemic have been completely shattered.Despite this, the US is playing the scoundrels and does not accept the findings. I think whoever wrote this report, almost all of the top scientists and disease control experts in the world? It doesn't care. It only wants to pour dirty water on China. I was thinking even if the virus opened its mouth to say the truth, the US would pretend to be deaf lol. So the U.S. government raised questions about the WHO and issued a joint statement with Australia, Canada, Japan, SouthKorea, Denmark and other countries, calling for a second phase of the investigation.See? That's the American way. I didn't have a bad impression of the US before, but its shameful behavior over and over again makes people feel that it is really unreliable and insidious. It has to mess up the world, doesn't it? What it should be thinking about now is dealing with the epidemic at home rather than blaming China. Joe Biden came into office and said he wanted the old America back. Is that how he did it? Continue to smear China? I am so disappointed in America. In order to cover up the fact that they were not effective in fighting the epidemic, some US politicians tried their best to label the virus, politicize the epidemic, conduct political manipulation on the origin of the virus, spread political viruses and lies. As everyone can see, the United States is now the real biggest source of the poison.The severity of the epidemic in the US has nothing to do with China. Instead, China has done enough to remind them of its international obligations. And in front of the incontrovertible facts, no matter how much the US distorts the facts, the conspiracy of them is bound to fail.

I have alot of experience with this—34 years.When I was 32, I fell ill with what was probably Lyme's disease. I’ve had a slew of diagnoses—Epstein-Barre Virus Disease, Chronic Viral Syndrome, Chronic Fatigue Syndrome, Immune Dysfunction Syndrome. At the time, I was a full-time college student, provided home health care to an elderly man full-time, and had 2 small children to care for. I had completed all my credits for my Bachelor's degree and just had to complete my Senior Project which, at Bard College, in Studio Arts, I was required to hang an art show, defend my work before a board of professors, and host an opening. I was, at this time, living in tents with my husband and children, in a woods. My work for the elderly man was a barter for land on which to build a house. My husband wasn't earning enough money for us to afford rent, so we were forced to live on the land.We could not qualify for a building loan until the land was "improved" with a basement. My tent leaked and we did not have enough money to buy a better tent. I dug a basement with a shovel. My husband, though earning little, was allegedly required to be away most of the time for his job. We qualified for a small loan and got the house framed up. By this time, I had pneumonia and was ordered to bed. We moved into the shell of the house. After I recovered from pneumonia, I was still nearly bedridden from Lyme's. Though we had the deed to the land, I had made a verbal promise to the elderly man to continue my work for a number of years. I continued working for him, and I let my degree go, for the time being. That was also the end of my social life, as the friends I had made at Bard moved into their professional lives as artists, and hosted and attended art shows. I had already let go of my previous social life in the Waldorf community where my kids attended school in order to attend Bard full-time.I worked for the elderly man two more years. Simultaneously, I spent three years serving as contractor for the building of our tiny house. I was ill throughout this time. I forewent all social activity because I could barely manage what I was doing. As soon as the house was finished, we had to sell it because we could not afford the small payment of less than $400/month. This was because I was not able to work at a job. I had severe mental fog. I could not fit into a workplace. My husband continued to be unable to earn a modest living.We bought another house with the money from the sale of the first house. I worked for a year, until I developed Panic Disorder, the result of abusing my compromised nervous system with full-time work. I had to stop working as I had convulsions sitting at my desk. We lost the second house. All of my time and energy throughout all these years, and the years to come, were directed at effecting my family's survival. After this, I was agoraphobic for the next 12 years. I could barely shop for groceries. I worked, behind the scenes, to find money to pay bills. I took care everything at home--bills, mowing, repairs, kids, because my husband was so busy making $10-12,000 a year, he was never home.We moved back to Ohio, and into the farmhouse my husband had grown up in. By this time, our oldest child was in college, and the younger one in high school. I worked on renovating the ramshackle house and landscaping the yard. I could only work flexibly, due to the symptoms of my chronic illness, one of which was severe insomnia. I was often awake all night. I read to pass the endless nights, and to assuage my hunger for companionship. I read literary memoirs and spirituality. A good memoir is like having coffee with a friend. I began writing. I got an agent for my first book, a spiritual memoir. The agent made no efforts to sell my book. I struggled to call her, for a year, my voice quavering, from Panic Disorder, but she never answered the phone anyway. I fired her. I kept writing and sending out mss. to agents and publishers. I did not make any friends in the 7 years I lived in this farming community as it was a conservative backwater, and I could find no kindred souls. I did reconnect with an old friend from NY, via Internet, and that connection helped me enormously through this period of time.In 2001, at age 49, I left my husband. The kids were in their 20's. I moved to an apt. Over the next few years, I shed my agoraphobia and Panic Disorder. I joined an excellent writer's group. I wrote a book, titled "Psychopath," about my marriage. I also wrote online ( I began in 2000). I believe I was the first person to write online, from the victim perspective, about relationship dynamics with psychopaths. San Vaknin was writing about these dynamics, but from the opposite perspective. I wrote on a forum, now defunct, called CrimeNews2000, on a subtopic called Psychopaths. I gathered a group of followers, and they, too, began to write about these dynamics from their perspectives. These dynamics, btw, are identical to the dynamics now described as narcissistic abuse. I sent my book to agents and publishers, and to prominent psychopath experts, hoping to find one who might write a forward for my book. Former FBI psychopath profiler, Roy Hazelwood, read my book. He declined to write a forward, but he confirmed that my husband was a psychopath. I never sold the book. I moved on.In 2004, I started working part-time for a market research company. It was hellish as I was still very sick. My chronic symptoms were debilitating fatigue, headaches, severe insomnia, mental confusion, body aches and transient fevers. I had learned to function, to some extent, in this condition, but I was and am limited. I made 3 friends at work and did a little socializing. In 2006, I got much sicker, progressively sicker. Besides working, I was applying to the MFA in Creative Writing program at Ohio State. I had worked, for several years, with my former advisor at Bard College, who had arranged for me to do an alternative Senior Project, and I’d finally gotten my B. A. I studied for the GRE through 2006, collected college transcripts, chose writing samples, wrote essays. I meditated 2 hours a day, ate a vegan diet, did yoga, prayed. I'd been ill 23 years, by this time. I was going to have to get better to manage the Creative Writing program and work. I prayed for a miracle. But I got sicker and sicker. I could barely hold my head up. I could only hold a thought for a few seconds. My headaches were blinding. I was the color of white paper. I was going blind. I was diagnosed with carbon monoxide poisoning. The faulty furnace in my low-income apt. had been poisoning me for a year.I was asked to take a leave of absence from my job because I was incoherent on the phone. In this condition, I took the GRE (Graduate Record Exam) and scored 98th percentile in Verbal. I was 55. I was so sick that the proctors took turns rubbing my back through the 3-hour exam. But I did not get into the Creative Writing program. I knew I would not get in when I hand-delivered my application package and the people in the office looked at me as if observing a ghost.Fortunately, my social security disability case had just been approved after 15 years of trying. One of the extreme symptoms of my CO poisoning was tinnitus or ear-ringing. I saw an ENT. I also saw a neurologist who sexually harassed me. I reported the neurologist to my Medicaid insurance company. Little did I know that poor people do not complain. One week later, the ENT--a colleague of the neurologist--butchered my face and removed a portion of the inner organ of my nose, in an unnecessary surgery. This was removed from my skull: “Multiple pieces of flat bone and cartilage, in aggregate measuring 4.0 x 4.0 x 0.2 cm. (4.0 cm is larger than 1 ½ inch). Also some gray mucoid soft tissue measuring 2.0 x 2.0 x 0.6 cm.” I no longer had my real face. I was dying of a hospital-acquired, antibiotic-resistant infection--acinetobacter, and I could not breathe.The condition I acquired due to the partial removal of my nasal turbinates is called Empty Nose Syndrome. It is entirely iatrogenic, meaning it is entirely caused by ENT surgeons removing these necessary nasal structures. These surgeries are done almost solely for financial gain, although in my case, I believe there was an additional motive. I learned that you cannot sue doctors in the US, due to changes in Med Mal laws which make it next to impossible to get a case into court. This is true in most countries. I was nearly bedridden for 3 years, suffocating as if I had a plastic bag over my head, and suffering repeated antibiotic-resistant infections. I got no real help from the medical world as I was blacklisted for the sin of being a victim of medical malpractice. The medical industry gathers around these patients and ostracizes them. I called my 3 friends from work, but none of them came to see me. I saw only my sister, my grown children and my grandchildren, my XH, and one ENS friend, through these years. I’d made 2 friends through an Internet forum devoted to ENS. One lived in my city. I talked to the other one on the phone.Through these years, I wrote and maintained a blog devoted to Empty Nose Syndrome: Empty Nose Syndrome: A Medical Horror Story The blog has had views from every country in the world.I wrote a book about my experience, and later self-published it on Amazon Kindle: Scorpion: The True Story of a Woman's Victimization by the Medical IndustryIf anyone buys it, I apologize as it is not my best work. There were too many details to relate and not enough pages.I devised alternative treatments for my condition, and I improved. As far as I know, I am the only person who has ever improved from ENS, without having nasal implants or stem cell injections. I returned to my writer's group. I got involved in some social groups at a local UU church. I was 58. As I was rising up out of my 3-year suffocation nightmare, I met the man to whom I refer on Quora as N#2--the second narcissist/psychopath. I was with him, on and off, 6 years. My social activities again fell apart as I lived mostly with him on his farm 70 miles away. I worked on renovating his farmhouse and landscaping his property. He was more abusive than my XH. I left him 16 months ago. I have further physical disabilities which he caused via his physical abuse. I have PTSD. I barely leave my apt. I have been writing on Quora about this period of my life, and about Narcissistic Personality Disorder, and Malignant Narcissism, for the past 9 months. Life has brought me back around to this topic, which has been a theme in my life.I have been ill since 1984--34 years. I am 66. What I have done for most of those 34 years is read and write, and connect with others through reading and writing.I would like to add the footnote that, clearly, I have the ability to plough onward through adverse circumstances. I learned this as a child. Those of you who read me on the NPD topic—many of us share this ability, and for the same reason. This is something that has made us able to live for years or decades with narcissists. Here on Quora, we are unlearning this self-destructive “ability” to tolerate abuse.

Beyond the obvious aspects, as far as writing great scripts following the guidelines and expectations of the film industry...Number One RuleYou NEVER pay for someone to represent you. There is NEVER an upfront fee for representation. If anyone ever asks you for one, run like the wind and kick yourself for not doing the below to avoid such a hassle.Agents and managers make money when you make money. They take a 10%-15% cut of whatever deal they get you. No more than that.Never, ever, pay for representation of any type.ResearchThe key starting point is doing the proper research to see who the power players are in the industry in regards to management and agent representation. I won't waste space by listing them because each and every writer needs to find out for themselves through research, which will lead them to learning why they are the power players (clientele) and why some are not.You start researching by investing in a subscription to IMDBPro.com, which gives you full access to the site, complete with contact info and additional researching tools.You need to take a long look at your script, figure out what genre it is and what other similar films have seen some varied forms of success (big or small). Then you look up who wrote those films, find out who represents them, and then you go from there. Query their agents. Query their managers.That's a starting point.Beyond that, I'd recommend reading Variety and Deadline.In short, you need to do the research. You can't simply look up the top agencies, management companies, agents, and managers in the industry and blind query a bunch of them.You need to pinpoint who is representing what type of writer, what type of writing, what type of genre (dramas, comedies, action, television, etc.), what type of budget (blockbusters, contained action thrillers, micro-budget horror, indie drama and comedies, etc.) and take advantage of that knowledge by marketing specifically to those who will most likely be interested in your projects.Research can also help you to get to know who you will be contacting. Find people that might have some connection to you. Maybe the agent or manager is from the Midwest, and so are you. You can also reverse engineer this and look for Alumni from your college that are working in the industry and see if they are, or have any connection to, agents and managers.KnowledgeBy doing this research, you will attain the proper knowledge of the film industry. You need to know who is making what project, when, where, and with whom.You need to know the current trends. I say that not because you should write within those trends, but to know what is likely to be exhausted by the time your script might make it through the rounds, get stuck in development hell, etc.Example: Vampires have been hot for the last three years or so, both in film and in television. If you had a vampire script right now and are just starting to market it, chances are, and this is if things go damn near perfect, that if it does get to the right people the trend will be dead. It's dead already. There are still movies in that genre being made, but selling them on spec is different. Audiences are tiring of it.So you need to know what's current. If you have a vampire script now, you should know that the market is flooded with such projects and most people wouldn't bother taking a look. So put it on the shelf for now and focus on another.Know the industry. Know who is making what. Knowledge is power. Use it to your advantage.PlanningThe plan is the key. Figure out who you are going to be contacting. Know why you are going to be contacting them (see all of the above).Calling - Don’t.Faxing - Don’t.Snail Mail - Don’t.Email - This can be very effective. They have to check their email, they can read it quickly within their normal routine, and they can reply quickly as well. It can be difficult to find email addresses for true power players, but you'd be surprised at how easily they CAN be found for many via IMDBPro.com. And to the ones that you can't find online? Be creative. If it's a big agency, you might find one underling email address listed. You see the company listing "@caa.com" at the end, and you'll see the format they use to start... "jsmith". So if assistant John Smith's email address starts with "jsmith", perhaps that is the format for the whole company, thus when you find a big or mid level agent, but no email address, you might be able to figure it out.So you have a plan as far as who you're going to approach. Now, what are you going to approach them with?One Sheet/QueryI'm not a fan of the term query letter. It's very dated. But you need a simple one page "pitch". Short. Sweet. And to the point.To start off, for each project, you should have what I like to call a "one-sheet" for each project you have.It will contain:LOGLINE - A one to two sentence pitch that breaks down your script to the core concept.SHORT SYNOPSIS: One paragraph that adds a little more weight to that logline. Something short, sweet, and to the point.PROJECT HISTORY: ONLY include this if and when there is a history to report. If it has been optioned before, let them know. It'll give weight to it. I would hesitate to include any contest placings, unless they are esteemed and industry related ones like the Nichol Fellowship, Austin, or Sundance.So, when you have this set, you pretty much have what you are going to send their way.Simply include quick opening statement:Mr. Gold,My name is John Doe and I have an excellent action thriller that may be something worth taking a look at.Don't be too passive. Don't be ego driven ("This is the greatest script you'll ever read."). Just open up and get them to the logline, because in the end, that is what they will make their decision on. If you go on and on about your background and how this is your dream (yada yada), you're done.Then post the logline and short synopsis.After that?Close with another short statement:Thanks much for taking the time to consider this. Looking forward to possibly hearing back from you or your representatives.Best,John [email protected]'d also suggest adding in a comparison to current or proven trends.It's Inception meets Nightmare on Elm Street.That gives them an immediate visual, as well as an immediate marketing and business perspective. Just be sure you know what you're talking about and that it truly is comparable to those successful ventures.That's it. It's a short email.What's the 30 Second Pitch?I mentioned this before. This is something you use when you call. You have about 30 seconds before they say "Thanks, but no thanks." So how do you perfect the 30-second pitch? Simple. Just read your one sheet... in the most loose and natural way you can. And know your story if they ask you more.Stack Your DeckThe last part of planning, or perhaps considered to be the first if you think about it, is CRITICAL. Stack your deck. You can't just have one script. You can't. I speak from experience. Pushing all of your chips in early with just one script will KILL any momentum you have made, as far as getting them to read it, consider it, and/or possibly sit down with you to discuss representation.Think about it from their perspective. If you just have one script, that's only one shot for them to make money off of you, and that is what agents and managers want to do... profit from your business relationship with them. One script? Damn, it's hard even for major agents or managers to sell a script. What happens if you don't have anything else? What happens if they submit your work, a studio likes it but doesn't want to buy it, instead wanting to consider you for an assignment based off of your writing? They'll ask for additional samples from you. Your agent will say, "That's all they have." Click. You're not an experienced writer. They won't gamble on you. You could be a one-hit wonder.Don't even consider approaching an agent or manager until you have at least three great scripts. Not just scripts. GREAT scripts. Great marketable scripts. One isn't enough. Two is just as bad. Three to five is gold... especially if they're good.You will be tempted. You will want to shop that first script. Don't. Why? Because you're going all in and wasting that chance with just one script. I myself made that mistake early on. I nabbed meetings with most of the major studios for my first notable script. The first question they asked after we talked about it? "What else do you have?" I firmly believe that I'm still paying for that mistake despite some success and paid gigs. I had Disney, Sony, Dreamworks, Universal, and Warner Brothers wanting more. And I didn't have it when it counted most.Stack your deck.Take ActionSubmit. Submit. Submit.Do NOT submit to one or just a few and sit in wait. Do NOT blindly send a query to every major or mid-level agent or manager. You NEED to do all of the above to avoid that.Be ResilientYou will be rejected over and over. Again... YOU WILL BE REJECTED OVER AND OVER. In fact, you're LUCKY if you hear or read rejection. Most of the time you'll hear nothing but silence. No news means no news. You can follow up in certain cases, but chances are they didn't respond to the query (or material if you managed to get the okay to send it). Follow-up once, twice most, but move on.In the end, the fates will decide.Or, Don't Try To Get an Agent...Many screenwriters break their backs and waste years trying to get an agent or manager to represent them when they should be getting their scripts into the hands that can do it for them.You do all of the above to instead get your scripts into the hands of producers, directors, development executives, and talent.Do the leg work. Work your ass off. Submit. Submit. Submit. Find ANY possible way in. Within reason that is.If you get the powers that be interested, and they want to make a move, and you don't have representation, guess who can connect you to the best in the business? Them.They know they can't purchase your script without you being repped, so they'll connect you quickly with people they've worked with before. Boom. You're in.I would do a combination of both, as far as approaching both agents/managers and directors/producers/executives/talent, although I'd put more effort into approaching the people that can directly buy or develop a script because they will refer you to the best agents and managers. And those agents and managers will have an excellent referral from power players that have worked with them before, rather than taking a gamble on some unknown that has sent them a fax or email.It's a grind, but if you believe in this dream and yourself, it's well worth the ups and downs.