As long as the question of the source of the new crown virus remains unresolved, it appears that the French media will not stop trying to trace the source of the virus.
The Observer article highlights an open letter published in the New York Times by more than two dozen top international scientists calling on Beijing to release virus research data and requesting another independent investigation into the source of the virus. An article published today on the website of the Express-News Weekly, on the other hand, combed through a series of articles published by researchers at the Wuhan Virus Laboratory over the last decade or so in the area of coronavirus research, focusing on the “RaTG13” virus, the closest genetic match to the new coronavirus, and arguing that these studies further support the possibility of a laboratory leak.
The reports point out that in the first days of the outbreak, the possibility of a natural origin of the virus prevailed, but over time, as the intermediate hosts of the virus disappeared, more and more experts and scholars became suspicious of the Wuhan laboratory. It is important to note that when the Sars outbreak first occurred, scientists quickly found the source of the virus in the following months, whereas today, a year later, if people have indeed found the virus in animals, these animals are often infected by humans. In this context, Drastic, an organization composed of people from different disciplines to trace the origin of the virus, was created, along with a growing “Paris team” formed around Etienne Decroly, a member of the French National Center for Scientific Research. Gilles Demaneuf, a member of the group and a data researcher, told the Express that the probability of a laboratory accident is around 70%.
The Express Weekly article on the 2013 Yunnan miners’ infection and the origin of the RaTG13 virus close to the new coronavirus, as well as the dubious statements made by Zhengli Shi of the Wuhan laboratory on the incident, noted that as early as 2013 Shi had pointed out the possibility of direct human transmission of coronaviruses without intermediate hosts in academic articles published in Nature and other journals, and that in 2015 the Wuhan laboratory, together with the US North Carolina scholars jointly published a paper describing the process by which coronaviruses with improved S proteins may infect humans by injection in rats, indicating that, in fact, the possibility of virus transmission to humans has been known to virologists in the United States and China since 2016. French scholars have graphically pointed out that the invasion of the new coronavirus into the human body is like a robber who breaks into someone’s house to steal but shockingly has the key in his hands, so one has to ask: how exactly did he get the key to enter the human body? Could it be from the Wuhan laboratory’s viral gene augmentation test (GOF)?
In addition, the French Slate website published an article by Jean-Michel Frodon, former editor-in-chief of the French Film Manual, entitled Chinese Cinema Enters a Glacial Period, which describes the Chinese government’s recent rule that major cinemas must show revolutionary films twice a week to commemorate the 100th anniversary of the founding of the Communist Party of China, noting in particular that the rule requires that cinemas showing art films The article describes the Chinese government’s recent rule that major cinemas must show revolutionary films twice a week to mark the 100th anniversary of the founding of the Chinese Communist Party.
The article details the hardships Chinese cinema has endured in recent years, noting that while Chinese cinema has never enjoyed true freedom, during the decades of reform and development, Chinese filmmakers still enjoyed a certain amount of freedom between censorship and freedom to shoot, and that today, especially after the change of leadership at the General Administration of Radio, Film and Television in 2018, China’s film censorship oversight is even more severe. severity is taken to a higher level, not only are more and more foreign films being banned from the Chinese market, but plans for Sino-foreign co-productions are also increasingly subject to severe scrutiny, culminating in the Hong Kong International Film Festival’s planned screening of the biopic about Hong Kong crime, “When the Wind Rises Again,” starring Aaron Kwok and Tony Leung, which was officially cancelled by Beijing at the last minute of the festival’s opening, while the article commented that the film did not have any ideological issues, it is clear that Beijing’s move is to tell Hong Kong that he calls the shots on everything!
Finally, the French website Capital quoted US media reports that a report from US intelligence revealed that China is building space weapons in an attempt to rival the US in the military space arena. The report states that China has been developing space missiles since 2019 that can attack artificial satellites operating in the bottom lane, and has already used similar missiles to destroy the satellites’ light sensors. In addition, the U.S. has expressed concern that China is building a new space station that will be operational next year. The report comments that Star Wars is becoming a reality.
In addition to the above reports and commentary on China, Tuesday’s newspapers focused on the effectiveness of the new crown vaccine and French President Macron’s challenge to right-wing parties to bring security issues to the forefront.
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