As the cases with Coronavirus rapidly increase, Netflix happened to air a new documentary series “the pandemic: how to prevent an outbreak”. How timely!

The series has six episodes, each with several chapters. It is not focused on the scientific aspects of the diseases, but more on the human stories, which to me, oddly, is more powerful.

The 1918 Spanish flu killed 50-100 million people, more than the WWI and WWII combined; more recent memories include SARS, MERS, Ebola, the death rate ranges from 10% to up to 90%. According to CDC, this year's flu season has led to at least 5.9 million medical visits and 120,000 hospitalizations. The data also shows that between 6,600 and 17,000 flu-related deaths occurred from Oct. 1, 2019, to Jan. 11, 2020. The viruses are extremely smart, with high mutability and potential to transmit and kill in large populations. It is an impending threat. For the next pandemic, the consensus at the moment seems to be, not the question of if, but the question of when. And a more critical question: are we ready when it comes?

The show picked a few representative fields in this preparation for battle, each with a human story. I like the arrangement, and the way the story was told. Infectious disease is also a huge public health issue, with multiple fronts all into play, the socioeconomic status of the community in question, the medical facility with the right personnel, equipment and emergency system in place, the science in multifaceted fronts, including the search and identification of the new virus from the possible animal hosts- birds, bats, ducks, chickens, pigs, and the development of new and more effective vaccines, the healthcare policies and the concerted global collaboration and effort. As said by one of the doctors in the show, in this day and age, “It takes one person — one host — to lead to a pandemic. “

We met several people on the frontlines, including Dr. Syra Madad, the senior director of New York City Health & Hospitals’ Special Pathogens Program, which helps develop public health strategy to ready the Big Apple for major diseases; Dr. Dennis Carroll, the United States Agency for International Development (USAID) Emerging Threats Unit director; a small town do-it-all doctor from Oklahoma Jefferson county hospital; a WHO healthcare expert working in Africa to try to help contain Ebola virus; scientists working in the fields in Egypt and Louisiana, swapping bats and ducks for the flu viruses they carry; biotech scientists who race to develop the new universal flu vaccine; an Indian doctor with a huge clinic in his care; and worker at the border to give flu shots to the migrants. We also get to know them in person, their upbringing, background, their day-to-day lives, their aspirations, their beliefs, their faith, their struggle, both in work and at home, each with entirely different backgrounds and experiences, yet all working to give, to sacrifice, to prepare, to fight.

The looming threat is real and maybe imminent, but by the end of the show, I feel more hopeful, because of the human resilience and spirit. No one will be 100% ready for any big battle, but as one, we will be able to fight. We will prevail.

在我看这部剧以前，被那个特别火的台词“我要让全世界都知道，这片鱼塘被你承包了”。看了以后，被“杉杉是个小太阳，全身充满正能量”洗脑。首先说说剧情，小说其实挺短，剧里前十集是书里的内容后面全是编剧加的，剧情后面也足够狗血，但是还是能够看下去，打发时间再好不过。最后面有点食之无味，弃之可惜的感觉了。其实支持我看下去的是杉杉，赵丽颖演的太可爱了。其实剧情很傻白甜，但是杉杉傻得挺可爱的，其实讨厌的是那种自以为是为他人找麻烦却振振有词的人，而不是有着善良的内心为他人着想仅仅是办事不是很彻底但是不会伤害别人的人，而杉杉显然是后者。剧里印象最深刻的就是杉杉在吃东西了，看着我也饿了。张翰的封腾还好吧，他还挺适合这种霸道总裁的角色的，你可以说他装，但是我觉得这种角色的设定就是挺装的。总体来说够及格线，无聊了可以看看，演员演的都不错，剧情更好些会更好。

心理&心灵探讨...?"Feed"电影名可以有更好的翻译，比如双生灵魂之类的。☆纯粹为了TF而看，这部影片的故事构思还是较有意思的，从心理学角度分析解构...影片中几个段落着重刻画了女主角的同胞哥哥与她的思想情感意识～形影不离的感觉。。

影片的氛围营造 让我想起了电影*美丽心灵*，*灵异第六感*...等作品。☆回到电影本身，探索其温馨的一面，即是曾有亲爱的人与自己亲密陪伴共同成长，即使他离去了。。但他的灵魂一定也是希望自己爱的人能够"Have Fun..."，带着被爱过的温暖继续勇敢的生活下去。。。(喜欢影片中兄妹俩一起度过很多时光的那棵树的影像勾画～)在某些方面可以窥见 这部电影本可以展现得更加深刻...主题立意在结尾处 却未能更好的升华。。☆不过TF的演绎很细腻生动，让人难忘～！希望他今后可以接到故事内容更丰富精彩的好剧本 :)☆影片的节奏较为沉闷，有点没有高潮的感觉...该故事相关可以延伸出的各种内容，并没有到位的拍摄出来。。

【详细】

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1、马福礼的职业设定为什么是做早餐的？全片除了开头体现了这一点之外，后面完全没有相关的生活与细节，周迅做油条的生疏感像是被拉去参演《中餐厅》的综艺，也不知道这样的家庭怎么长出窦靖童这样气质的小孩的。人物的不可信导致频频跳戏，马福礼的人物动机是什么？所有的好故事都是讲一个轴逼的故事，是要靠一个坚定的轴逼主人公来推动情节，马福礼这个人物设定之被动，直接拖垮了全片的节奏。

2、全片走马灯似的人物，看似丰富多彩，都经不住嚼，都是为了戏剧效果而做作的不行，比如小宋佳能叫来弟弟和他的狐朋狗友报复，前面在春夏面前怂的就一点没道理。好电影永远是立人物为前提，你可以有戏剧性，就像里面不断提到的戏剧创作高于生活，这不是陈建斌的处女作，你要说这是郭敬明拍的，我还能多给一颗星。

3、全片电影的节奏全靠剪辑来带，各种跳接，看似明快，但戏剧节奏极为拖沓，因为信息量不够，几个梗来回来去的用，找完律师找法师，再找律师再找法师，莫名其妙的“咸淡豆花”，因为没有任何人物和规定情境做依托，显得台词矫情的不行。

4、演员做导演最忌讳的就是旺盛的表达欲不懂节制，姜文在《一步之遥》就犯过这个毛病，什么都要，什么都不清不楚，弄一堆隐喻，从角色起名开始就矫情，梅姨、昆汀、北野武、张曼玉，干嘛呀这是，看似一堆妙趣横生的点子，不懂精简，观众又不是看马戏团。所有的矛盾冲突都靠演员的表演生起。全片主要角色相对演的最准的就是春夏了，但也是意料之中的表演。你能明显感觉到陈建斌陶醉在创作中不能自拔，形式大于内容的章回体，昆汀的分段式结构是为人物小传和非线性故事服务的，你丫一个线性结构的故事你告诉我分那么多段有什么意义？小学生写作文吗？一段一段总结段落大意中心思想？

5、说好听这是一个表达欲极强的作者电影，说白了就是一个戏剧学院表演系刚毕业的孩子用自己的舞台剧经验和日常看片之后迸发的表达欲拍了一部学生作业。要说的再难听点就是个影评人转行做导演。。。但凡是个电影学院导演系刚毕业的孩子都不这么讲故事。。。