A Waste of Good Talent

The ending was a thudding disappointment, an enormous waste of the palpable chemistry between the leads, but I'm so glad we got to see the male lead's feelings being soothed, because that's what's really important. Nevermind he's a voyeuristic stalker who broke into someone's home, whipped out a gun, and threatened to kill two people, the script helpfully points out that he's blameless because the women drove him to it. We even get to see him presented as a hero based on a single moment of emotional clarity. This is capped with a teaser happy beginning for his potential new BL - because a man IS the most important character in a GL drama.

As long as men provide the funding for these shows, they will center men and a man's POV. That needs to change; but there is no excuse in any universe for a woman to write a GL script that panders so explicitly to exalt the male view at the cost of the integrity of the female characters. I'm talking to you, Ticha Aphaiwongs.

We got to hear a couple of truly [un]original period jokes. Because period jokes are so funny. In fact, there are so many yuk-yuk "she must be on her period" lines in Chao Planoy dramas that it seems that single misogynistic theme is the entire range of her "humor." At least we weren't subjected to fart jokes, so there's that.

Overall, the production delivered seven episodes of a well paced drama and one final episode of a hashed up kettle of hot mess that focused more on the tender feelings of side characters than the unfinished business between the leads.

SOUNDTRACK
I'm not sure one lovely, but thoroughly overplayed, song counts as a soundtrack. Nice song, though.

This issue may be relevant only for non Thai speakers, but the lyrics to the theme song weren't included in the alternate language subtitles, which was a shame because the song lyrics reveal more in 3 minutes about Pleng's seeming reticence to overtly commit to Wan than the script does in eight full episodes.

If you're interested, you may be able to find an English translation online. I ran across a Spanish version that I could understand (thanks to Señorita P, my high school language teacher). It was very enlightening of Pleng's character.

REWATCH VALUE
Episode 6, yeah; the rest of it, meh.

STORY / ACTING
I rated the story 5 and the acting 8. The premise, with its tropes of rich girl/poor girl, unrequited love, lesbian panic response, lovers separated through misunderstanding, had tremendous promise. As clunkily written (or perhaps translated, since I didn't read it in the original Thai) as the book was, it did much better with character development and conflict than the TV series. That said, both book and series had some profoundly stupid elements, so go into this with the full knowledge that you may occasionally want to throw a shoe at the screen.

This review focuses more on the final episode than the entire series, because the final episode was a disservice to the series, on the whole.

Starting out in episode 8, Pleng acknowledges she hasn't considered Wan's feelings and promises to do better, then promptly does worse. Even Pleng's reaction to perceived competition for Wan's affection was based on Pleng's feelings, not concern for Wan. Pleng showed more real concern for Wan's happiness when she ran away as a teenager than she did in the alleged happy ending finale.

If this series depicted a real relationship, I would be screaming for Wan to run fast and run far - a lifetime of being the one who loves most, gives more, wants more will be miserable. Pleng's adamant resistance to emotional and physical intimacy, even after the lovers have united and reconciled, is a huge red flag for the relationship. If one partner rejects the other's loving advances and, even on the honeymoon, openly disdains the importance of intimacy, married life is NOT going to be an improvement - as we later see.

I have no idea what plot function it served to have Pleng avoid intimacy and all but lecture Wan that marriage shouldn't be "all about that." On the honeymoon. [FYI: on the honeymoon it definitely should be "ALL about that."] The "honeymoon" the viewers got served up was a couple of tender teaser kisses and an abruptly truncated make out session that was more moment than session.

Pleng's resistance to physical intimacy was thematic throughout the series - unlike book Pleng, series Pleng was always lukewarm - but it was made explicit in the finale, so the producers left absolutely zero room to resolve it. Nor did they drop any clues that it was something they saw as needing resolution. If the pathetic jealousy response shoehorned in at the end was a resolution attempt, it was a dud. So much so, I hope Wan kept Neung's phone number.

Sonya Saranphat Pedersen and Lookmhee Punyapat Wangpongsathaporn, the two leads, put so much heart into this series, they deserved a better send-off in the final episode.

Throughout, Lookmhee never wavered in her portrayal of a young girl / woman certain she belonged with her soul twin and willing to sacrifice anything to live that dream. Every moment of Lookmhee's performance rang true to the character.

Sonya deserved a less emotionally stunted, self-centered character. In Pleng, Sonya was saddled with a character who never became fully vulnerable with her partner, in contrast to Wan's gaping emotional wound open for all to see. I would like to see what Sonya could have done with a character that showed some insight and emotional development. In absence of that, with limited exceptions both the actor and the character seemed self-conscious and uncommitted. Lookmhee's Wan exudes hunger and craving for Pleng, but Sonya's Pleng never returns that intensity. Her physical surrender to Wan seemed more conciliation than craving.

Eight episodes should have been enough for Pleng's emotional development to at least move the needle, but even at the end Pleng showed less concern for Wan than for creepy playboy Earth (a more benevolent character in the novel). As an actor, Sonya didn't have a lot to work with, based on how the character was scripted; still, the portrayal lacked the vulnerability and desire the character desperately needed.

SPOILER AHEAD

Spoiler, but it needs to be said: Whoever decided to end the show with one sided foreplay deserves to never get near GL drama again. Or any drama, ever. That was a queer baiting nonsense slap in the face for viewers who deserved so much better.

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Feels like a work in progress

I was looking forward to the science fiction multiverse plot and in most ways it didn't disappoint - although there were scenes from the early promos that I liked MUCH better than the ones that actually made it into the movie - or at least the version of the movie I saw - there may be a different version in another part of the multiverse.

The unifying element of the multiple universes is Kath's consciousness of all the worlds and the relentlessness of her determination to be with Lin, and happy with Lin, in at least one of them. That seems a prospect with diminishing odds, given how many times and in how many random ways they are kept apart.

The sheer ambition of the number of scenarios had to be daunting for the production staff and feels like overreach in parts. It's not that they fail to entertain, because each scenario is compelling in itself. It's that, even at just over two hours running, there simply isn't enough time to do them all justice.

And it's that overreach that leaves the ending feeling rushed and ambiguous. It's hard to be reassured when right up to the end we're treated to the cinematic version of 50 ways to leave your lover.

PROS
High marks for story, soundtrack, action, and romance, and ultra high marks for angst.

The technical production was near flawless; the location scenery was beautiful; and the space mission special effects were impressive.

Freen Sarocha Chankimha's acting was outstanding, natural and engaging throughout, making each of her characters the focal point of shared scenes.

CONS
In the version I saw, the English dialog didn't match the English subtitles, which is just weird, and the Thai subtitles ran on top of the English subtitles, obscuring the dialog in places. Note: It's likely I saw a version that wasn't supposed to be publicly available. The prominent watermark visible throughout gives it away as a film festival copy.

The Tsunami CGI was awkwardly done.

The actor playing space mission commander is cartoonishly awful in his delivery, which ironically fits with the Spaceman Spiff level dialog he's given.

Co-lead Rebecca Patricia Armstrong's physical acting shows tremendous improvement from earlier projects, but her long term career prospects may hinge on getting some truly professional Hollywood level acting lessons to bring her dialog delivery up to standard.

The ending needed more breathing room. The director surely could have borrowed 30 seconds from somewhere to give the characters the resolution they deserved.

SUMMARY
Given the runtime limitations for a cinematic release, I have no doubt a lot of quality work was left on the metaphorical cutting room floor. A multipart series may have been a better vehicle for a project of this scope. If the cinematic release continues to have trouble getting its legs underneath it, maybe a re-edit into a series could give it new life.

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Everything in this series works!

"Lovestruck in the City" is a rarity of a romantic comedy -- one that's actually funny. I was still laughing about the drunken palm blast even while writing this review.

PROS
1. Kim Ji Won is the reason I picked up this series and she really showcased her chops playing two very different aspects of a single character. I wanted to spend a week at the beach with one of them and hug the other. The candle lighting scene was so raw I felt all the feels. Her realistic portrayal of a woman who feels so much, yet shows a flat, cold front when overwhelmed rang true.
2. So Ju Yeon was pitch perfect and may have impressed me so much simply because I adored how she presented her character - a woman who is who she wants to be and makes no apologies, nor tolerates disrespect.
3. Ryu Kyung Soo did a marvelous job making a low key, taciturn character multi-dimensional. I was really rooting for his character and...
4. Han Ji Eun's shallow-at-first-glance, yet terrifying teacher character had the most interesting and surprising character journey of the series. Han Ji Eun took a tough, intimidating persona and made her 90% of why the comedy worked, and still delivered one of the most touching scenes of the show.
5. Kim Min Sook brought gravity to a character that could easily have been relegated to comic relief otherwise.
6. Park Jae Won wasn't my favorite character, his tenacity bordered on obsession, but Ji Chang Wook put all his emotions on the line to make it work.
7. Breaking the fourth wall - well, almost: by using a reality show interview style we got a view inside the heads of the characters and their perceptions of the story. It was fascinating to contrast what they claimed was their persona versus what they showed us through the action.
8. The scriptwriter crafted an original, nuanced, touching, and witty show that held enough turns to keep it interesting for 17 episodes. It's really, really hard to tell so many stories and be fair to all the characters; this is the most successful effort I've seen.
9. The director gave the cast room to develop their characters. The result of that is why my rating is so high. Also, that long shot of Oh Sun Young after her final meeting with Kang Gun was a heart punch.

CONS
1. Unlike some other reviewers I wasn't bothered by a pop-up romance in the 17th episode. It had been teased in the 16th, so it wasn't a total surprise, plus it showcased a previously underutilized character. What did bother me was the zero backgrounding of who these two characters were to each other and what was behind their familiarity.
2. Obviously the two leads are going to get together in the end, but it felt abrupt when it happened, a 180 from where the FL's character was previously. Maybe I just needed a little more transition on how the FL's character leapt to that point from her adamant push back until then. Perhaps even one brief shot showing her reluctance crumble.

So many things worked so well in this series that it deserves an 8+ rating overall and I'm baffled by the lower scores. I enjoyed every episode and would definitely rewatch the series.

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Multi episode promo for Miss Grand Thailand

After a promising beginning with two likeable and engaging leads, what was billed as a romance devolved into a 9 episode paean to the Miss Grand Thailand (MGT) pageant. The upside is I learned a lot about MGT, the downside is I'm not particularly interested in MGT, and that isn't what I tuned in for.

The two mostly inexperienced actors, Charlotte Austin and Engfa Wahara, did a credible job of slogging through the script. Of course, they excelled at the pageant portions of the series, an accomplishment that was largely lost on me. For some inexplicable reason, someone (writer, director, actor) seemed to have unresolved issues with tall women, forcing Austin to trip over her own feet just to appear shorter than Wahara.

Aside from the focus on pageant life dragging the plot to a near standstill, the creators of this series exhibited a profound aversion to the characters kissing, to the point of employing thoroughly ridiculous avoidance mechanisms up until the final episodes. The result was that the considerable chemistry between Austin and Wahara was largely squandered.

Any popularity of Show Me Love is a testament to said chemistry and how starved for content the GL public is. The bar, it seems, is very low, and SML tripped over it anyway.

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Loved how it wrapped up

My Demon did a really good job of being what it is: a fantasy romance. It is imperfect, but it has far more ups than downs, even considering the bizarrely implausible nonsensical demise/non-demise of a main character.

My biggest kudos go to FL Kim You Jung. Some actors act the role, others inhabit the role. Kim You Jung crawled into the character of Do Do Hee and gave it everything. She is marvelously expressive, every character emotion perfectly timed and absolutely believable.

Kim Tae Hoon was icily malevolent as Noh Suk Min. He deserved a more sensible wrap up for his character.

Kim Hae Sook is so so so good as Joo Chun Sook. She's one of my favorite character actors and must be everyone else's favorite too because she's in EVERYTHING. And she's so wonderful she needs to keep being in EVERYTHING.

The fantasy was well conceived and executed, thanks in part to atmospheric shot composition and cinematography. The romance between the leads was smoking. They were adorable together. I could have done without the early episodes' tryst with the Enemies to Lovers trope, but it resolved quickly, if not quite quickly enough for me.

I don't usually have the patience to track multiple character development arcs, but I got invested in each one in My Demon. Script writer Choi Ah Il did a wonderful job wrapping them all up after taking exactly the time it needed to do them justice.

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Yay!, OK, Meh, and Boo

My theory, based on doctors I have known: medical students spend so much time in school and internships that they miss normal adult social interactions, and consequently suffer from arrested emotional development. I submit "Doctor Slump" as a case study. The maturity of the main characters wasn't what one would expect of people their age.

This series suffers from trying to be too many things: drama, romance, and comedy; the first two worked well, if inconsistently, but the third came off as juvenile and misplaced. Whether the attempted comedy was a script choice or a directing choice, it was so off pitch and over-acted that it made me want to throw things at my TV, and is primarily why I didn't rate the show higher.

A couple of things I found baffling:
1) Ha Neul's wardrobe seemed chosen to have her fade into the wallpaper - neutral on neutral. For a while I thought it was a visual reflection of the character and would perk up as her personality evolved, but nope, stayed boring and unflattering throughout.
2) How did these characters last 16 episodes without dying of cirrhosis? I'm honestly worried about the health of the script writer if she thinks this level of consumption is normal or healthy.

On the pro side: based on my personal experience, the script's treatment of depression, its manifestations, effects, and recovery hit all the right notes, particularly in presenting Ha Neul's unresolved anger from the violence and mistreatment at work as manifesting as helplessness, defeat, and demoralization. The development of her character and behavioral responses during treatment was also realistic and well handled. The development and clarity of Yeo Jeong Woo's character was a little more murky to me, but I did like that solving his business problem didn't magically solve his personal problems.

In contrast to other viewers, I thought the story was sluggish in the beginning but really picked up in the last eight episodes. The plot lines and character arcs set up in the first half of the series began playing out and resolving and that was a lot more satisfying for me than the build up. I also liked that we finally got to see a more holistic picture of Nam Ha Neul after eight episodes of more than I ever wanted to know about Yeo Jeong Woo.

I loved the gradual reveal of the family dynamics and IMO the characters were perfectly cast. Park Shin Hye is compelling in everything she does, Jang Hye Jin was the perfect Mom for this story, Yoon Sang Hyeon really grew on me as the series progressed, and I want Hyun Bong Sik's Tae Seon as my real life uncle and Kong Seong Ha's Lee Hong Ran as my real life best friend.

I won't rewatch it, but I mostly enjoyed it the first time around.

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Compelling from start to finish

I watched this drama because I was captivated by Park Shin Hye's performance in "The Heirs." In both dramas, her eyes tell the story in a way that sets her talent apart even in a field rich with talented leading women. That, coupled with her "girl next door" charm and looks, plus that undefinable Q factor, makes her compelling in a way that sneaks up on you.

To avoid spoilers, I won't say much about the ending except that I prefer that final episodes do a little more overt work toward the happy ever after. Instead, the ending felt like the set up to a Season 2 that didn't happen. Still, the writer gave us enough to know all was well and and that love and creative programming would win.

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Something a bit different

The biggest plusses for me with The Greatest Love are that it doesn't follow the standard tropes of lesbian romance and while one of the outcomes was predictable, the other was definitely not. The script and the characters reactions to tough situations was natural and believable; and the fear and anguish of the lead characters at the plot climax was palpable. The ultimate outcome was more hopeful than I expected, given the plot set-up.

I'm going to leave this review a little light on substance because I don't want to risk spoiling the experience of finding something new and different in the genre. Suffice to say, I've already watched it twice and I'll likely revisit it again. Well worth your time

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Catastrophe on an epic scale

I love love love disaster movies, and D-Day has some of my favorite stars and character actors, so I was popcorn ready for a binge fest. But catastrophe on an epic scale can describe both the plot and the series. There was a master adrenaline punch, some intriguing moral dilemmas, a cast deep with truly talented actors - and some ridiculously cheesy directing with a script that relied on action to cover pedantic dialogue and story flaws. So much going for D-Day, but nothing could save this disaster of a disaster series from being 20 episodes of one-note melodrama, full of one-dimensional characters, and devoid of nuance.

The first half of the series is worth watching for the depth of acting talent, all of whom delivered outstanding performances, and some of whom deserve kudos just for showing up to work every day to slog through this cliche fest. Gold medals to:
- Kim Hye Eun (a stoic and principled character played perfectly),
- Yoon Joo Hee (a subtly strong performance that made her character the backbone of every scene she was in and the voice of conscience for the story's throughline),
- Kim Jung Hwa (I was rooting for her to ride off into the sunset with the ML. Compelling character, but underused here; later notable as the heartbreakingly devoted Suzy Choi from "Mine," and criminally underused in that series also),
- Kim Jae Hwa, & Kim Sang Ho, character actors who each made their role's total into more than the sum of the parts.

Extra special hats off to Jung So Min for playing a witless, silly, giddy, immature, ill trained, and emotionally/intellectually stunted doctor to a T. It had to be painful. We get an early glance at Jung So Min's characters proclivity to threaten low-level violence when things don't go their way, a trait that's almost a signature of her characters (see "Love Next Door" for more examples).

Honorable mention to Kim Young Kwang who played both a Labradoodle and a cardboard caricature of the heroic, wounded, noble savior - a veritable Superman of the operating theatre - and did it well, such as it was. I do wonder if even he tired of his character's many, many self canonizing monologues delivered over the open bowels of his patients.

Neither Jung So Min nor Kim Young Kwang, as talented as they are, could make the romance between their characters feel anything but awkward, forced, and painfully unbalanced.

This is the kind of drama that makes a remote control with fast-forward a handy thing to have. Even so, I almost dropped the series in E9 for gross script stupidity when a critically short-staffed ER Director sent off a single patient escorted by THREE doctors AND a surgical nurse. Later, that same ER Director let another doctor walk out in a fit of petulance without informing him that his career would justifiably end RIGHT THERE if he took another step. Though, tbh, maybe it was because he was a pathetic excuse for a doctor and a ticking time bomb of malpractice.

I figured it would only get more stupid from there and I was right. The only kiss of the series happened in the least romantic setting ever, with no romantic build-up, between the two least well developed characters. Yes, they were the leads, so of course it had to be them, but I still get to whinge that they were one-dimensional and not even especially likeable.

I slogged through until E15 when it was clear the plot had nowhere to go and I, fortunately, did.

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Stellar acting compensates for plot gaps

Generally, plot holes of the size and frequency of the ones in this series have me dropping a show like it's a hot rock, but the depth of the characters and the outstanding cast kept me binging Red Swan. There are a lot of gaps in the story and deux ex machina has to be called in when reality and the space/time continuum threaten to get in the way of script absurdities, but I still enjoyed the series.

The entire cast is great, without exception, and they make the show addictively watchable despite its boatload of flaws. I ended up sympathetic to characters I thought I'd hate and hating characters for whom I started out sympathetic.

Kim Ha Neul plays O Wan Su, a self-made rags-to-riches success story. She's a woman determined that other children be spared the fear, uncertainty, and deprivation of her own childhood. Putting herself in a position to realize that goal cost the lives of her loved ones, and puts her own life at risk.

Rain is Seo Do Yun, a former police officer on a mission to solve the murder of his brother cop. His investigation entangles him with O Wan Su when it appears the same killer is gunning for her. Don't ask how we know that, just roll with it.

The two leads hooked me from the get-go. A near foxhole type lust moment between O Wan Su and Seo Do Yun after the sniper incident was smoking, and I loved their restrained intensity and moments of tenderness throughout the series.

Despite how well Rain and Kim Ha-Neul worked as the lead couple, comments on the ML/FL dynamic follow the standard MDL pattern: ML is a perfect swoon worthy hunk whom the inferior-in-every-way FL doesn't deserve or measure up to. That comment pattern is so predictable it ought to be baked into the MDL plot synopses just to save time.

My advice: ignore that drivel.

Some commenters are bothered that Kim Ha-Neul's characterization of O Wan Su wasn't more demonstrative. She's presented with the vulnerable stoicism of a woman who has faced unbearable loss and has no choice but to persevere.

Perhaps Kim Ha-Neul could have played O Wan Su as a weeping damsel, swooning with the vapors, back of her hand pressed melodramatically against her forehead, but O Wan Su has to be strong and relentless to survive, and a strong, relentless woman doesn't have the luxury to wail, flutter, fall apart, or swoon.

One more place I'll diverge from the pack: I thought the ending was perfect.

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This show is a hot mess

Aside from the repulsiveness of using external beauty as an absolute metaphor for internal beauty, the questionable standards and moral relativism of that standard's application gave me whiplash.

STORY
ML, who is absolutely every bit as obsessed with beauty in seeking a romantic partner as FL lead, is given a free pass on his shallowness, and even gets to lecture FL about it. Naturally, he is rewarded with a near flawless new appearance.

Apparently, it's right and normal for a man to choose a partner based on physical appearance, but a woman with the same propensity must be punished. Theoretically, anyway, since despite the script telling us FL came back as unattractive, she actually came back as equally pretty, only shorter and with glasses. Huh. That's it, I suppose a teeny bit shorter than average height, nearsighted woman is the absolute standard for "not attractive". Now we know. Meanwhile, an indisputably evil serial killer is revived with no defects that some push-ups, a shampoo, and a haircut wouldn't overcome.

All that not withstanding, the reason I dropped the show after episode 5 is that the producers/writers randomly and mid episode changed an established plot/script point with no explanation and then gas-lighted. What the heck? Formerly Dead Girl 2's appearance had changed after revival, as per usual, in this case coming back with freckles and thinner eyebrows seems to be the giveaway to her flawed nature, but in her next scene, with no explanation, she's back to her formerly lovely appearance. How does that make sense? She's an habitual fraudster and liar who just framed her ex for murder.

What makes even less sense is that FL, aka Formerly Dead Girl 1, acts like it never happened, even says it never happened(!), and we're clearly supposed to forget it, also. Nope. Nope-a-dope nope.

I started watching episode 6, but it only got more non-sensical, so I threw in the towel. A plot that relies on the assumed stupidity of the viewers (including me, how dare they!?) is an absolute deal breaker for me

[Side note: the script included the obligatory evil mother and I am truly baffled why mothers of adult children in Korean drama are near universally appalling characters who need to either be bitch-slapped HARD or arrested for assault/child abuse. That can't be true, right? Right?]

ACTING:
The many, many flaws in this production weren't due to the acting. The performances were decent enough for what they had to work with. I was especially impressed with Park Bo Young's range, even given the limitations of her character. Overall, the only thing the cast can be faulted for is still taking the jobs after they saw the script.

MUSIC:
Honestly, I didn't notice it.

REWATCH VALUE:
I hate that I was not allowed to rate it less than 1.0.

IMO this show is a waste of time, and a waste of a truly interesting premise, but it's your time, so yours to waste, if you wish.

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I REALLY wanted to like this drama

The action was great, the actors even better, special effects were good, production values were top notch, and I'm throwing a serious shout out to the stunt performers. Everything worked except the script.

I loathe plots that rely on the stupidity of the protagonist because the scriptwriter couldn't be bothered to find another way to move the plot. When that stupidity is mired in mach 10 sexism I'm even less forgiving. I watch enough kdrama that I'm resigned to the sexism that pervades its stories, but even with that built in allowance, this script leaned too heavily on bimbo stereotypes to drive the action.

I won't spill anything that will spoil your experience if sexism and stupidity aren't deal breakers for you, and sadly they aren't for many people - that's why there's so much of it, but I will point out a few of the details that had me trotting back to my watch list for something more worthy of my time: A trained covert agent of the a Korean National Intelligence Service hides her multiple fake passports and IDs in her underwear box, because who would ever rifle through a woman's lingerie to find evidence? She keeps her gun unloaded, presumably because she's never heard of a gun safe, so it's never ready when she needs it. No matter how many times this recurs, her behavior doesn't change. It seems even superstar Bae Suzy did not have the clout to plead for a production that didn't make her character an idiot.

And, yes, I'm calling it sexism because, unless it's slapstick comedy, a script for a male agent would not have his go-bag tossed in with his underwear, his gun unloaded when he needed it, or his hands shaking too badly to load that gun; nor would he be the only character in the series that didn't qualify for at least a semi-automatic weapon. The script wouldn't have a male agent hand off his weapon to an untrained civilian to do the bang-bang stuff, even if that civilian IS a manly Mary Sue who could do everything but don a cape and fly - although he did some impressive parkour that was close to flying. Finally, I'm pretty sure the scriptwriter would not have a male agent advocate to flee the county where ALL the known suspects are because "our lives are at stake," like that's not in the job description.

The sexist stereotypes and dependence on stupidity are not, by far, the only saboteurs of a script that stretches credulity on so many levels, but if you're still undeterred, those things probably won't bother you either.

The actors, all of whom delivered on their performances, deserved better than they got. So did the viewers. Life is short and there are too many wonderful kdramas to waste time on a contrived story line with a Swiss cheese plot. I dropped the series after three episodes.

I won't hesitate to find other dramas these actors are in, because every one of them was excellent in their roles, but I'll avoid the scriptwriters like they're patient zero for the plague.

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