#italy covid

[motherearthlovesus]

italian summer nights w/ theo

🫒🥂🌛

[kradogsrats]

Revisiting the Arc 2 Opening

So particularly @raayllum had done some detailed analysis and predictions based on the comparison of Viren and Callum's variant arc 2 openings, but I want to return in the post-s6 space now that we have Claudia's opening as a third point of comparison because that addition has an impact on how the original two relate to one another and what each one is saying.

The basic sequence of each opening is the same: from the initial star-map zoom (associated with destiny/time-blind vision of future events) the camera circles the principal character, placed at the celestial Sea of the Castout, as they turn to stone. Aaravos's giant hand swoops down and plucks up the statue, now contextualized by size as a pawn or other game piece, to admire from within his prison with a satisfied smile.

The most important point to understand about this sequence is that Aaravos doesn't personally turn Viren, Callum, and Claudia to stone, but is able to capture and manipulate them as pawns because of it:

This doesn't seem like much of a distinction at all, particularly because the petrification that results in Aaravos's satisfied claim on each mage is a representation of dark magic, which is... what allows Aaravos to influence/control those who resort to using it.

We get the direct link between the heart, dark magic, and Aaravos's influence/control explicitly spelled out by s6, and (as many noticed before)... go figure, in all three openings the corruption petrification begins at the heart.

Now, Callum is actually the only one who knows explicitly about the connection between dark magic and influence/control by Aaravos. Viren has sort of intuited it by the end of s5, in that we can see by portions of his dream that he's aware on at least a subconscious level that he was not in his right mind during at least the latter half of s3. This is why the distinction between the petrification being a factor allowing Aaravos's control, rather than an effect of it, is important—the conflicts and dynamics being represented are more complex than that. For example: Viren's opening, it turns out, isn't about Aaravos at all.

That's a Reach

When the primary arc 2 opening, featuring Viren, was revealed as part of the lead-up to the s4 release, there was a decent amount of speculation as to what it meant—the connection with Avizandum's death was recognized immediately, but what did that signify? Would there be further-reaching direct consequences of Viren's involvement and the archdragon-killing spell? Would Avizandum himself somehow have expanded significance? What is Viren reaching for: Aaravos, redemption, another chance at life?

Mostly, it set the tone for s4 and arc 2 in general, particularly regarding Viren's character arc, with strong mood and themes of helplessness, the past, regret and consequences, cyclic harm, and (of course) death. Not even to mention the looming presence of Aaravos and his relationship with Viren as his pawn. It was a vibe.

It wasn't until after s5 and/or s6 that the opening came into full context: Avizandum, in his final moments, turns his back on the battle with Harrow—the cycle of violence that he, himself, has contributed to perpetuating—and reaches for the child he will now be unable to protect from that violence.

Viren, as it turns out, does the exact same, as we see explicitly in s5 and continued implicitly in s6. Like Avizandum, he reaches for his children, unable to save them from the damage he has already done—all of it through dark magic.

On its own, it's an elegant implementation of the parallels TDP is so fond of to demonstrate that both sides of this long-time conflict have inflicted harm on each other and themselves in very similar ways for generations. Even at the time of s4, however, we had Callum's opening obviously derived from Viren's, and after s6 we have Claudia's, as well—both of which come with their own context that builds off of Viren's in different ways.

Lost Child

So while Viren's opening actually has very little to do with Aaravos (prior to Aaravos's actual appearance grasping him as a literal pawn), Claudia's (and Callum's, which we'll come back to in a bit) is difficult to interpret as not being related to her personal dynamic with Aaravos.

Interestingly, Claudia's opening places her at a very specific point in time, since it's visibly between two major physical changes to her body/appearance—her lower leg is missing, severed by Rayla in the Sea of the Castout at the end of s5, but she still has her long hair from before prompting Terry to cut it off for her early in s6. Even more specifically, she has the half-and-half split of black and white hair, which is already majority-white in s6e1:

This is Claudia in a moment we don't see on-screen—when, having failed to collect Aaravos's prison and not knowing that Viren has been offered and rejected the Infantis Sanguine spell, she turns to Aaravos in the dark of night and is willing to do anything to save her father.

I could do a whole thing here about the nature of Claudia's perception of Aaravos as both a paternal and divine figure, but the relevant part is that her only association between dark magic and Aaravos is a positive one—as far as she's concerned, Aaravos gave humanity dark magic as a benevolent gift, and her main reason (at least that she's willing to voice) for hesitating to give it up is that Aaravos kept his promises to her and it would be right to keep her promise to free him. In her opening, she goes from pained and defeated to looking upward with total trust and hope—looking to Aaravos the way she would have looked to Viren.

Her petrification shares the single tear with Viren and Avizandum, really cementing her place as another loop in the cycle of harm between humanity and Xadia that has dark magic at its heart. That callback to Viren's opening also puts hers in dialogue with him as much as with Aaravos, placing her in the same position as he is in a reflection of his horror and dismay that she has followed his path and example so closely.

Given that Claudia dramatically changes appearance (and, to an extent, attitude) immediately after this opening is introduced, it's possible that we'll see a different variant for s7... but given the end of s6, she actually hasn't really changed all that much. She has doubts about how to proceed with her life after Viren leaves, but as soon as Aaravos re-enters the picture, her conviction is back. She may not have done any dark magic after s6e1, but I don't think that's because she's decided to give it up.

Key Framing

Given the context of Claudia's opening, Callum's opening becomes unusual because it references Viren's without tying back to Avizandum and that cycle of harm. It's still on some level about dark magic, but Callum's relationship with dark magic isn't tied up in family and inheritance like Claudia's and Viren's are—instead it's focused entirely on fate vs. freedom, and on Aaravos specifically.

Callum's opening appears only for s4e4 ("Through the Looking Glass"), where he is possessed by Aaravos and it is established that his single use of dark magic is what allows that control, and for s5e8 ("Finnegrin's Wake") when he uses dark magic a second time. The shared opening puts those two episodes in obvious dialogue with each other, since s5e8 never makes explicit that the danger of dark magic for Callum is control by Aaravos—something he has already asked Rayla to end his life in order to avoid.

The focus in Callum's opening, both by its visual prominence and Callum's own gaze directed at it, is the Key. While Viren and Claudia's petrifications end the way Avizandum's does—with the single tear—Callum's ends with the Key in a blaze of light.

I expect we will see Callum's opening return for s7, possibly even as a primary opening, but it will almost certainly be recontextualized at some point and possibly even changed to a variant that reflects that new context. The Key is an element that will contribute to Callum's doom or salvation—or both, as a key can both lock and unlock—and its prominence in his opening reflects that and will likely be informed by how that resolution develops.

All of Us, Stardust

Speaking of alterations to the openings:

The final, altered version of the Viren opening kicks off s6, acting as a last, fun little extension of the "is Viren dead?" cliffhanger of s5. Aaravos's hand reaches down as usual, but instead of firmly grasping the petrified Viren, he very briefly hesitates before pushing it slightly, instead. The petrified Viren then crumbles and collapses into dust.

We first saw (or rather, had described to us via frantic convention attendee note-taking) this opening at the first reveal of s6e1, which was originally shown without any of the scenes revealing Viren to be alive. There are a lot of ways it could be interpreted, from a straightforward "he'd dead, Jim," to my own kind of fanciful theory from the time regarding Viren, dead or alive, having been made unusable by Aaravos as a pawn.

One way to contextualize this opening is with this old illustration from Patience, which ties in closely with the Aaravos chess/pawns motif (and was a significant part of contextualizing the arc 2 opening as "pawns"):

Now, there are a lot of things about this image that are important, not least the confirmation/reinforcement of the chain of manipulation of dark mages by Aaravos across thousands of years from Ziard to Viren, with the implication of Callum in the future. What I'd like to call attention to is that in chess, tipping over a piece is a gesture specifically used only with the king, and specifically to indicate that you are resigning the game and the opponent is victorious.

I don't think there's anywhere we've seen Aaravos truly lose, except for possibly when he was imprisoned, because his plans have levels of redundancy that mean they don't depend on any given individual—a game of chess hinges on the king, but Aaravos is essentially playing six or eight interconnected games at once, and a loss on one board only reinforces his remaining pieces on another. Losing Viren, deliberately or not, empowers his influence over Claudia... exactly as we see in the sequence of arc 2 openings. It would be difficult for them to have replicated the tipped-over/toppled king imagery with the petrified Viren without having to do some labor-intensive camera work on the existing opening pattern (e.g. do they show the ground when he falls? What even is the ground?)—so I think there's a strong likelihood that him crumbling to dust is meant to have a similar resonance.

Anyway, I'm kind of dancing around some complex theorizing and analysis of Viren's death that I go back and forth on depending on the day, but basically I do still think the important takeaway from this opening variant is that as far as Aaravos is concerned, Viren is off the board. That it's the opening for s6e1, rather than a special use for s6e8 (as Callum's variant openings are handled) is also IMO a positive sign regarding Aaravos's loss of control and direct manipulation of Viren over the course of s6. I don't think we've heard the last about Viren, and between Claudia, Soren, and Kpp'Ar there will definitely be a multifaceted interpretation of his legacy with significance in s7.

Opening the Final Season

Ultimately, given the dialogue between the three (four?) variant openings we have seen so far for arc 2, I think for s7 we can expect:

the Callum variant will appear at least once

at least one new Claudia- or Callum-based variant, OR possibly even an Aaravos variant

a new variant (possibly one of the ones from the previous point) to close out the arc for at least s7e9

That's my fevered ramblings about this 20-second repeated sequence, thanks for coming to my continuing insane TED talks on this and other ridiculous topics.

[covid-safer-hotties]

We do non-American news too!

Any language that I can at least tell ads from content gets preserved at our covid archive too!

[atheostic]

Religious Privilege

In Italy, during the 2020 spring lockdown many schools provided Catholic teaching among the other remote learning classes, but omitted to do the same with an alternative subject for students who opted out of the Catholics class, despite having an alternative class being a legal right of students.

[magdeleinas]

all we do in aus is make fun of how stupid americans are why the fuck are we voting for the party that wants to be like them the most? you want guns back? have you seen their death toll over there? you want to decriminalise conversion therapy? have you seen the death toll over there? you want to criminalise abortion again? HAVE YOU SEEN THE DEATH TOLL OVER THERE???

[whiskeyswifty]

In your opinion are Taylor’s self-written songs usually better than the ones she wrote with co-writers?

I think it really depends. I joke a lot about how I want her to work with more no-men who will edit her work, but if I’m serious about it I think it’s more WHO she works with and under what circumstances. Other than folklore, I don’t actually know how much she balances that workload and creative contribution and collaboration with the people she works with. and on top of that, sometimes a writing combo produces absolute ass and other times it's one of my favorite songs she's ever written, so it's really hard to make a generalization like that. she actually doesn't write as many songs all by herself in a locked room or whatever as much as people think.

Let's take Lover for example because it's very interesting to me:

-of the 18 tracks, she is the sole songwriter for only 3 songs; Lover, cornelia st, and daylight. Right off the bat, i'm 2/3 for enjoyment, mayyyybe 3/3 if i'm feeling generous, but both daylight and lover are mid to me, cornelia st being the strongest of this trio imo.

-There are 3 main songwriting groups she works with on this album. Joel Little is Group A. Jack Antonoff and friends is group B. And, rather forgettable, Louis Bell and Adam Feeney are Group C. Lets break down the track listing by those subgroups + her solo work.

Group A: The Man, MAATHP, YNTCD, ME!

Group B: Cruel Summer, The Archer, I think He Knows, Paper rings, DBATC, London Boy, Soon You'll Get Better, False God.

Group C: IFTYE, Afterglow, INTHAF

Solo Written: Lover, Cornelia St, Daylight

This is a great example of how difficult it is to say who produces the best work and who produces the worst with her, and if she's better off with co-writers or not. lets get into it.

For group A, i think pretty widely we can agree she didn't work with Joel Little again after this for a reason, so that's perhaps the only simple answer which is that their creative collaboration, for whatever reason, was extremely unsuccessful. However, that's Mr. Pure Heroine producer himself so a good example of how it might not be HIS fault that the songs were bad. nor her fault either, but proof that she alone cannot carry a song to success despite a co-writer, and proof that a cowriter can't save a shit song. he's clearly capable of creating incredible work, and so is she. just only with the right creative alchemy and chemistry which he and taylor clearly did NOT have.

Group B, Mr. Antonoff a troubled figure in my eyes but here really shines. the only song's i don't like in this group are Paper Rings and London Boy, which are also not top tier songs for most swifties and the genpop. not as hated as i hate them, but certainly not top performers. that gives jackie boy a 6/8 hit ratio which is pretty good, AND some of those songs are some of my favorite taylor songs of all time. now the question begs why are these such smashes and creatively compelling songs, and other (ahem later) work so lackluster? i don't know of course, but this might be a good example of how the alchemy and chemistry might be there, but as I said before circumstances are also key. at this point, several things have happened. since their first collaboration on 1989, jack has branched out and produced several genres of music for other artists and has grown his toolset, experience, and his confidence. also, this is taylor and jack's 3rd record together, and their rapport and shorthand and creative energy has likely strengthened and electrified by now to a very goldilocks zone you could say. both of them not exactly on top of the world so they still have something to prove, and they're at a point where they likely understand each other and are energized by each other, but aren't comfortable and complacent. it's hard to say definitively if thats true, but that's certainly how it can be positioned and how the quality of the output can be explained. once again, circumstances and timing!

Group C is very interesting, as i only like one of the 3, INTHAF, however it's weighted so heavily because its, imo, one of the most beautiful, interesting production wise, and completely original works taylor has ever made. This is perhaps a good example of something else that i wish taylor would do more, which is take creative risks and work with people who encourage those risks. Afterglow is more run of the mill for her, so we'll throw that one out. but IFTYE and INTHAF are both very outside the box for her. IFTYE is sung in a predominantly spoken word way, verrrrrry conversational, often speaking off beat. and maybe the only song similar to it is TIWWCHNT, but even then, the cadence is way more freeform and reactionary on IFTYE. while i find that song unsuccessful, that same freeform songwriting structure works WONDERS for INTHAF. the song is more of a 3 part poem, with a repeating single phrase but no real chorus (which she talked about being challenging for her when writing this song), and for miss pop formula that's a bold move. the whole song was an exercise in distilling a song down to only what is most necessary, forcing her to be incredibly purposeful and thoughtful with every word. again, some words are also sung on the downbeats, but they flow seamlessly because the instrumental of this song is just stunning and perfectly paired. also EXTREMELY out of left field and experimental for her. it has steel fucking drums!!!! which you typically find in tropical/Caribbean music which could not be further from her sound. and a trumpet solo!! which comes off almost jazzy that pairs so well with how the lyrics are also that kind of meandering, unstructured jazzy freeform for her. but the real killer is how for once, she holds back lyrically when it comes to scene setting. she's very reserved in what she shares and then lets the instrumental tell the story too. she gives you some information that the song starts with the story of children, but the children's choir comes BEFORE the lyrics start to already lay that thematic groundwork. they carry through the song and at the end, the children's choir doubles as further scene setting for the church where the subjects of the song get married. but even then, before the lyric about church bells comes in YOU HEAR ONE RING IN THE SONG!!! she's purposely holding back lyrically and letting the instruments fill in the gaps of the story, which is a method of songwriting that is almost cinematic in how sound effects and sound scapes tell the story just as much as the lyrics do. it's a great challenge for her as a songwriter and really pushed her creativity, forced her to think differently about what a song can be, and imo it produced phenomenal and completely original (for her) results. Clearly Group C challenged her and pushed her in new directions. the downside of that is with taking creative risks comes a high chance of failure, and while the other 2 songs are not failures totally, they're much less successful. but that's important still!! pushing her is important and it's the only way we get to great creative work that is new and exciting and important, so to me, the failures of Group C are worth it for the delicious success of INTHAF.

As for her solo work, i will say i enjoy Cornelia St. a lot, and Lover and Daylight are ok, but imo they're like almost fully baked. there are aspects of all 3 of them that could be pushed juuuuust a little further towards greatness. clunkiness that could be cleaned up, metaphors and turns of phrased that could be polished just a bit more until they really shine. compared to all 3 groups, clearly her solo work is better than Group A, and some of Group C, but i think falls short of a lot of Group B.

idk. on the whole, i guess i can conclude that her solo work these days, while some of her best work, doesn't seem to quite reach the greatness of work she's collaborated on that truly shines. so to make a broad statement yes, i prefer when she works with someone even just a little bit. i think she has raw, incredible talent and a great mind, but i love even more when people bring out new sides of that mind and that talent and show how much she can do, or help her trim the fat and show us the most seasoned and delicious work she has to offer. but as evidenced by Lover, it's not as clear cut as just she needs to work with someone and those will be better songs always. who and under what circumstances are going to be important and unfortunately impossible to predict. i can only hope that she will take away from folklore's insane success, combined with how it was entirely collaborative in a way she hasn't been in a long time, that creative collaboration that pushes her is a good thing. and she'll try to do more of it because midnights is incredibly creatively stagnant and stale. maybe her partnership with jack is getting stale, too complacent and they know each other too well. comparatively, her work with Aaron on Midnights are the best songs on the album imo. someone new, fresh, from a different world and someone who has the chemistry and alchemy that are hard to find, but the newness of their relationship clearly challenges her again. maybe that too will grow stale and she'll need fresh blood, and so on and so forth. i don't think that's her burning through people or that means she can't write songs on her own, of course not. i just tend to see creative work as greater than the sum of it's parts. it's about all these factors, some intentional and some accidental and circumstantial, coalescing together to produce something truly amazing, and there's no other way to do it. unfortunately it can't be replicated or turned into a factory line. there's an elusive magic to it, lightning in a bottle is how a lot of songwriters refer to it when a great song comes together in the studio. and all i hope for is that no matter how big her ego grows or how comfortable and easy working with the same people over and over can be, she remembers how magical it feels like when she manages to catch it and she will never grow tired of chasing it.

[nicolasfolch]

"la peste en Roma", Roma.

Cada vez me aburro más acompañado de gente sin capacidad de autoderrisión (neologismo creo). En Chile se les suele llamar "tontos graves", pero yo, prefiero llamarlos simplemente "acomplejados". (de : notas marroquíes).

[frengerino]

listening to any album that came out in 2020 even if it's full of certified bangers

[bi-naesala]

madonna termini con tutti i turisti è peggio dell'inferno

[sarenhale]

I can't fucking believe I'm going on a vacation to another country for a week holy fucking shit. I am so pumped aaaaa I'm gonna fucking scream

[morgenlich]

I do think it’s kinda funny that EN announcers for trains, etc. in Germany will translate Hauptbahnhof into “central station” but in Italy there is zero translation of station names, or city names for that matter iirc

[girlhelpicf]

my family is truly in the middle of the classes. the whole first floor of my house is just one room all around excluding the bathroom. we have a cabinet of riches. the entire house is constantly falling apart. we have a cabinet of riches. we have to manually lift the garage door. like with our hands. we have a cabinet of riches

[supercantaloupe]

it actually is kinda weird now how dedicated i am to/how much my Brand is built around oboe considering that the larger part of my accomplishments in music have been from singing

[covid-safer-hotties]

Covid, +11% casi rispetto alla settimana precedente: preoccupa la variante Xec - 30 Agosto 2024

I'd love some help finding more international news for the archives! Feel free to post whatever you find (and include at least a google translation into English).

Both Italian and English versions below the cut

In crescita i numeri di Covid in Italia. Salgono a 15.221 i casi registrati dal 22 al 28 agosto, +11% circa rispetto ai 13.690 della settimana precedente. In aumento anche i decessi, che superano il centinaio. Sono 135 i morti Covid nell'ultima settimana, il 36% in più rispetto ai 99 della rilevazione precedente.

Questi i dati dell'aggiornamento settimanale su Covid-19 in Italia, pubblicato oggi sul sito del ministero della Salute. Risultano in crescita anche i tamponi eseguiti a livello nazionale, 94.171 rispetto ai 72.266 della settimana 15-21 agosto. Il tasso di positività si attesta al 16,2%, era 18,9% nel bollettino precedente.

Andreoni: “Situazione epidemiologica preoccupante” "Certamente i numeri in crescita del Covid, compresi i decessi che nell'ultima settimana sono arrivati a 135, sono motivo di apprensione perché siamo in un periodo dell'anno in cui la circolazione del virus non è mai stata particolarmente rilevante. In vista dell'autunno occorre un cambio di rotta, la circolazione del virus sarà più importante e la situazione epidemiologica preoccupa perché la campagna vaccinale per il Covid non è ancora decollata". Così Massimo Andreoni, direttore scientifico della Simit, Società italiana malattie infettive e tropicali e professore ordinario all'università Tor Vergata di Roma.

Pregliasco: “Attenzione alla variante Xec” Il Covid purtroppo è ancora fra noi, con un andamento ondulante in funzione anche dell'insorgenza e della presenza delle varianti. Questo rialzo" che si osserva nei numeri del virus in Italia "potrebbe essere l'effetto dell'ultima variante Xec", new entry che è in ascesa a livello globale, "e ha una capacità diffusiva e di immunoevasione che sembra essere alta".

I dati, almeno per quanto riguarda il numero di casi, "sicuramente sono sottostimati". Molti di questi "sono banali, e ci sono magari anche tanti asintomatici che mantengono quella che è la catena di contagi".

È l'analisi del virologo Fabrizio Pregliasco che commenta l'andamento del contagio da Sars-CoV-2 nel Paese.

"È vero - sottolinea il direttore della Scuola di specializzazione in Igiene e medicina preventiva dell'università Statale di Milano - che questa è una patologia nella maggior parte dei casi è banale, che per un giovane può essere approcciata con antinfiammatori. Ma lo vediamo dai numeri in salita dei decessi, è un problema per le persone fragili. Il messaggio è dunque per loro e per gli anziani: in presenza di forme respiratorie, anche dubbie o aspecifiche, facciano comunque un tampone, almeno per loro, per poter fare gli antivirali. Oggi esiste il Paxlovid che evita gli effetti più pesanti per le categorie fragili".

Questi dati in crescita, conclude Pregliasco, "servono anche per ricordare l'importanza del richiamo vaccinale in autunno, sempre e soprattutto per gli anziani e i fragili, sia per quanto riguarda l'anti-Covid che il vaccino antinfluenzale. Oggi insomma è ancora il momento dell'attenzione rispetto a quelle che possono essere situazioni di rischio. E, soprattutto, preserviamo i fragili".

Ciccozzi: “Andamento a cui dobbiamo abituarci” A commentare i dati dei contagi è anche l'epidemiologo Massimo Ciccozzi: "Contagi e decessi per Covid-19 in aumento? Tutto normale, è questo l'andamento a cui dobbiamo abituarci. Alla base dei numeri in crescita i maggior spostamenti di italiani e turisti in transito nel nostro Paese. Chi parte o torna dalle vacanze lo fa viaggiando in aereo o in treno, di conseguenza c'è una maggiore circolazione del virus. Unico presidio contro il contagio è la mascherina che, purtroppo, nessuno indossa più".

"Fortunatamente i sintomi sono meno importanti ma - avverte Ciccozzi - non per anziani e fragili che sono più vulnerabili e fortemente debilitati dal caldo e che vanno protetti". L'epidemiologo non ha dubbi: "Ad ottobre occorrerà fare il richiamo vaccinale per il Covid e l'influenza, soprattutto per over 70 e fragili", conclude.

Covid, +11% cases compared to the previous week: Xec variant is worrying

Covid numbers are growing in Italy. The cases registered from August 22 to 28 rose to 15,221, approximately +11% compared to the 13,690 of the previous week. Deaths are also increasing, exceeding one hundred. There have been 135 Covid deaths in the last week, 36% more than the 99 of the previous survey.

These are the data from the weekly update on Covid-19 in Italy , published today on the website of the Ministry of Health. The number of swabs carried out at a national level is also increasing, 94,171 compared to 72,266 in the week of August 15-21. The positivity rate stands at 16.2%, it was 18.9% in the previous bulletin.

Andreoni: “Worrying epidemiological situation” "Certainly the growing numbers of Covid, including deaths that in the last week have reached 135, are a cause for concern because we are in a period of the year in which the circulation of the virus has never been particularly significant. In view of the autumn, a change of direction is needed, the circulation of the virus will be more significant and the epidemiological situation is worrying because the vaccination campaign for Covid has not yet taken off". Thus Massimo Andreoni , scientific director of Simit, Italian Society of Infectious and Tropical Diseases and full professor at the University of Tor Vergata in Rome.

Pregliasco: “Beware of the Xec variant” Unfortunately, Covid is still among us, with an undulating trend also depending on the onset and presence of variants. This increase" that is observed in the numbers of the virus in Italy "could be the effect of the latest Xec variant", a new entry that is on the rise globally, "and has a diffusion and immunoevasion capacity that appears to be high".

The data, at least as far as the number of cases is concerned, "are certainly underestimated". Many of these "are trivial, and there are perhaps also many asymptomatic people who maintain the chain of contagion".

This is the analysis of virologist Fabrizio Pregliasco who comments on the progress of the Sars-CoV-2 contagion in the country.

"It is true - underlines the director of the School of Specialization in Hygiene and Preventive Medicine of the State University of Milan - that this is a pathology in most cases is trivial, that for a young person can be approached with anti-inflammatories. But we see it from the rising numbers of deaths, it is a problem for fragile people. The message is therefore for them and for the elderly: in the presence of respiratory forms, even dubious or non-specific, do a swab anyway, at least for them, to be able to take antivirals. Today there is Paxlovid which avoids the most severe effects for fragile categories".

These growing data, concludes Pregliasco, "also serve to remind us of the importance of the vaccination booster in the fall, always and above all for the elderly and the frail, both for the anti-Covid and the flu vaccine. Today, in short, is still the time for attention with respect to what may be risk situations. And, above all, let's protect the frail".

Ciccozzi: “A trend we need to get used to” Epidemiologist Massimo Ciccozzi also commented on the infection data: "Infections and deaths from Covid-19 on the rise? Everything is normal, this is the trend we have to get used to. The basis of the growing numbers is the increased movement of Italians and tourists in transit in our country. Those leaving or returning from vacation do so by traveling by plane or train, consequently there is greater circulation of the virus. The only protection against contagion is the mask that, unfortunately, no one wears anymore".

"Fortunately the symptoms are less severe but - warns Ciccozzi - not for the elderly and frail who are more vulnerable and severely weakened by the heat and who must be protected". The epidemiologist has no doubts: "In October it will be necessary to get a booster vaccination for Covid and influenza, especially for over 70s and frail people", he concludes.

[moripartylove]

well shit i sat next to a covid-positive colleague in a meeting yesterday

[persephoneflouwers]

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