Show Notes
Note: This is a freely accessible serialized version of Lab Leak Fever. Audio voiceover was AI generated for accessibility. Find an overview of all chapters here or consult the book website for further information. “Murderer! Murderer! Smug murderer!” The threatening calls from an unknown conspiracy theorist followed Peter Daszak down the seemingly endless hallway of the US Capitol building. Some of his detractors were trying to get him rattled—any reaction, really—holding their phones to his face so they could blast it out to their followers. Also there: Emily Kopp, working for the anti-biotechnology activist group USRTK. She was chastising Peter for causing trillions in damages to the US, following behind him with a professional camera team recording her monologue. This would potentially be good footage for her next attack piece or possibly a movie. After countless books, op-eds, podcasts, and YouTube videos, the lab leak conspiracy genre was lacking a big-screen cinematic experience; rumors about its production had been circulating for months now. Peter knew it would get bad the moment US Republicans took control of the House in 2022. They had been campaigning as the party of accountability and oversight. A false promise. In reality, they wanted to direct the emotional energy of voters for political gain, whitewashing President Trump’s pandemic failings by using scientists as scapegoats. They also wanted to use the spectacle of public witch trials as campaign events—the offline version of the omnipresent pile-ons from social media. The agitated online mobs had called feverishly for a party that would exert revenge for the trauma of the pandemic, and Republicans were keen to ensure that it was the scientists and their democratic opponents at the other end of that particular pitchfork. Many pseudo-events had led up to this moment for Peter, from the White Coat Waste Project, using Matt Gaetz and Marco Rubio to cascade awareness of his WIV grant towards an irascible Trump, resulting in its unlawful cancellation on live television. The USRTK playbook included decontextualizing Peter’s emails to give ammunition to conspiracy theorists, while the relentless media onslaught about gain-of-function research stoked a moral panic. Then, the “leak” of DRASTIC’s re-interpreted DEFUSE proposal, the supposed blueprint for creating the pandemic virus. Katherine Eban’s hit pieces cast him and Shi Zhengli as the main villains. All of these were an avalanche of events, in addition to his supposed arrangement with Anthony Fauci as the “kingmaker” of grant funding and the many virologists in cahoots circling the wagon. Simultaneously, virus hunting had been demonized as well. Myths about the supposed dangers of discovering viruses were powered by biosafety activists, catastrophizing influencers, and sponsored in considerable part by the cryptocurrency fraudster and effective altruism fanatic Sam Bankman-Fried, who donated millions to various media outlets to write scary existential risk stories about virology. EcoHealth Alliance’s mission was recast as creating the conditions for biological warfare, treated by some commentators as the equivalent of nuclear testing. The utility of virus discovery for research and pandemic prevention was ridiculed. Even Republican senators missed no opportunity to blast Peter regularly in the Daily Mail and New York Post for uploading something as innocuous as a short video of a bat eating a banana. Each time he made the news, allegations against him would be recycled and refreshed in people’s memories. No matter what Peter Daszak did or did not do, no matter if he spoke up or withdrew, the drumbeat continued. The media landscape about him was a bizarre mixture of directed fan fiction and choose-your-own-adventure stories, with multiple co-created narratives about Peter, his role, and his supposed fault mixing, converging, and spinning into ever-new reasons to hate him. His supposed villainy was entertainment at
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