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[S4E7] Therefore I Am __TOP__

"Poor young Fiona, she's only been with MI5 for five minutes and in that time she's had to snort cocaine, been doused with petrol and threatened with being burned alive, watched Danny being shot, had to slash her arms and been shot in the back! I think she was safer at MI6.This was a cracking episode. Fast and tense, everyone busy (including the extras. I always enjoy the extras carrying out the small, but important parts).It was nice to see an episode revolving around Olga Sosnovska, where she was able to display her many talents as an actress. I didn't feel she was made use of enough in the earlier episodes. It's therefore a shame that it looks as though her involvement in the series is at an end."

[S4E7] Therefore I Am

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Back they go to Rygel, who John runs laughing over in a van. They go back to Jool and D'Argo, and John asks what they're doing here. "It's my turn!" Jool screams. The other Chiana is on the table, tied up and gagged, mumbling for attention. John asks his Chiana if this room seems too easy. She asks what he means. "I mean, first time here, how did you make it through?" He then questions her about Aeryn's secret. She has no answer, so realising she's the fake one John knocks her out, along with Jool. He goes and unties the other, real Chiana, who then whacks D'Argo with a giant lollipop. Chiana then says that John left her there for arns; she could've died. They go into the elevator, where the annoying TV-John starts babbling about asking for an autograph. Annoyed to death, John destroys the TV screen. They arrive at the penthouse. "I'm here for the princess" John announces. "I can see that, so romantic!" Aeryn exclaims. John begins fighting the Ogre while Chiana takes on Harvey in a swordfight, as Aeryn comments on the action. Chiana stabs Harvey, as Aeryn says, "Honey, the butler's dead!" John asks Chiana for help against the Ogre and his axe, when Stark comes in. Chiana fights him, knocking him down and as the Ogre's about to get John, Chiana throws her sword at him, and John finishes him off. John goes over to Aeryn. "Are you really John Crichton?" she asks, "We are going to be so happy together". John kisses her, but nothing happens, as Stark looks on. Stark suggests that maybe he has to do more than just kiss her, maybe show her a really good time, or maybe Chiana has to kiss her too. "I love to watch" he says. "She is not the princess", Chiana suddenly notices. "Well, I'm not the princess you seek, but we can still have a really good time!" Aeryn says. Stark says bitterly that "This is my world, meat. You're just walking through it for a very long time. When your body is dead, your mind will live here with us to strut and fret forever, you poor player". John suddenly realizes what he needs to do and jumps out of the tower window, allowing himself to reset the level. Crichton throws away the helmet and his shield and goes inside. Stark, in the apparently never-broken TV asks "What are you doing John-do-doing John?" Crichton angrily responds that it's Stark's world, and therefore the Princess is his Princess. Stark realizes that John knows who the real princess is. John goes to male Zhaan and kicks Stark aside. "One hero's sword to set her free", John slices male Zhaan, and out of the light comes the real, true Zhaan. "Don't touch her, she's mine!" Stark screams. "Be silent Stark", Zhaan says. Zhaan asks if it's really John Crichton. He says yes, "And you're...?" "Zhaan, for all that matters" she says, "This Stark wishes to keep you here; he blames you. Believes I died for the love of you". "A lot of people have died because of me" says John. "What is it that you wish of me John Crichton? A kiss? Have you wasted my death, and the deaths of so many others?" "I don't know" John replies. "Then I suggest you find out, before anyone else dies for the love of you". She kisses him, Stark saying "No!" and the game finally ends.

The millions of millennials that watch Rick and Morty remember 9/11 all too well, whereas Pearl Harbor happened so long ago that so many potential viewers have little to no emotional connection to the event, and it's therefore fair game for a joke. Particularly given our current, borderline apocalyptic levels of isolation amidst pandemic, Rick and Morty's comedic nihilism and capacity to poke fun at insane violence feels more timely than ever. The more we think about it seriously, however, the more we're meant to realize that it's pretty fucked up how Morty and Rick careen through the multiverse, leaving a swath of destruction in their wake. How many people has Rick killed in his life, really? Does it even matter?

At this stage, we must acknowledge two reservations in the findings of this study. The first is that we are unable to determine the age of participants commenting on the blog. We cannot claim that all comments are made by young people nor that the more participatory narrative devices employed in the second clip were necessarily better at eliciting paradigmatic media literacy competencies and democratic deliberation within that age group. We can only state that the series was designed with young people in mind, and that previous studies have shown that it was extremely popular with viewers in that group. We can therefore anticipate that many of the commenters are young people. However, the show was undeniably watched by people of all ages, and therefore anyone could contribute to the discussion. Secondly, we acknowledge that there are shortcomings when extrapolating media literacy out of comments or short public documents, as we do not have insight into the context or personal experience or competences of the contributors. We interpret their views based on our own understanding of the texts, and do not know the extent of their knowledge of the content (series), their motivations, or purpose for posting. We do not know if they have even watched the scene or the whole series.

Despite these reservations, we are still able to determine that the two clips have generated a sharing of pluralistic views, and therefore contribute to democratic deliberation to some degree. It is clear that narratives where characters engage in dialogue and work towards accepting conflicting philosophies of life in a reasonable and consultative manner through agonistic deliberation seem more effective in eliciting a higher level of media literacy where critical and ethical competencies are more apparent. 041b061a72


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