"So, too, is the way the poison comes out against Tyrion, demanding his death, trying to convince Jaime to do it. Jaime resists it, loving his brother too much, uncertain of the truth of the accusations aimed at Tyrion, the bonds of brotherhood seeming stronger than the bonds of lovers… but it’s that status as lover where the scene takes its turn to something all together darker and harder to easily define and interpret. For some, the simple question will be, “Did Jaime just rape Cersei?” For a few, it won’t even be a question, it will be obvious one way or another. But it seems clear that what the writers aimed for was ambiguity, an ambiguity that serves to remind viewers that however Jaime and Cersei interact, the romantic and sexual component of that relationship is perverse, and even dangerous.
One can notice how it’s Cersei, not Jaime, who first turns the scene towards the romantic, with her kiss… but that’s followed by her pulling away. It seems essential that she turns back to her son, body language suggesting withdrawal from Jaime, perhaps regret for doing such a thing in front of her dead son, or disgust at the reminder of the loss of Jaime’s hand. But is she also looking side-long at Jaime, trying to judge if the promise and than the withdrawal of sexual access might make him budge on Tyrion’s fate? Certainly, it seems to be the only way to read Jaime’s response after a long, fierce consideration: “You are a hateful woman.” It seems he feels manipulated or slighted, and decides to have none of it, and to take what he wants. When he grabs her and turns her to him, the camera frames the body lying there behind them, the focus changing from foreground to background to leave us in no doubt of the very real presence of the still corpse of Joffrey Baratheon. It makes what follows seem all the more grotesque, and it’d be simple to then read everything else that follows as a sordid rape.
But the camera chooses to frame—or not frame—other things as well, things that suggest that these lovers, lovers for more than two decades (nearer, one supposes, to three decades on the show), may be familiar enough with one another to read signs we as viewers can’t so readily see. Because while Cersei protests, for a moment we see her actively kissing back as they slide down to their knees, even as the treacherous camera slides further downward to obscure that instant of suggestive agency and instead shows us fumbling hands obscured by voluminous clothing, hands which tear at her clothes… and at his? Staring at it, trying to decipher the choreography, I’d offer a tentative yes: she’s participating actively, but her own desires are fighting with her sense of being overwhelmed physically and emotionally. The final shot of the scene, as Jaime moves on top of her, seems emphasize it: her plaintive cries that it’s not right are matched to the classic iconography of passionate abandon, a hand clenched around cloth (a funerary cloth, however, not bedclothes; a last reminder of where the scene takes place.)
It’s certainly a very different approach to a similar sequence in the novel, and it’s one that highlights—in a particularly uncomfortable fashion—the way that the Cersei of the show is unlike the Cersei in the novel. The move to a chillier Cersei, one who burns less brightly, whose passions and hatreds are more restrained, seems to be matched to a reduction in her sexual agency, a distancing from her sexual desire. The Cersei of the novel felt it was wrong and protested at first, and then abandoned herself to it, encouraged it; she clearly made a choice. This Cersei seems far less capable of choosing what she wants, of firmly saying no or yes, and if it’s more “yes” than “no”, only she and Jaime really know. It’s more complicated in that it’s more confused, but it leaves the character feeling weaker and less in control, less of a participant and more of a person acted upon. It’s not a change we’re particularly comfortable with, but at least it seems consistent with the general changes they’ve made to her character to date, so there’s that.”
Source of Asshole, from their analysis of the episode : http://www.westeros.org
Bags of dicks — he raped her. There isn’t a question. Don’t care how the book went. So the whole point of Jamie trying to redeem himself became pointless.