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'I said,”This isn't working for me anymore”. I made a stand and the gap in our pay closed. Was it sexism? Maybe. It's like the way we were directed by the studios, I was to walk behind him, never side by side. I mean, that is f—-ing priceless when I think about it now. When we would get out of the car and walk towards the house I would have to be behind him, even though I had equal dialogue.'

- Gillian Anderson 

George R R Martin’s response to Game of Thrones S 4 Ep 3

I think the “butterfly effect” that I have spoken of so often was at work here. In the novels, Jaime is not present at Joffrey’s death, and indeed, Cersei has been fearful that he is dead himself, that she has lost both the son and the father/ lover/ brother. And then suddenly Jaime is there before her. Maimed and changed, but Jaime nonetheless. Though the time and place is wildly inappropriate and Cersei is fearful of discovery, she is as hungry for him as he is for her.

The whole dynamic is different in the show, where Jaime has been back for weeks at the least, maybe longer, and he and Cersei have been in each other’s company on numerous occasions, often quarreling. The setting is the same, but neither character is in the same place as in the books, which may be why Dan & David played the sept out differently. But that’s just my surmise; we never discussed this scene, to the best of my recollection.

Also, I was writing the scene from Jaime’s POV, so the reader is inside his head, hearing his thoughts. On the TV show, the camera is necessarily external. You don’t know what anyone is thinking or feeling, just what they are saying and doing.

If the show had retained some of Cersei’s dialogue from the books, it might have left a somewhat different impression — but that dialogue was very much shaped by the circumstances of the books, delivered by a woman who is seeing her lover again for the first time after a long while apart during which she feared he was dead. I am not sure it would have worked with the new timeline.

That’s really all I can say on this issue. The scene was always intended to be disturbing… but I do regret if it has disturbed people for the wrong reasons…George RR Martin on the rape of Cersei of HBO’s Game of Thrones season 4 episode 3.

Sorry, I won’t let this die. But fuck you George, Fuck you for supporting a culture of rape. There is a difference between disturbing consensual sex and fucking rape!! Does this high paycheck keep you from saying, “In the book, Jamie didn’t rape Cersei.”

No, you have to embrace this culture of rape by saying stupid shit like “We don’t know what is going on in their minds.” You FUCKING ASSHOLE!

And the show is still really good and well written. I sincerely hope that they don’t expect Cersei to act like Scarlet O’Hare and be all “I’m glad you raped me!” in the morning.

Cuz if she does, I’m am done with the show and so should every woman who has been raped, sexually assaulted or even knows someone they care about that has been. So damn angry right now…Sorry followers, I don’t like to rant this much.

Stop enabling a culture of rape!

"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 :

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. 

Okay - you know your boss is a moron and only got their middle-management pointless position because of their “personality” and friends when they say:

The next time your computer locks up and you can’t get signed in, please send me an email or instant message. Thanks.

I needed Gaz to reply: That’s just stupid!

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