nfe

She made the choice to marry. That's not the same as choosing to be raped, and anyone who says it is does her character far more of a disservice that the producers and writers. Moreover, they do a great disservice to every woman who lives, or lived, in a society where marital rape is not, or was not, considered a problem, or even conceived of as something that could exist. If your problem with the narrative is that Sansa chose to be married, and therefore chose to be raped, it is not the writers who are victim blaming, it is you, as you are asserting that every woman who has been coerced into a marriage chose to be raped. A dispicable position to take, at best. The other most common problems I've seen cited are that it i) undoes (or simply ignores) her growth as a character and therefore ii) is indicative of lazy, inconsistent writing not befitting of quality drama. i) This argument is my reason for making a first post as I find it particularly offensive. This is because I am very close to someone who has been raped twice, years apart, by different men, whilst living in different countries. To suggest that the second experience of sexual violence somehow undermines all of her life experiences and personal growth between the two is repugnant. It is entirely possible for someone to grow and be brought low again. This doesn't make them a pernenial victim; it doesn't prevent them from being a strong person; and it certainly doesn't mean the haven't grown between. It makes them a person who has been a victim of multiple horrible expriences separated by time. ii) Obviously I'd argue that i) is untrue and as such ii) is irrelevant. But lets treat it as valid. If so, we have to essentially throw away enormous swathes of literature near-universally lauded as classics as many are built entirely around characters who grow as a result of their experiences only to make the exact same errors or fall victim to similar turns of events, leading to disaster, or to different phases, or types, of growth. It is the basis for pretty much all heroic cycles in Greek myth; of the Saul and David arc in the Books of Samuel; the Mayor of Casterbridge; most of Shakespeare's tragedies; and so on. Speaking of classics: Err... Sherlock, brought forward by centuries and bearing only a passing resemblance to the short stories and serials, has been embraced by huge UK audiences. Likewise the DiCaprio Romeo and Juliet was a roaring success. British audiences in fact have a tendency towards new things being done with 'classics'. It's why reimaginings of Shakespeare have dominated theatres for centuries.