Nope, Tywin threatens to hang her if Tyrion brought her to King's Landing, and Tywin expects utmost obedience from all of his children.

The AV Club hasn't really discussed it, but it's basically on tier as other lily-white fantasies, yep. You have a white savior using "freedom" and "liberty" to take control of what she perceives as savage, un-Westeros cities in a clear parallel to the history of Western imperialism, and as usual all the dark-skinned…

Yeah, sorry that's more of a waste of your time than the latest article ranking the coolness of each successive death on GoT

Nah, if you want moral ambiguity, read the books, since the show did renovate some characters who could be considerably less sympathetic and more vicious in the books—I'm thinking Tyrion, the Hound, and Oberyn particularly. Dany, too, for her rigid notions (I personally find it weird that everyone is so into her…

The scene is weird, because Show Shae has been so different from Book Shae all this time, and the sudden insertion of Book Shae gives the character a 180 degree turn. It makes sense for a character who didn't have an ounce of feeling for Tyrion, but not really for someone who was depicted as having claims to…

I think that was to point out how much rage was disproportionately directed at her by fans, when it was made clear that everyone on the show is a lying, ruthless whore (in less literal terms) and Shae ultimately was a piece of meat caught between the bigger players, though

Orrrr it just reinforces the fact that the showrunners don't recognize what is pretty explicitly and obviously rape

I was hoping that we'd get to hear some of his great "stories" that we got in A Storm of Swords. I guess the showrunners want to keep us in the dark, but that just seems like a dreadful underutilization of a character who stuck around for two seasons.

"Could I have wheels for feet, like Rosie from The Jetsons?"
"I suppose. But then you'd have to register as a motor vehicle."

"Rachel Maddow roll his eyes"—oh, I get it! It's because of the short haircut! And the sexual orientation! Oh, what a kneeslapper!

scroll over the discussion next time, then. takes very little effort

I think it's because it speaks to a sociopathic nature similar to that of Joffrey's (to some extent, both of them knew what was expected of them in public). Also, it's this perverted parallel of a traditional father-son narrative. I like that their moment was presented with swelling music, like it was a glorious,…

I don't care whether you found it relevant to Westeros or not. I want to make sure that you understand that as a real-life implication. Consent is not a continuous thing, whether fictional characters understand that or not. Cersei may not have understood that she even had a right to say no to her lover—but it's…

Not getting your preoccupation with rape/torture comparisons. I don't think a single person would disagree that what happened to Theon isn't absolutely horrific, but he's also a guy who's done a lot of terrible things himself, including killing two innocent children. A kid getting raped is certainly going to provoke a…

“Moreover, she's obviously not above screwing him, as they have 3 bastard children” Please, please, please understand that someone's previous sex history with an individual has nothing to do with their current and future consent. Husbands can rape wives. People can rape other people they love or claim to live.

And neither of them write Internet recaps of TV shows either.

Before Sunset had an open-ended narrative though, which left space for a sequel. And it had the kind of premise that made it very easy for the filmmakers and audience to check back in every once in a while. Not to belittle what they've accomplished, obviously.

For some reason I reread Babar the Elephant the other day. It was actually like, mind-blowingly pro-colonialism.

Each of my arguments has been in direct reply to your specific complaints, so it really comes back to your complaints being quite varied. I don't think a movie needs high drama and stakes to be interesting or good, but I do think that Frances Ha in particular is far less trivial than you make it out to be. I disagreed…

You keep changing your mind about what exactly it is that Frances Ha is deficient in. You first argued that movies should always have lots of stuff doing on, stakes-wise or drama-wise; I replied that lots of great movies have neither. You then argue that these kinds of movies have at least profound internal drama…