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One can’t turn on cable television today without stumbling on a flick centered around an interchangeable group of teenagers murdered one by one in increasingly shocking ways in a cabin, an abandoned mental hospital or a hostel. Today, the visual shock of visceral pain — crushed bones, ripped hair and torn limbs sewn together in a “ Human Centipede ” sort of nightmare — appears to prevail. Digital technology has taken fear to the next level, but why does it seem so unedifying. Entertainment, Linda Blair portrays a possessed Regan MacNeil in a scene from, “The Exorcist. (AP). These books were plumbed in the budding postwar culture of the early 1960s and were done with a psychological depth and rendering not seen before. Think director Roger Corman and movies like “ The Haunting,” “ Eye of the Devil,” “ Carnival of Souls ” and “ Night of the Living Dead. Later, directors like Stanley Kubrick, Roman Polanski and Brian DePalma would flesh out the genre with a long line of box office stars like Julie Christie, Gregory Peck, Jacqueline Bisset, Mia Farrow, Katherine Ross, John Cassavetes and Donald Sutherland. In 1973 alone, “ The Exorcist, ” “ The Legend of Hell House,” “ Don’t Look Now ” and “ The Wicker Man ” were released to terrified mainstream audiences. Some believe the first hour of John Carpenter’s slasher masterpiece “ Halloween,” where Jamie Lee Curtis gets only small glimpses of killer Michael Myers among hanging laundry or in a car outside the school, is far scarier than the murder-by-numbers sequence in the last 30 minutes of the film. Certainly the rise of revolutionary politics, communes, biker gangs, and the crimes of the Manson Family gave way to some of the more paranoid tropes in the movies of that era, rightly or wrongly, says Adam Lowenstein, associate professor of film studies at the University of Pittsburgh and author of Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film. Lowenstein cautions against nostalgia, warning that we shouldn’t read too much into these movies, because horror, just like any other art form, is what the audience puts into it. We can’t always see films for what they are when they first come out. The supernatural strain is but one subgenre of its time. Long before, there were monster movies, in fact an entire subgenre of “Dracula” was stretched out for decades, thanks in part to the Hammer Films era. Romero opened up the zombie front, which is still shuffling along quite strongly in “The Walking Dead. In the 1950s, there were teenage drive-in flicks like “ The Blob,” and “ The Creature from the Black Lagoon,” the descendants of which are in a million Syfy Channel creature features today. Not long after, the progenitors of the modern torture craze emerge in “ The Texas Chainsaw Massacre ” (1974), “ The Hills Have Eyes ” (1977) and “ The Last House on the Left” (1972) — the latter two by a young Wes Craven. We might be seeing something important, too, as cinema of course is taking a back seat in many ways to an industry (gaming) that is much more successful, economically. But that’s all conjecture, and it’s for us only to imagine at this point.

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You find it hard to imagine yourself in that situation behaving in any way other than the way that you would behave. But you didn’t grow up in a huge castle with pretty rigid gender roles and social hierarchies in place. Sansa obeyed her mother and her Septa and spent most of her time indoors, sewing, reading, and singing. Jon was largely outside all day hunting, training in the yard, doing boy things. That split is quite different than growing up in a modern Western home with a sibling whom you might not be close to but with whom you share a bathroom, living room, and sit at the same small family dinner table several times a week, etc. I don’t feel that they’ve shown Sansa to have anything other than sisterly feelings for Jon and I’m doubtful that there’s time in S8 for a convincing romantic relationship between them. Plus, so many audience members loathe Sansa and would be very displeased with the pairing for that reason. But the arguments that the relationship is unthinkable or that the people suggesting it are irrational, don’t withstand the same logical scrutiny they claim to be applying. But I don’t see where the certainty that it’s impossible is coming from. Like, “yeah it’s good to finally see you, but we’re all gonna face death (pun intended) sooner than you think”. If this is where the show is going, they’ve made the selling that relationship harder than it would have otherwise been with their mangling of the Sansa character. In addition to needing to overcome people’s uneasiness about the apparent incest they’d also have to contend with the widespread Sansa hate, that’s on full, proud display in threads on this site. Seems like they’ve shot themselves in the foot if this is where they’re taking the story. I’m only speaking for myself with the desire to include my viewpoint in this conversation as to why I think Jon and Sansa’s lack of childhood closeness does not negate them seeing each other as siblings. I’m not saying I’m the standard, I’m not telling people what to ship or what not to ship, I’m only saying why I myself have a problem with the “they weren’t close” argument and why overcoming that sibling mentality, close or not, is personally unfathomable for me. I mean, we all come to these stories with the context of our own experiences and I certainly share some of Sansa’s sibling rivalry traits toward another sister, which is part of the reason why I could understand her in the first book. It’s a rich area for exploring cognitive dissonance and the roots of the unexamined beliefs that people hold. And it’s unlikely for far more reasons than the reasoning you gave Mr Derp. And I’m not sure that it being “unexpected” or “unpredictable” is a good argument. I can come up with any number of things that would be unpredictable.

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