I think I’ve talked about this before? It’s basically my interpretation of the blackwater scene. It shares with LRRH all the symbolic elements that relate both the scene and the folk tale with puberty rituals about a young maid’s first sexual experience: the red cloak in LRRH was original a white cloak, stained with blood, as in BW; the identification between sexual experience and a symbolic death, through the overt expression of a death threat that stands as something else; the animal bridegroom symbolism, and the final moment of triumpth in which the maid, with a song—which in the context of Sansa and Sandor always operates as a correlative to sex—experiences the illuminating transition that allows her to confront and stand triumphant in front of the wolf.
I’ve always read the BW scene as a symbolic sexual encounter (I think the whole ‘one day I’ll get a song for you’, ‘I will sing it for you gladly’ makes that rather obvious, beyond the presence of the white cloak stained with red blood, the threat of the knife, etc.) that completes the cloaking rite. It makes sense, because Sandor cloaks Sansa first, but she doesn’t get to keep his cloak until after the ‘bedding’. I think it functions very eloquently when contrasted with Sansa’s supposedly real wedding and bedding, since both rites are effectively frustrated when Tyrion cannot cloak her (which Sandor had done) and when he refuses to bed her (which, at least in symbolic/ritual terms), Sandor had done as well.
The fact that later on in the story, when confronted with the threat of rape from Marillion, during which he very explicitly promises that he will make her sing, Sansa goes to bed and dreams of her wedding night, only this time Tyrion actually transforms into Sandor… I think it makes the whole connection very obvious. I really like how Sansa’s emotions, whether she is aroused or excited or scared, are elided in that moment. You can’t really tell whether it’s a nightmare or an enjoyable sex dream, unless you go and notice that she’s purposefully gone to sleep next to the sad old hound she finds in The Fingers, after wilfully pretending that Lothor is the Hound (keeping her eyes closed to drag out the pretense) when he saves her from Marillion. Her words and caress to the ‘sad old hound’ when she wakes up make a compelling case for the argument that Sansa’s dream is not, in fact, a nightmare.
And of course, in order to make all of this more explicit, you have Sansa explicitly thinking of how the Hound had kissed her (her own fabrication of what went on during BW scene) when Myranda asks her if she knows what happens in the marriage bed. At this point in the story, Sansa has completely and explicitly remade the BW scene into a sexual encounter. My argument is that, before Sansa’s hyper-active imagination makes it explicit, all the elements that define the BW scene as a symbolic ritual passage into mature sexuality—i.e., a symbolic first sexual experience for Sansa—are already contained in the scene. As the story progresses, Sansa’s sexual awakening simply becomes more obvious as she grows aware of it, and so the scene is progressively more and more clearly identified with a correlative to sexual intercourse.