Straightup the most wholesome, earned emotional moment of the final season to me, this was a beautiful culmination of Brienne's selfless efforts finally being recognized by the men around her. It is also a peak in one of the series' most complex relationships in which Jaime gets to be the one to acknowledge her strength and accomplishments while further working towards proving himself as a better man (or so we thought).
(Ryan #10; Bruno #22; Dalty #9; Penk #22; Matt #21)
Game of Trivia: Honestly, I didn't track this moment's progress but it was very close to Viserys' Golden Crown which Matt rated his top 2. Little did he know, including this as his #21 instead of #22 would actually bump his other favorite moment down! This was also the best use of Tormund’s affection for Brienne yet!
Dalty: The one great thing to come out of Season Eight (though don't worry: they find many ways to butcher this character and her arc later on) was Episode Two. One of my favorite episodes in the series. Brienne had gone through so many lords and had always devoted herself entirely to them, leading her to become the most "noble" and "honorable" character in the cast. She deserved this moment of recognition. She worked so hard. Gwendoline Christie always gave Brienne her all so it is unfortunate that she seemed to always get overlooked. This was Emmy worthy.
Arguably the most iconic dialogue scene to come out of the titular 'Game of Thrones' series, this scene is incredibly effective in its thrill. After a season-long build-up, Ned has finally come to understand the truth behind Cersei and Jaime, both of which the show had drawn on the antagonistic side so far due to narrative conditions but which turned out to be for the better to truly heighten the underlying danger towards the series’ then-current protagonist at this moment.
While Ned confronting Cersei on the truth was an honorable intent to give her and her children a way out, it was also an obviously naive and weak power play that can only be interpreted as the moment he signed his own death sentence.
This memorable confrontation is also a turning point in the debut season where, after this, the story strongly gains momentum and pace and feels largely exciting thanks to how patiently the show had worked towards the impending doom to come. Knowing Ned's fate makes the rewatch value of this scene under a different light even greater.
Game of Trivia: Penk KNOWS that there is no middle ground so he once more gave his everything to a dialogue moment and really made this one RISE. But even so, this one was voted by a fair amount of participants and proved to be quite popular and thankfully it did, can't have a best moments without this one!
Ridley: In the game of bussies, you get eaten or DIE.
“There is a distinct difference between "suspense" and "surprise," and yet many pictures continually confuse the two.
Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen." - Alfred Hitchcock
In 'The Destruction of the Great Sept' director Miguel Sapochnik utilizes that difference between suspense and surprise to brilliant effectiveness. It is easy to imagine that, in the hands of a lessor director, this scene would have capitalized on sheer shock value, letting the trial play out and the explosion come out of nowhere.
Instead, Sapochnik and D&D, in a rare moment of playing things straight in the later seasons, combine an orchestra of visual technical brilliance, a primary example of how to make use of film as a medium and tell a story wholly through showing. It is even more impressive to note how Sapochnik plays with the knowledge of the audience's expectations, laying all of the suspense not on whether or not this particular bomb will go off - because this is ‘Game of Thrones’ and we know it will - but whether or not Margaery will realize how off things are in time to save herself and her family.
Ramin Djawadi's haunting, now iconic score introduces the scene with slow piano notes and accompanies Sapochnik's elegant framing of all the key players getting ready for what was to come. Together, they patiently and poignantly build up to a literal climax that feels as seamlessly constructed as anything could. So much even, that despite Margaery's demise, it is hard not to feel a little glee at Cersei finally getting her long-sought cathartic revenge as a stand-in for all those who have contributed to the gradual loss of her family and children, and fully take control of her agency with no restraints for the very first time.
'The Great Destruction of the Sept' represents that pinnacle of Cersei's character arc, arguably the most complex and consistent one of the show. One that has moved from shielded iciness and disdain, to exposed vulnerability, and finally to unapologetic ruthlessness - and as such, the Bling Ring has almost unanimously decided that Cersei’s greatest moment must also be the pinnacle of 'Game of Thrones' very many highlights.
Game of Trivia: Yeah, there was not a single point during this rate where this moment was NOT occupying the top spot. Along with ‘The Red Wedding’ this moment was the only one voted by every participant but while the former already has a large score lead ahead of the previous spot this one is the only one to crack the 1000 points. WHEW, POWER IS POWER.
Ryan: BITCH, I'M RAMIN DJAWADI
Dalty: This was my favorite moment in the show - this was probably the one time D&D aimed for shock value on their own but it worked because it fit Cersei's character and had magnificent buildup. That soundtrack, the tension with Lancel trying to stop the fire, and the shock/satisfaction of seeing all of those characters die after what they did to Cersei - as well as Tommen killing himself as he watched it happen. In retrospect, I dislike that it only amounted to ending the High Sparrow and Margaery but I cannot deny the chills that it still brings me to this day.
Bluth: maybe later seasons of game of thrones felt like a series of pre-determined checkpoints with convoluted and rushed means of getting from one to the other, but i’d be lying if i said that i didn’t get so much joy from this sequence. season five was an incredibly languid season, but i’m partly willing to forgive that when the payoff is this - a sudden, violent release elevated by that goddamn score and the rising tension which escalates into a mushroom cloud of green. then there’s lena whose look of satisfaction was so good they made it become her only expression for the next two seasons.
Godrey: Wow. A masterful depiction of what I call a visual paradox. From the sheer elegance of how the entire sequence unfolded to the element of suspensive languor that was perfectly exhibited. The Miguel in this is Miguel as Miguel is intended to direct. He very skillfully vacillates between a range of tones; he nasally, then guttural, then grainy, then nasally again, then delicate. (And yes, that's how he's supposed to do it.) He's sultry. He's goofy. He sounds slightly absurd. He's fully engaged. He's expressive in ways that "technically superior" vocalists just aren't. He is brilliant. You have no idea how brilliant he is.
Matt: Cersei commits Westeros 9/11
brandon: Cersei becoming a terrorist and blowing up the sept.
ok baes but for real my heart is filled with joy and love thanks to all of this amazing and PASSIONATE and ACTIVE participation by everyone. could not have wished for a better group of people to do this with.
Despite being a remembered '90s power ballad, nobody likes it.
Literally. Even Mariah herself has expressed her distaste for this song. I mean sure it was successful, Rihanna covered it and everything, but does that really matter when its this BLAND?
People that gave this 0s: Subby, Supreme, Ridley
Everyone else gave this a 6 or lower except for Tails - 8 and Sloth - 8.5
Supreme mentioned "mama this is garbaj" while Ridley referenced Rihanna her cover "Comically horrid. Rihanna's cover ruined any goodwill Hero may have had with me.". I mean, this whole time I typed this out I had it playing in the background and FORGOT it was on. Goodbye.
48. I'll Be There (with... I don't remember)
So I think its interesting that this was hated because I don't mind it, but then again Michael Jackson's influence I guess? Interestingly among her 18 #1 hits I believe this is the only one she didn't write/co-write as its a cover of the Jackson 5 song. It's a cute song but for me it doesn't reach any huge height or anything.
The backstory is kind of interesting though. Apparently prior to this MTV Live session critics thought her voice was too good to be true and speculated there was some editing going on.
Scores: Supreme, Jay, and Genos all gave this a 1 or a 0
Sloth was the only one to give this above a 6 giving it... a 7
Every comment referenced MJ
Ridley: "MJ is rotting underground."
Subby: "Revived her European career but also put money into Molestor J's bank acc :/"
Supreme: "pedo jacksson is a rotten diseased CORPSE, mr george michael is in heaven right now with all his gay lovers, sippin on a pina colada and pissing at pedo jackson hihi "
I'll be honest, I do quite like this song, but its also kind of boring so there's that. Anyway as we know this used to hold the record for the longest run at #1 until Lil Nas X broke the record just this year. It's impressive nonetheless to see talented artists of colour passing the torch for this record
As you can see I have nothing much to say bout the song.
Scores: Ridley and Sub gave it ZEROES
Radiohead, Tails, and I gave it 7-8s.
Subby celebrated Lil Nas X's achievement by stating "Thank GOD gay legend Lil Nas X stole the record from this turgid pile of shit". Supreme poetically mused "and i know bluth is shining down on me from the uk, like so many friends we lost along the way", while Ridley simply remarked "Awful." Meanwhile I say its not that bad but I digress.
49. When You Believe (with Whitney Houston)
I'm not that surprised this would be super low either. It's cool in theory I guess? Two of the biggest female artists in the '90s collaborated for a feature film soundtrack and yet it fails to really go anywhere it could. Then again these big ballads were their own bad pop music trend at the time so its expected.
Score wise, Jay, Genos, Supreme, and Subby all gave it a 2 or 3 but it was Ridley that PUNCHED with the 0.
Interestingly it's highest score was only a 6 (the lowest high score of any song of course) but because Hero was dragged more with the 0s it got to be 49th.
Ridley urged that Mariah "STOP WITH THE BALLADS." which... is not an uncommon opinion! I even cut down the amount of random ballads where I could for this rate n. Subby remarked "Whitney bad music influence got to her" while Supreme just offered "bad". That is true.