'A Knight Of The Seven Kingdoms' Season 1 Spoiler-Free Review
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My experience with Game of Thrones is very limited. I didn’t have access to HBO for the longest time, and by the time I did, the main series was already over. I know of it, who doesn’t know at least something about the biggest television series of the 2010s? However, I never caught the bug to visit the world of Westeros until now. A friend of mine, a Game of Thrones megafan, essentially begged me to watch the newest chapter of the franchise, A Knight of the Seven Kingdoms. Based on the series of novellas, Tales of Dunk and Egg by George R.R. Martin, AKnight of the Seven Kingdoms was described to me as being pitch-perfect for anyone who wants to get into Game of Thrones but feels overwhelmed by the lore. So I took her word for it and trekked into my first official expedition into Westeros. And it was glorious. A Knight of the Seven Kingdoms isn’t just great fantasy fare, it’s great television, period. A series that is filled to the brim with a ton of heart, heartstopping filmmaking, beautiful music, and expert use of a smaller scale compared to other shows in this franchise.
The thing about A Knight of the Seven Kingdoms that makes it so compelling is its simplicity. Sir Duncan (Dunk) wants to win a tournament and prove he’s capable of being a great knight. The entire season takes place over a couple of days, yet the story is never rushed, boring, or aimless. Even with a heavier emphasis on humor, A Knight of the Seven Kingdoms makes the best of its six episodes by covering enough compelling ground while also setting the stage for further adventures.
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A Knight of the Seven Kingdoms is a smaller-scale show than Game of Thrones or House of the Dragon, focusing on two protagonists instead of a large ensemble cast. Sir Duncan (Dunk) is a loveable himbo in the vein of Brendan Fraser's Rick O'Connell or Star-Lord in the MCU. He's determined and courageous but not very bright. Peter Claffey is an absolute delight and more than proves himself as a reliable leading man despite this being only his second major acting role. What makes Sir Duncan such a fascinating character is his everyman quality. He has goals, wants, flaws, and he doesn't always succeed. And what ties all of that together is his friendship with Egg, which brings us to Dexter Sol Ansell, who holds his own at just 11 years old. I never would've imagined a Game of Thrones series to provide such a lovable and compelling child character. Dunk and Egg's friendship is the beating heart of the series. A tale of two, not particularly smart, people trying to do their best is as enduring as it is adorable. Given the show's short length (both in episode count and per-episode length), the fact that Claffey and Ansell make every episode as compelling as they are is a testament to their acting and chemistry.
Showrunner Ira Parker, along with directors Owen Harris (Black Mirror) and Sarah Adina Smith (Lessons in Chemistry), executes a well-organized exercise in efficiency. The series's smaller scale doesn't stop it from packing a punch, with Harris and Smith's skillful direction ensuring everything fits perfectly, even when the story slows. Action scenes are rare but well-crafted, and the directors and talented writing team infuse each episode with the right mix of humor and drama, never overdoing either. While some toilet humor can be annoying, it's quickly gone, with the comedy mainly relying on sharp dialogue and physical comedy. The latter gives Peter Claffey the chance to put his former rugby skills to good use. All of this is showcased best in the season's second-to-last episode, "In the Name of the Mother," a TV masterpiece that perfectly blends humor, drama, action, heart, and music. If that recently revealed Aegon Targaryen movie gets the green light, Owen Harris and Sarah Adina Smith have proven they can handle such a project.
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It’s incredible what you can discover when you just give it a chance. My first honest and true journey into this world has been nothing short of brilliant. With future adventures in Westeros on the horizon, I don’t think there’s a better time for new fans like me to get into this franchise wholesale. A Knight of the Seven Kingdoms never feels forced, stale, or annoying; it’s genuine, engaging, and just healing. That’s the keyword, healing. I can gesture to the current state of the world as if you, the reader, don’t know. But to avoid preaching about such things, I will say that art like A Knight of the Seven Kingdoms is important in times like these. Art that reminds us what we can be as people. Yes, it’s action-packed, it’s got pretty girls, it’s got horses, it’s got swords, it’s got dick jokes. But the important part of the series is that it packs a lot of heart. And that’s portrayed with precise direction, clever writing, two lovable leads, and Dan Romer’s near-flawless musical score. Romer, being the series’s unsung MVP, moves away from Ramin Djawadi’s more epic style and instead goes for music that is very reminiscent of James Horner, Howard Shore, and John Williams.
A Knight of the Seven Kingdoms succeeds cause it’s optimistic without being too much. “Hopecore” introduces the audience to new heroes who are deeply flawed but try their best. The type of story that we’ve grown to love for decades, hell, centuries at this point. A Knight of the Seven Kingdoms never talks down to its audience or manipulates you into thinking it’s more than it is. It’s a well-made series with great filmmaking, writing, acting, and music. And thankfully, we’ll reunite with Dunk and Egg soon enough as season 2 is already beginning filming. And until then, I will count the seconds until I’m back on this side of Westeros again, hoping for another perfect season of television.
Rating: 10/10
All six episodes of A Knight of the Seven Kingdoms are now streaming on HBO Max.
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