As fantasy fans await the fiery showdown between King Aegon II and Rhaenyra in the third season of House of the Dragon later this year, yet another Westerosi-set prequel is gracing our screens. But unlike plenty of the other spin-off projects previously bandied about, it’s wholly different to its predecessors. Adapting The Hedge Knight, the first of George R.R. Martin’s Dunk and Egg novellas, A Knight of the Seven Kingdoms catapults the two fan-favourite characters to the forefront in this charming (but bite-sized) tourney adventure, with a wildly different vibe to the franchise’s flagship shows – and thankfully, it’s all the better for it.
Set a century before the events of Game of Thrones, Ser Duncan the Tall (Peter Claffey) embarks on a quest to the Ashford Tourney to try and make a name – and some coin – for himself, following the passing of his late mentor, Ser Arlan of Pennytree (Danny Webb). En route, the hedge knight meets the precocious young boy Egg (Dexter Sol Ansell), who’s desperate to escape his past, and begrudgingly accepts him as his squire. Together, they bumble through the jousting tournament, rubbing shoulders with royalty from the great houses and the common folk alike. But it’s not all plain sailing for the lofty knight and his mysterious young squire.
This six-episode series quickly establishes a lighter and more comedic tone (with toilet humour aplenty!), shifting from the grandiose wars and political conflicts of Game of Thrones and House of the Dragon to a much more grounded, character-driven adventure. Instead of the squabbling high lords and ladies of the realm’s great houses, the focus shifts to an entirely different perspective, as we follow a lowborn hedge knight and his squire throughout the tourney in a medieval-esque tale of honour, duty and found family, akin to A Knight’s Tale.
The character-driven fable is also a smaller, self-contained outing, with a more deliberate and gentle pace than its two predecessors, as we experience the various jousting events, banquets and tourney festivities through Dunk and Egg’s fairly innocent eyes. Unfolding via a rollicking road trip narrative, the titular odd couple’s dynamic is reminiscent of the Hound and Arya Stark in season four of Game of Thrones, with Claffey and Ansell’s heartfelt bond anchoring this endearing show.
With his hulking height and endearing naivety, Dunk is one of Westeros’ most gentle and noble giants, comparable in his actions and outlook to Ned Stark and Brienne of Tarth, despite his “lowly” status. He will protect the innocent at all costs, even if it does land him in a (rather large!) spot of bother. Claffey excels as the heroic, if somewhat dim, knight, with the physicality of the former professional rugby player note-perfect for the role. The friendships he forges along the way are also incredibly wholesome, particularly with Shaun Thomas’ Ser Raymun ‘The Reluctant’ Fossoway, alongside the scene-stealing Ser Lyonel ‘The Laughing Storm’ Baratheon, played by The Gentleman’s Daniel Ings.
But this wouldn’t be a George R.R. Martin story without a truly detestable villain, and of course, it’s an absolutely awful Targaryen. Finn Bennett excellently channels the vile nature, despicable tactics and outright cruelty of Joffrey Baratheon as Prince Aerion ‘Brightflame’ Targaryen, quickly earning his place in Westeros’ rogues’ gallery. In contrast, his uncle – Prince Baelor ‘Breakspear’ Targaryen – is possibly the most noble and just Targaryen we’ve seen yet, with Olivier Award-winning actor Bertie Carvel proving one of the show’s strongest supporting players. To say more about how their interactions with Dunk unfold would do viewers a disservice, but it’s safe to say the series’ twists and turns pack a punch.
Set during a time of relative peace in the realm following end of the First Blackfyre Rebellion, fans unfamiliar with the source material may be disappointed that there are no dragons or sprawling, bloody battles. Still, it’s a joy to explore a new era of Westeros, and this is the most fully realised medieval-esque setting the franchise has embraced yet (bar Daemon Targaryen’s appearance in House of the Dragon’s opening tourney). It’s also refreshing to see a Game of Thrones universe series bathed in lush countryside and actual sunshine.
Even during the main combat sequences, the helmet eye-view camera angles are impressively immersive while remaining surprisingly bright and easy to follow. Meanwhile, a playful nod to Ramin Djawadi’s iconic score gives way to Dan Romer’s gentle, folky compositions – another marked departure from the franchise norm that perfectly reinforces the show’s softer, more fairytale-esque tone.
Verdict
Despite its slight episode count, A Knight of the Seven Kingdoms is a wonderfully heartfelt and often hilarious (mis)adventure that proves Westeros doesn’t always need dragons to be compelling. With its lighter tone, character-driven storytelling and charming road-trip structure, this breezy, bite-sized fable offers a refreshing change of pace from Game of Thrones and House of the Dragon, anchored by Peter Claffey and Dexter Sol Ansell’s endearing odd-couple dynamic. Smaller in scale but rich in warmth, humour and honour, it’s a gentle, sunlit corner of the franchise that is a joy to live in.
