It’s no secret that Game of Thrones has a long and muddy history. From the books that will never release to the final season that never should have, it’s surprisingly rare to find an unblemished work in George R.R. Martin’s epic fantasy saga. Even now, the spinoff House of the Dragon languishes in mediocrity, and for a while, many worried that was the last we’d see of the land of Westeros.
Thankfully, there was one last source that HBO could tap into: a series of short novellas that forsook the titular “thrones” of its namesake in favor of something more grounded. It lacked the grand scale and drama of the main series, but with the right people adapting it, it was possible they might find something even greater. Thus, A 2026’s A Knight of the Seven Kingdoms was born.
In no uncertain terms, this is the best piece of fiction to come from the Game of Thrones universe. It injects new life into the weary heart of its world, bringing levity and charm while never forgetting the realism that made the franchise shine. The level of quality it achieves in six short episodes puts most shows to shame, endearing us to a cast of characters as likable as they are poignant. It isn’t perfect, but it doesn’t need to be. I had a smile on my face the entire way through.
As the overgrown apprentice to a recently deceased knight, Dunk has few prospects. His hand-me-down equipment is only matched by his underdeveloped skill with the blade, but despite this, he aspires to honor the legacy of his late master. To that end, he joins a jousting tournament in quaint Ashford Meadow and meets Egg, a boy wise beyond his years and determined to follow him as his squire. However, making a name among the tournament’s nobility is no easy feat, especially while adhering to the sacred vows of the knight. In the face of greed, deception, and dangers far beyond what he’d bargained for, Dunk is forced to put his life on the line and prove himself worthy of his self-christened title: Sir Duncan the Tall.
In the world of Game of Thrones, this is about as small as stakes get. The vast majority of the series is limited to Ashford Meadow, where everything from the fights to the political intrigue takes place. You won’t find any dragons, white walkers, or massive armies here; the low budget and short episode count necessitated that. At first, it might seem like a hinderance, but proves surprisingly refreshing when placed alongside other similar shows in its genre. Not every story needs to have the fate of the world in jeopardy to be worthwhile. Sometimes, all we need is the plight of a single man and his egg-headed squire.
This limited scope allows us to become more intimately familiar with the details of this story. Ashford as a location is beautifully made, just large enough to have that grand renaissance fair feel, and the cinematography shows it off well. By the end, you’ll have a solid lay of the land, and if you’re anything like me, you’ll wish you could visit yourself.
In a similar way, the characters have a strong sense of familiarity and relatability. Dunk and Egg are fantastic as leads, exuding the sort of effortless charm that most Marvel movies wish they could muster, and they’re hardly the only ones. This cast is remarkably well realized for how small their individual screentime is, each with their own quirks and ideas to contribute to the narrative. Special mention goes to Dexter Sol Ansell for his performance as Egg. It would be very easy to mess up a child character in the “smarter than his mentor” archetype, but Dexter pulls it off with an ease impressive for his age.
Contrary to what you’d expect, comedy plays a large role in making this story work. From the first five minutes, you’ll know that this is a very different Westeros from the one we’ve seen before, more cheeky and playful than the usual bleak. Even as someone who isn’t a fan of comedies, there were several moments per episode that had me grinning like an idiot. At times, it almost borders on parody, but it’s the juxtaposition between these moments and the genuine drama that brings them to a whole other level.
While it may be somewhat sidelined, there is still political intrigue to be found here. You’ll meet Targaryens, Lannisters, and plenty of other recognizable banners, each playing a role in shaping the narrative. It’s all great stuff, and helps to ground this story firmly in the Game of Thrones universe.
However, the real stars of the show will always be Dunk and Egg. Watching them find their way in the world while growing attached to each other is very satisfying, with plenty of small moments that really sell their bond. You don’t need to have seen any previous GoT content to understand the quality on display here. It speaks for itself, and its themes of kinship and self-actualization are universally appealing.w
What makes this story stand out from its contemporaries is its unapologetic sense of goodness and morality. Dunk may be a bit lumbering and slow, but he’s got a good heart, and when all is said and done, he’s rewarded for it. Every major character is impacted by his selflessness, and no matter how much they laugh at him or demean his pursuits, there’s never a single doubt that he’s doing the right thing. In a world often obsessed with the cruel nature of our reality, this is exactly the type of show we need more of.
Beyond the surface, there’s also a lot of polish put in to really make this narrative shine. Pacing is snappy, trimming the fat of a normal TV season to really sell the “quality over quantity” approach. Admittedly, I do yearn for an extended cut that could give a few side characters more screen time. It’s not a major issue, but a few of the knights that pepper the story feel more like plot devices then characters in their own right.
The music and sound design are just as epic as you’d expect, with Dan Romer’s original score complemented by immersive, cinematic mixing. It adds that extra bit of immersion to every scene it’s in, and for moments when it takes center stage, the results elevate the show as a whole.
When all is said and done, it’s difficult to find fault. You could argue that a few characters feel underutilized and that there wasn’t enough action to satisfy younger viewers, but those are nitpicks at best. For a show that no one had any real expectations for, released on a flagging streaming service in the middle of January, I couldn’t have met with a more pleasant surprise.
Verdict
It often feels like today’s media just doesn’t land as well as it did a decade or three ago. Large franchises written by committee and milked for every dollar, rampant pessimism and cynicism keeping our heroes down, politics and rage culture infiltrating every aspect our media-consuming lives. As a critic, it’s difficult to face time and time again.
But every once and a while, I find a show that reminds me why I fell in love with film in the first place. A classic tale of adventure, action, and heroism that make us want to be better people ourselves. Fantastic acting in an immersive world, well done cinematography and production value, and a script that nearly brings a tear to your eye. That’s what A Knight of the Seven Kingdoms is, and I loved every second of it.
