A Knight of the Seven Kingdoms is no Game of Thrones, but that's what makes it special

Peter Claffey as Dunk and Dexter Sol Ansell as Egg talking in the rain in A Knight of the Seven Kingdoms season 1 — (Image credit: HBO)

The world of Westeros is about as detailed as you can get when it comes to fantasy storytelling. You could spend longer reading wiki entries about Game of Thrones than you would take reading the books or watching the actual show. With such an expansive setting to explore, the franchise could have gone anywhere once the flagship series came to an end. The sky was the limit in terms of where they could have gone next. Which is what makes A Knight of the Seven Kingdoms so refreshing.

Initially, a number of ideas came and went until HBO eventually settled on House of the Dragon, which is essentially another version of Game of Thrones in all but name. It's set 200 years prior, which means new characters come to the fore, but this is still a familiar story of warring houses and palace intrigue, complete with the usual sex, violence, and dangly bits that Game of Thrones once made feel so novel.

To be fair, it does work. House of the Dragon has received heaps of critical acclaim so far, plus 14 Emmy nominations across the first two seasons (although these primarily focused on technical and creative categories over the biggies). But with declining interest in season two and less cultural impact in general, it quickly became apparent that this franchise needed to expand and try something new for its next chapter.

It's a small world

Peter Claffey as Dunk in A Knight of the Seven Kingdoms — (Image credit: HBO)

Set between the two shows that came before it, the story of Dunk (Peter Claffey) and Egg (Dexter Sol Ansell) can be considered a rather more modest affair. At least, in terms of scope.

Narrowing the focus of this world to just a knight and his squire creates refreshingly low stakes, even if the events that unfold are life-changing for the two characters involved. It's their future we're concerned with, rather than the fate of a kingdom. Dunk might be a so-called "knight of the seven kingdoms," but it's the immediate journey he takes to forge a reputation for himself that sets this series apart (not to mention the bond at its core).

Unconcerned with grabs for power and ever-expanding family trees, A Knight of the Seven Kingdoms tells a simpler story that is no less resonant. There are some big set-pieces, even if they number much fewer, but this is a character study at its heart, one that foregrounds emotion over spectacle.

You feel something deeper as you watch Dunk mourn the loss of his master or flash back to more loss in his childhood. You feel something moving as he and Egg learn how to support each other through kindness, showing up for the other when they're in need. And you absolutely feel something when the grand score in episode one builds and swells until it's interrupted by the explosive diarrhea that violently erupts from Dunk's ass.

Any grand purpose you might have been expecting from this usually grand franchise is rudely cut short by grander bowel movements, setting this up to be a very different kind of story for the world of Westeros. It's much lighter in that sense, even if the colour of the poop in question is not.

Down to the squire

Dexter Soll Ansell as Egg in A Knight of the Seven Kingdoms — (Image credit: HBO)

The episodes themselves are also much shorter, almost half of what's become the norm for shows set in this world. And that also goes for the title sequence, which is pared down here to establish from the get-go that this isn't just another lush, epic take on the Game of Thrones saga.

Grandeur is lacking in form and viewpoint, yet that better serves the emotional richness of the story at hand. Because what could have just been another standard hero's journey becomes so much more here, thanks to the key dynamic that grounds it. With more emphasis on the odd couple interplay between Dunk and Egg, you can't help but root for them as they forge a new path together and strive for something better.

A Knight of the Seven Kingdoms showrunner says it was "probably George R.R. Martin's preference" for the Game of Thrones spin-off to be a 2-hour movie rather than a 6-episode HBO show

Just as their relationship deepens, so too does the show itself, which somehow gets better, week by week, until we eventually arrive at what just might be the perfect ending.

After Dunk officially makes Egg his squire at last, the pair ponder where to go next. "There are nine kingdoms," it turns out, not seven. And so off they venture to pastures new with memories of Ser Arlan of Pennytree trailing behind, quite literally. The spirit of Dunk's master follows a little while longer before he silently takes a different path, ready to let go and move on now that his hedge knight in training has become a master to someone else.

This full-circle moment adds a beautiful touch to the end of season one, telling a complete story that also feels open enough to continue Dunk's journey in an already-confirmed second season.

Let's hope that future episodes continue in this same vein, grounding the story through universal experiences that speak to wider audiences who might have otherwise felt shut out by all the hefty lore behind it. No homework is needed to appreciate the intricacies of this world, although you might feel more inspired to do some research on Westeros by the end of it.

Like Andor did with Star Wars, A Knight of the Seven Kingdoms has reminded us that ground-level storytelling can breathe new life into a beloved universe, enriching what came before and what will come after. The sky really is the limit now for what Westeros can offer next, and that's true with or without a dragon to help us get there.

A Knight of the Seven Kingdoms season 1 is streaming in full on HBO Max. For a full breakdown of the finale, check out our A Knight of the Seven Kingdoms ending explained and discover what's in store for Dunk and Egg in A Knight of the Seven Kingdoms season 2.

With ten years of online journalism experience, David has written about TV, film, and music for a wide range of publications including Indiewire, Paste, Empire, Digital Spy, Radio Times, Teen Vogue and more. He's spoken on numerous LGBTQ+ panels to discuss queer representation and in 2020, he created Digital Spy's Rainbow Crew interview series, which celebrates queer talent on both sides of the camera via video content and longform reads. Passions include animation, horror, comics, and LGBTQ+ storytelling, which is why David longs to see a Buffy-themed Rusical on RuPaul's Drag Race.

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