'A Knight of the Seven Kingdoms' Review
- Tyler Strandberg
- Jan 18
- 4 min read
Updated: 20 hours ago
Season One.
Aired On: HBO Max.
Release Date: 01/18/26.
Genre: Action. Adventure. Drama. Fantasy.
The Verdict: A Maybe
Since the early days of television, successful series have often expanded beyond their original run, spawning spin-offs designed to extend their worlds and keep audiences engaged. Given the massive cultural impact and enduring popularity of Game of Thrones, it makes sense that HBO would look for additional ways to revisit Westeros by adapting another story set within the same universe.
A Knight of the Seven Kingdoms is based on the novella series Tales of Dunk and Egg, set roughly 100 years before the events of Game of Thrones. Rather than chasing the political sprawl and constant tension the franchise is known for, the series deliberately narrows its focus. It favors character, companionship, and low-stakes immersion over looming consequences, offering a gentler and more personal way to spend time in a familiar world.
Adapted from the first novella in the series, The Hedge Knight, the opening season follows the travels of the hedge knight Ser Duncan the Tall (Peter Claffey) and his young squire Aegon Targaryen (Dexter Sol Ansell), nicknamed Egg, who would later become King Aegon V. After Dunk enters a tourney in hopes of proving himself, his straightforward sense of honor draws him into the dangerous undercurrents of Targaryen family politics. What begins as a modest attempt at recognition escalates into a trial of combat against Egg’s older brother Aerion (Finn Bennett), whose casual cruelty and appetite for violence offer an early glimpse of the darker strain of madness that has long followed the Targaryen name.
The show’s pacing is deliberate, and not always to its benefit. With the inciting incident not arriving until the end of the third episode, the season spends a significant amount of time circling its premise before fully committing to it. That slow build prioritizes atmosphere and character setup, but it also risks testing the viewer’s patience early on. Once the story finally clicks into place, however, the payoff is clear, and the remaining episodes benefit from a stronger sense of momentum and focus.
With its half-hour episodes, A Knight of the Seven Kingdoms often feels closer to a sitcom than the sweeping dramas HBO is known for, and that tonal shift becomes clear almost immediately. While this lighter approach works much of the time, it occasionally creates friction in how the show handles humor. In several moments, a scene builds toward something dramatic or emotional, only to be interrupted by a sudden cut to a crude gag that deflates the tension entirely. It is not the presence of crude humor that causes the issue, but the timing, as these jokes land abruptly and feel cheap, briefly breaking the atmosphere the show is trying to establish. Thankfully, they are used sparingly, and much of the humor elsewhere works far better when it emerges naturally through dialogue or situational banter.
Once the show moves past those rougher tonal edges, it settles into an easy and genuinely pleasant viewing experience. It invites a looser kind of engagement, the sort of series that can be watched casually over dinner or during a break without demanding constant attention. That relaxed approach mirrors the Dunk and Egg novellas themselves, which function as lighter companions to A Song of Ice and Fire, offering richness and charm without the mental strain or narrative density of their larger counterparts.
At the center of the series is Dunk, a deeply likable protagonist whose understanding of knighthood is sincere but incomplete. He is not politically savvy or socially sharp, and he often struggles to grasp the broader consequences of his actions until he has already made a mistake. His view of the world is shaped almost entirely by what he believes a knight should be, rather than how Westeros actually works, all without portraying him as any less honorable or courageous. Egg, meanwhile, is smarter and better educated, but still inexperienced, learning how life functions beyond the ideals and protections of royalty. Together, their relationship sidesteps the usual cynicism of Westeros, replacing looming threats and nihilism with warmth, banter, and a sense of ease that makes their companionship the true heart of the show.
The show is also supported by a strong group of side characters who help fill out the world without making it feel bloated. Familiar names like the Baratheons appear alongside entirely new faces, grounding the story in recognizable history while keeping the focus narrow and personal. Characters such as Raymun Fossoway stand out not because of their importance to the larger lore, but because of the personality and warmth they bring to the screen, helping Westeros feel more lived in without dragging the story into unnecessary complexity.
A Knight of the Seven Kingdoms will not be an easy sell for every Game of Thrones fan, and it does not try to be. Viewers looking for relentless intrigue, constant danger, and sweeping political stakes may find its unhurried pace and lighter touch underwhelming. For those open to a quieter, more character-driven return to Westeros, however, the series offers something genuinely refreshing. Its flaws are visible early on, from uneven humor to a slow build, but they are part of a deliberate shift in approach. As a smaller, more relaxed story within a famously heavy franchise, the show serves as a welcome change of pace and a healthy reminder that Westeros still has room for stories that value warmth, charm, and simple companionship alongside power and tragedy.
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