New Hedge Knight Ser Duncan has to prove himself worthy of the title in a tournament and more, with the help of his new squire Egg in Game of Thrones’ prequel series A Knight of the Seven Kingdoms, now streaming on HBO.
Based on a trilogy of novellas by George R. R. Martin, collectively known as Tales of Dunk and Egg, A Knight of the Seven Kingdoms (shortening to Knight for brevity) is set about a hundred years, give or take, than our familiar Westeros of Game of Thrones (or a Song of Ice and Fire for book purists… same thing) or a few hundred years after House of the Dragon. That Targaryen-based prequel is due to return this summer for season 3. Hey, two Game of Thrones properties this year! … and none of them Winds of Winter. Grumble. There, the required poking of Martin was completed.
Anyway, season one is based on the first of these, entitled The Hedge Knight and originally published in 1998 (between A Game of Thrones and A Clash of Kings, showing Martin has always diverted himself from the main series). The basics: new knight, Ser Duncan the Tall, takes on a squire, a young bald boy named Egg, and aims to enter a tournament to make a name and some coin for himself. It doesn’t go as easily as he would think. Not even in the work of the tournament, but Dunk, as he’s often called, gets embroiled in the squabbles between the houses and people; getting close to a Baratheon, angering the Targaryen regiment, befriending others, stepping on others’ toes with his little-known name, and rather untrained ways. While remaining a smaller story, it breaks to something a little bigger, but keeps to the smaller circles of worldview for this tale of Westeros, even with the ruling class dipping their toes in. In keeping grounded, it gives more power and awe. The Penultimate Episode Big Action Scene, the regular across the TV adaptations, it’s far more personal and intense. I felt more for those involved, and was genuinely affected.
It’s a gripping, often funny, tale of small honors and histories, and a different take on interpersonal conflicts and the wider Game of Thrones. The fascinating concept in Knight of the Seven Kingdoms, finding a small story within this bigger universe. I’m always fascinated by exploring different niches within an established universe. As a Star Wars fan, this is all over for fans of a galaxy far, far, away, but it’s less so for others. So in that way, Knight is a sort of Star Trek: Lower Decks of Westeros. Not as funny, that’s a straight-up comedy, but there’s the element. In many ways, it takes the piss out of the larger “honor” and powerful houses, members, and knights as seen in the rest of the Westerosi stories. Not directly satiric, the hum is there, always present. When the first stirrings of the theme song are used for an unexpected joke, it sets the underlying tone.
Dunk doesn’t often know the niceties and decorum expected, which is a lot for those around him. But just as much, he expects the other men and women to act as he’s been taught: they all hired his master at some point (Hedge Knights are lower-ranked just about mericenary) but have forgotten him because he doesn’t mean a thing to them. Those in power use, abuse, and discard. Sweet, and just too innocent, but not dumb and a pushover, Dunk isn’t going to go for it. The solid drive in the story is in identifying with Dunk as he deals with the bureaucracy, making his way through the maze of personages and egos. Show runner Ira Parker, with the team of writers and directors (half by Owen Smith, the other half by keeps the story tight, moving forward in little snatches, minor arcs over an episode; they clock in around 35 minutes, without stretching it with filler or additional drama. It’s a small but relatable story, and the method fits. Nothing is wasted, but nothing is overdone. 
I applaud the production design in creating this little world of skirmishes and tournaments. While it might lack the grandeur and wowing factor of King’s Landing or Winterfell, the world is smaller and lived in. One can see the moving economy and traveling life of this setup.
That versimiliteid is given personification in Peter Claffey as Dunk. Big, but not brainless, he’s a kind soul; open and friendly. He has warmth and likability. He has great chemistry with the other half of Dunk and Egg. Eleven-year-old Dexter Sol Ansell has great spunk and park, giving off knowing more than his years but not in a precious way as Egg. The remainder of the cast, as they come and go, all serve their purposes well. A grand cast gives the show life, without anyone standing out as a sore thumb, which often happens in period shows.
A Knight of the Seven Kingdoms, season 1, is a fantastic start to the series. With a strong cast and a purposeful story drive, it’s a wholly entertaining watch. The world of Westeros expands in a slice different from what we’ve seen before. I appreciate that, and I appreciate this show. Can’t wait for Season 2, based on The Sworn Sword, next year.