REVIEW: ‘A Knight of the Seven Kingdoms’ Revitalizes a Worn-Out Franchise

Demet Koc
5 minutes ago
3 min read

A Knight of the Seven Kingdoms key art — *A Knight of the Seven Kingdoms* © HBO

For a long time, Game of Thrones was one of the most beloved and talked-about series on television. What initially felt confident and carefully constructed began to deteriorate once the show moved beyond the books, and by its final two seasons, the problems were impossible for me - and honestly, for everyone - to ignore. The finale cemented its reputation as a series that collapsed under its own weight. When House of the Dragon arrived years later, I felt cautiously optimistic. Its first season suggested a return to discipline and character-driven storytelling, but the second season left me disengaged and, honestly, less interested in the franchise as a whole. That context is important, because it shaped how I approached A Knight of the Seven Kingdoms. I knew it was coming. I did not feel strongly about it either way. After watching the first season, I can say it caught me completely off guard in the best possible way.

Set roughly a century before Game of Thrones, the series follows Ser Duncan the Tall, a hedge knight with no lord or land, and Egg, a sharp, insistent boy who becomes his squire. From the opening moments, especially after Ramin Djawadi’s iconic theme begins to play, you will immediately see what kind of show this is going to be.

What impressed me most is how intimate the storytelling feels. This isn’t a low-stakes series, because nothing in this world ever truly is, but the stakes are personal rather than epic. I watched Duncan struggle to afford armor, food, and basic dignity, and I felt the weight of how easily his sense of honor could get him killed. Egg’s presence adds both humor and emotional tension, and I found myself increasingly invested in the bond forming between them.

I was surprised by how often the series made me laugh, and by how effectively it could turn somber. Peter Claffey’s performance as Duncan is the emotional center. He plays the character with warmth, awkwardness, and a deeply felt sincerity that made me root for him almost immediately. That focus on character pays off most powerfully late in the season. Episode five, especially, had me fully locked in, watching in near silence. Daniel Ings brings an easy charm to Lyonel Baratheon that feels rare in this universe, and Dexter Sol Ansell is remarkably convincing as Egg, selling both the character’s intelligence, sass and his vulnerability at such a young age.

On a visual level, the show impressed me with its restraint. The cinematography leans into natural light and textured landscapes, and the production design makes Westeros feel worn, practical, and lived in. I never felt overwhelmed by spectacle, and I appreciated that choice. Everything feels close, tangible, and human.

I also appreciated what the show chose not to emphasize. Familiar houses are present but not overused. House Targaryen is the most relevant, followed by House Baratheon. Other houses are mentioned only when necessary. There are no real dragons, and there is very little political intrigue. Instead, the series focuses on class disparity and personal consequence, which made the world feel more grounded to me than it has in years.

By the time the season ended, A Knight of the Seven Kingdoms had genuinely won me over. It feels different from what came before, and that difference is its strength. After the disappointments of Game of Thrones and House of the Dragon, I didn’t expect to care this much again. My only real complaint is how short it is. At six half-hour episodes, it ends just as I felt fully settled into its rhythms. Still, as a quiet, character-focused story set in a familiar world, it reminded me why I ever cared about Westeros in the first place.