This year didn’t start particularly promising for this blog. Two months have already gone by, and there’s no clear sign that I’ll soon find the time to watch something truly worth spending both my time and yours, and words on here. Well, I did see what it’s like to watch “Avatar 3” on the new IMAX technology, but that’s the only thing I’m going to say about that experience. The fact that you won’t find a review of it here should be explanation enough: “Avatar 3″, quite simply, has nothing special to offer beyond pretty landscapes and visual effects, and that alone isn’t enough to make me want to write about it. But enough about movies. And by that I mean that I’ve been noticing a trend – perhaps mostly in myself – of finding far more meaning and interest in streaming platforms and episodic productions than in full-length films. Which is why, out of nowhere, today I want to tell you about the latest title I watched that intrigued me enough to share my impressions.
I should admit upfront that I’m somewhat biased. Mainly because this is one of the very few adaptations whose source material I’ve actually read cover to cover (yes, I know – it’s barely 300 pages, but still). More importantly, it left a lasting impression on me, even if my memories are now fragmented. After all, I read it back when the hype around the early seasons of “Game of Thrones” was at its peak. Even back then, though, “A Knight of the Seven Kingdoms” became one of my favourite stories – a kind of a George R. R. Martin-style “Don Quixote” set in Westeros, if I may call it that. It planted thoughts like: “This would be incredible if it were ever adapted at the level of its bigger sibling.” And hallelujah – years later, that thought has become a reality. We now have a full-blooded adaptation of the adventures of Dunk and Egg, and hand on heart, I can say I’m more than grateful for what Ira Parker delivers here.
Egg’s nickname is one of Martin’s playful nods from the book tied to the character’s appearance and the casting choice here is spot on.
“A Knight of the Seven Kingdoms” arrives at the perfect time. The bitter aftertaste of the final two seasons of “Game of Thrones” is still very much present among fans, and “House of the Dragon”, truth be told, isn’t the most worthy successor such a saga could have received. It doesn’t quite manage to wash away the disappointment left by its predecessor – though, to be fair, adapting what is essentially an encyclopedia does excuse it to some extent. This newest adaptation of George R. R. Martin’s work, however, succeeds more than convincingly for me. It certainly helps that we’re dealing with a finished, fully written story – one that isn’t waiting a hundred years for its penultimate chapter – both literally and figuratively. The setting sits neatly between the eras of the other adaptations, giving Parker creative freedom while still respecting the intricate themes and family lineages that exist or will emerge later. Add to that a world-class production, strikingly authentic landscapes and set pieces that make the show far more accessible to a broader audience – something not to be underestimated in today’s increasingly demanding media climate. Top it off with a talented, promising cast, and you have all the ingredients for a quality viewing experience.
Despite limited screen time so far, this is hands down the best Baratheon we’ve had in any adaptation, and with the most brutal armour. Sure, he could’ve been a bit younger, but I still can’t wait to see more of him.
And it definitely is one. And since we’re speaking about the cast – let’s talk creative choices. Casting a former rugby player and a child in the lead roles, even if they perfectly fit the story (and “Game of Thrones” itself often played fast and loose with character ages), is no small risk. Today’s audiences are ruthless, and every detail is scrutinized by the most devoted fans. That said, I’m happy to report that Peter Claffey and Dexter Sol Ansell are more than well chosen. Their chemistry has been evident ever since the inn scene in the opening minutes, and their relationship steadily develops as the story unfolds. This is as much a tale of true knighthood as it is of friendship – the bond between Dunk and Egg (honestly, much like “A Song of Ice and Fire”, the adaptation could easily be called “The Tales of Dunk and Egg”). That core dynamic is what made the book special for me, and it’s captured successfully here. And it’s not just about the two of them – whether you’re meeting Baelor or Aerion Targaryen, or Lyonel Baratheon for the first time, you instantly grasp who they are and what drives them.
I should still address some of the criticisms, even if I don’t entirely agree with them. I’ll ignore the inexplicable ratings war between “Game of Thrones” and “Breaking Bad” – a depressing reminder of how petty fandoms can be – but focus instead on something far more relevant to this production: the iconic intro. There isn’t a fan of “A Song of Ice and Fire” who doesn’t hum the opening theme and obey the sacred rule of never skipping the opening credits. The absence of such an intro here is genuinely surprising. Even more so, the opening minutes of the first three episodes are, to put it mildly, debatable – and likely pushed away some otherwise curious viewers. Strangely enough, I actually liked this unconventional approach. Metaphorically, it reflects Dunk’s journey quite well and fits the more relaxed (at least initially) tone of “The Hedge Knight”, the story this season is based on.
The real MVP in the house and one of the funniest, energizing and heart warming side stories in the saga.
Let’s be honest – yes, “A Knight of the Seven Kingdoms” starts slowly. But it gains momentum, and episodes four and five are textbook examples of how high-quality fantasy television should be made. The screen time may be limited, but it’s enough to flesh out the main characters. The episode count is shorter and the runtime more concise than in other adaptations, yet given the modest length of the source material, the story of Ser Duncan is told fully and with care.
On top of that, nearly everything in the production is finely tuned – at least the essentials. The dialogue effortlessly shifts between humour and weighty seriousness. The equipment, especially the armour, is crafted down to the smallest detail and is a joy to behold. The battles are chaotic and deliberately rough, fitting the nature of a wandering knight. The twists are sometimes predictable, occasionally obvious, but executed with enough shock value to land effectively. This is authentic medieval knightly fantasy – and oddly specific as that may sound, it’s exactly what I didn’t know I needed to watch.
Perhaps the best actor among rugby players and the best rugby player among actors?
In short, I can confidently place “A Knight of the Seven Kingdoms” among my all-time favourites, right alongside the early seasons of “Game of Thrones”, and recommend it wholeheartedly. The series gave me enough motivation to reread the book – some details have inevitably faded over time – and to eagerly await the next creative decisions from Ira Parker and company.
Unlike the eternally unfinished “The Winds of Winter”, which will likely never see completion, and unlike the questionable choices made by D.B. & D.B. in “Game of Thrones”, here we have a complete, compelling story that holds your interest without relying on mystery – at least for now. Most importantly, HBO has a new egg in its catalogue. It may not be a dragon’s egg – but it’s certainly a golden one. And we can only hope that this time, they’ll raise it properly.
