Cersei chose violence. Rhaenyra took over the dragons. But the protagonist of HBO's new “Game of Thrones” spin-off, “A Knight of the Seven Kingdoms”? Don't expect vengeful wildfires or cries of “Dracarys!” The would-be knight Dunk is serious, gentle and likes to sleep under the stars.
There are no magic spells, dragons or major wars in Dunk's (Peter Claffey) timeline, which is set about 100 years before the events of “Game of Thrones” and about seven decades after the 2022 spinoff, “House of the Dragon.” But there is still mud. A lot of mud, mixed with blood and guts, because what is Westeros but a nauseating vomit of mud and bodily fluids? For coherence between series.
But there is a problem. It turns out that sitting through scenes filled with diarrhea, snot, vomit, and battered brains isn't nearly as tolerable without the reward of real feuds, sociopathic personalities, supernatural phenomena, and, above all, a story that promises to go somewhere bigger.
Based on the novellas “Tales of Dunk and Egg” by author George RR Martin (he wrote “A Song of Ice and Fire,” the series of novels that inspired “Game of Thrones”), “Knight,” which opens Sunday, takes a humble path to the kingdom, basing its story on a simple, low-born wanderer who dreams of becoming a knight.
Their story unfolds over six episodes that take place over the course of a few days, which is a big change from the vast timelines of the debut seasons of “Game of Thrones” and “House of the Dragon.” The tighter scope and folkloric approach (from a score with more spare acoustic guitar than sweeping orchestral numbers and an abundance of drab peasant rags over lavish royal attire) is refreshing, at first.
Dunk, also known as Ser Duncan the Tall, is a stocky but clumsy young man, with little confidence and few skills. We meet him after the natural death of his mentor and adoptive father, Ser Arlan of Pennytree (Danny Webb). The old man was a knight errant, meaning he wandered around Westeros renting out his protection services to wealthy houses and, occasionally, people in need. One such charity case was that of young Dunk, whom the older knight saved from a thief's knife before making him his squire.
Now alone, Dunk aspires to become a knight errant as well. On his way to prove himself in a jousting tournament, he meets a smart, bald boy who calls himself Egg (Dexter Sol Ansell). The boy is as smart and cunning as Dunk is dumb and innocent. They repeat history as the boy becomes a knight's would-be squire, and together they prepare for a match that Dunk is not prepared to win.
Created by Ira Parker, along with Martin (Game of Thrones co-creators David Benioff and DB Weiss were not involved), “A Knight of the Seven Kingdoms” is a David and Goliath story, with a somewhat predictable outcome.
Of course, nothing will be as grand, addictive, and surprising as the fantasy universe that brought us the White Walkers, the Red Queen, and the Faceless Man, but taking out the magical realism and then filling in the gaps with sincerity and the spirit of honor above Dunk's abilities is not a winning strategy.
One of the most successful aspects of the series is Ansell's performance as Egg. The young squire shines brightly in the drab surroundings of the tournament camps. His wit and ingenuity in the face of the brutality and violence of the knights are a worthy combination.
However, the bloodiest forms of combat decide the day of the tournament, whether with mace, battle axe or club. The gore throughout this drama is on par with some of the most violent and ferocious scenes from previous HBO series set in Martin's world. But without the possibility of a story that rises above Dunk's work on the ground, “A Knight of the Seven Kingdoms” remains stuck in the mud.
