Westeros Rediscovers Fun: A Knight of the Seven Kingdoms TV Review

It was the first Game of Thrones spin-off, but not everyone took to the dour intricacies and crawling pace of House of the Dragon. That prequel — which favours endless strategic meetings by candlelight over much in the way of action — continues its self-serious trundle through political back-stabbing and aerial dragon fights, and is expected to return for a third season later this year. Meanwhile, fulfilling a very different role, along comes A Knight of the Seven Kingdoms, which gives Westeros an opportunity to rediscover its fun side. For a sprawling cod-medieval epic of magic and mythical creatures, that seems to be the very least that it can do. Based on the three George RR Martin novellas known as The Tales of Dunk and Egg, the series takes place after the events of House of the Dragon but before Game of Thrones. It will either charm or repulse, depending on viewers’ fortitude in the face of scatological humour. Peter Claffey is outstanding as Ser Duncan the Tall, previously a squire, now a good-natured lumbering giant of a man attempting to make his way in the world of knights. He has inherited the title of hedge knight (“like a knight, but sadder”, according to one woman). It is a lowly position which nevertheless serves an important role as a bridge between the lords and the ordinary people. Alone in the world with nothing but his former master’s three horses, Ser Dunk is desperate to take part in the local “tourney”, in which knights compete for fame and coins. On the way, he picks up a stableboy called Egg (Dexter Sol Ansell), who expresses a desire to become Duncan’s squire. Their reluctant partnership, which blossoms into real brotherly or father-son affection, is the backbone of the story. Given the levels of blood and gore which permeate even this comparatively light-hearted corner of the Game of Thrones universe, it is a surprise that it is so sweet and heartfelt. Perhaps this is because the tale is small and the setting even smaller. Over six short episodes, it tells a simple story and it tells it well. It does not wander across the continents, but takes place in and around the tourney and its encampments. Both House of the Dragon and Game of Thrones focus on noble families and the heavy-is-the-head responsibilities of power, but this is about ordinary people, caked in the mud of ordinary life, still doing something extraordinary. At this point in the show’s lore, the Targaryens hold the Iron Throne, so a few sharp blond haircuts do enter the fray. But the focus is not on them. In making this shift away from those in charge, it is as if a weight has been lifted, and the drama benefits greatly from shedding some of its pomposity. The jaunty mood fades as the season progresses, but it insists on maintaining a puerile sense of humour. One moment of grand, sweeping high drama ends, unexpectedly, with a loud fart joke. There is phlegm, vomit and excrement, nudity and sizeable prosthetics; some critics have already balked at the bodily fluids on display. Take it in the right spirit, though, and it adds to the raucous, carnival-esque feel. It has been a long time since visiting Westeros has been so enjoyable. ★★★★☆ On Sky Atlantic on Mondays