Mild Spoiler Warning for “A Knight of the Seven Kingdoms”
Fantasy is one of the best mediums for escapism. The whimsical settings and foreign creatures make the viewer abandon considerations of their own world and immerse themselves in imaginative customs and ways of life. I have always held a love for “The Lord of the Rings” trilogy, the “Harry Potter” series and, more recently, the “Game of Thrones” series. But, I viewed these programs with my brain turned off to the problems of the real world, not considering the connections and new lessons they may unveil.
“A Knight of the Seven Kingdoms,” the newest installment in the “Game of Thrones” franchise based on the “A Song of Ice and Fire” series by George R.R. Martin, upends these traditional features of the genre. This is the third show in the franchise, preceded by the other prequel series “House of the Dragon,” which takes place 77 years before the events of “A Knight of the Seven Kingdoms,” which in turn is about 100 years before the events of “Game of Thrones.” Unlike its predecessors, this new series critiques class inequality and calls attention to the personal and moral qualities that are born through ease and those that emerge in the face of hardship.
The new show focuses not on great wars involving dragons and “white walkers,” the iconic snow zombies that serve as villains in the original series, but also on the evils of hierarchical class structure, critiquing the considerations through which humanity dubs others as worthy of power and respect. “A Knight of the Seven Kingdoms” drives a powerful message on class inequality through a fantasy setting.
While the other “Game of Thrones” universe programs present truths through characters’ confrontation of the corruption of power, the line between good and evil and the corrosive nature of vengeance, they do not question real-world structures that permit violence against the lower class and ensure the rich remain unaccountable as explicitly. The betrayals, sacrifices and deaths throughout the new series all drive a central message.
While previous series installments set in Westeros followed grand battles and the vying of different monarchs for a chance to sit on the Iron Throne, the new series takes a narrower view of Westerosi geography, culture and practices through the travels of Sir Duncan the Tall and his squire Egg. The series is based on the first installment of Martin’s novella series “The Tales of Dunc and Egg,” “The Hedge Knight,” which follows Dunc’s journey to a tournament, where he meets young Egg and dubs him his squire.
What is so enjoyable and refreshing about the series is that it finally offers audiences a truly good character to root for. While I always had favorite characters in “Game of Thrones” and “House of the Dragon,” even the most lovable characters are corrupt or self-interested in their best moments.
In contrast to the show’s usual archetypes, Dunc is an upstanding individual, honestly seeking to follow the knight’s code, which requires the protection of the innocent. This core part of a warrior’s duties is mentioned frequently throughout the original show, but those who follow its command are few and far between. Dunc’s commitment to justice and protecting the innocent is refreshing, and audiences familiar with the world can infer the increased hardship he will face because of his unwillingness to neglect these core principles in such a treacherous environment.
An important detail that only strengthens the audience’s appreciation of Dunc’s goodness is that whether he is telling the truth about his knighthood is ambiguous from the start of the show. It is unclear whether the hedge knight he formally served truly knighted him before his death, or if Dunc simply took his sword and claimed the title in desperation. This detail prompts viewers to consider whether the qualities of a knight lie more in character or birth. Dunc’s position as the most “knightly” character in conduct, though he may not even be a knight, more directly critiques the class structure of the universe than previous installments.
Dunc’s commitment to justice and doing what is right is most prominently contrasted through the behavior of the Targaryen princes he encounters at the tournament. They are a monstrous knave and a cowardly drunkard, sorry individuals whose only focus is getting their way. As Dunc’s life is uprooted and forever changed by their self-interested antics, he remains true to his values and continuously seeks to do good, even if it means risking his life to save others.
Through flashbacks to Dunc’s life, showing the poverty that permeates Flea Bottom, the peasants dwelling within the capital city, where Dunc scraped by as a child, the creators call attention to a corner of Westeros that has never been delved into on screen before. The stark contrast drawn between his upbringing and that of the Targaryen children is drawn, and the viewer is challenged to consider how hardship can strengthen resolve and how unjust tragedy can strengthen one’s commitment to protecting others so they can avoid the same fate.
Though this new season had the shortest run time of any “Game of Thrones” universe season, with only seven episodes ranging from 31 to 42 minutes each, this allowed it to be so successful. While I enjoy the chaos and political drama of the earliest seasons of the original series, the themes of the story were dampened by the sheer number of characters and the lack of time they were able to focus on each storyline. “A Knight of the Seven Kingdoms” was able to drive a more powerful and meaningful message through its shorter runtime because it focused so heavily on the singular event of the tournament and the days around it, Dunc’s specific character arc and how Egg came to be his squire.
Ultimately, the series prompts its viewers to think more deeply while enjoying a fantasy program. So, if you like media that has something to say, try “A Knight of the Seven Kingdoms” as it is one of the shortest and most immersive in the genre.