When a franchise becomes massive, there are two paths forward: expand outward to uncover the broader context of the original narrative, or narrow in to highlight a story with smaller stakes. This second approach carries high risk but great reward—and it might totally reshape the entire franchise.
Take the DC Universe, for instance. For every low-stakes show like that wins accolades, there’s a series like —a quirky, genre-blending project with an entertaining concept (!) that’s now forgotten.
The Game of Thrones universe initially chose the expansion route with , which effectively deepens the history of Westeros and the enigmatic Targaryen clan. But its next installment, , shifts fully to the opposite end: an intimate tale evoking medieval chivalry and Arthurian myths, with enough warmth to sustain Daenerys for days.
I knew A Knight of the Seven Kingdoms was a strong show within the first few minutes, when Dunk (Peter Claffey) understands that after his mentor Ser Arlen Pennytree’s death, he must make his living as a freelance knight—or hedge knight. “It fits my hand just as well as it did his,” he tells his horses, swinging Ser Pennytree’s sword. “And there’s a tournament in Ashford Meadow.”
As he gazes into the distance, jaw set, the string notes of the Game of Thrones theme’s opening play, building to a climax that… suddenly cuts off when the show shifts to Dunk relieving himself by a tree. This isn’t the Game of Thrones your septa knows. This one’s a bit different.
Dunk doesn’t have much: a sword, three horses, and armor that’s far too small for him. He heads to Ashford to join the tournament lists, but along the way meets Egg (Dexter Sol Ansell)—a small, bald, sassy kid. Dunk brushes him off at first, but true to the Lannister motto of repaying debts, Egg reappears in Ashford, asking to be Dunk’s squire, just as Dunk was to Ser Arlen. Dunk agrees, but it quickly becomes apparent he can’t simply join the lists, win, and become a great knight. First, he needs someone to endorse him, then find (and afford) armor that fits his 6’5” frame—before even finding an opponent.
The first two tasks are monumental for him, but the third is fairly straightforward—defending a beautiful puppeteer’s honor leads to a fierce face-off with a Targaryen. As readers of The Tales of Dunk and Egg—George R.R. Martin’s novellas that inspire the show—know, this small act has massive consequences for the Seven Kingdoms’ future.
Describing the show’s tone is tricky. Picture an Ivanhoe adaptation featuring a rugby player with a West Country accent, mixed with the grind of Marty Supreme and a few 30 Rock-style cutaway jokes. It’s irreverent, with an edge—but that doesn’t diminish the elements fans expect from a Game of Thrones series. There are plenty of tense moments, grandly staged fight scenes, and betrayals throughout.
It’s easy to draw parallels between Dunk and another iconic spinoff character: Din Djarin from The Mandalorian. The likenesses are clear: both are driven by honor—whether The Way or the Knight’s Code. Both work independently: Din as a bounty hunter, Dunk as a hedge knight. Both were foundlings, taken from obscurity to fulfill a larger role, and both are reluctantly paired with small sidekicks they grow to care for. But over A Knight of the Seven Kingdoms’ six episodes, there’s no push to make Dunk the hero of the entire realm. He’s just a person—a very tall, very kind person.
For book readers, Dunk’s place in the larger Game of Thrones universe is plain to see. But for new viewers, you’ll soon discover how anyone can be heroic with the right mindset. If this is Game of Thrones’ Mandalorian, it’s also Game of Thrones’ Andor.