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HBO’s latest Game of Thrones spin-off, A Knight of the Seven Kingdoms, features just a single dragon, and this one isn’t soaring through the skies—it’s a puppet. Tanselle Too-Tall, portrayed by Tanzyn Crawford, wields this massive puppet, operated by several puppeteers. Despite its limitations, this stage dragon’s demise is as impactful as the brutal battles depicted in its sibling series, House of the Dragon. Its fiery breath is nothing more than an illusion, created by flinging pollen into the air.
Fans of George R.R. Martin’s work recognize that the fall of Tanselle’s “mummer’s dragon” marks the beginning of a pivotal series of events. These moments will reshape the lives of Ser Duncan the Tall (Peter Claffey), Prince Aegon “Egg” Targaryen (Dexter Sol Ansell), and the Seven Kingdoms. However, viewers of last week’s episode were likely more focused on the cruel act by Prince Aerion (Finn Bennet) who broke Tanselle’s finger. The audience would have found themselves cheering for Dunk as he stood up against the tyrannical prince, and perhaps felt a pang of betrayal upon discovering that Egg, masquerading as a commoner, was actually a pampered princeling.
A Knight of the Seven Kingdoms captures the essence of George R.R. Martin’s storytelling, which lies not in grand spectacles or explicit scenes, but in the exploration of the human condition. Martin’s narratives weave intricate worlds and epic tales, yet they consistently return to the internal struggles of the heart. Jon Snow’s allure, for instance, is not merely his hidden Targaryen lineage but his ongoing conflict between duty to the Night’s Watch and his personal desires. Martin crafts characters that feel authentic, navigating extraordinary circumstances that test their very essence.
Martin achieves this balance by drawing inspiration from history and literature, intertwining it with everyday realism. Iconic moments like the Red Wedding are rooted in historical events such as the Black Dinner of 1440, while the feuding houses Stark and Lannister echo the historical rivalry between the Yorks and Lancasters. Martin enriches his stories with vivid descriptions, humor, and a touch of gritty realism. Each chapter in the A Song of Ice and Fire series delves into a character’s perspective, immersing readers in their thoughts and emotions.
When Game of Thrones first took off, many believed its success stemmed from its sensational scenes and explosive drama. This notion, however, overlooked the deep, character-driven dialogues that defined the early seasons, closely mirroring Martin’s writing. As the show outpaced the books, creators David Benioff and D.B. Weiss began sidelining intricate storylines in favor of grandiose spectacles. While Game of Thrones grew in scale, it didn’t necessarily improve in quality. The final season, in particular, left audiences divided, with its conclusion often likened to the contentious ending of Lost—a reminder of how beloved series can falter at the finish line.
House of the Dragon, the first Game of Thrones spin-off to make it to HBO’s Sunday night line up, borrowed much of its Season 1 formula from what the fans seemed to love the most from the main series. Director Miguel Sapochnik (aka the man behind “Hardhome,” “The Battle of the Bastards,” “The Winds of Winter,” and more major episodes) was brought on as co-showrunner with Ryan Condal. The show focused on the Targaryens at their peak, enjoying incestuous hookups and a fleet of dragons at their beck and call. However, when Season 2 came around, Sapochnik was gone. Condal began to ice out Martin, steering the show further and further from the source material. While House of the Dragon Season 2 featured some insane battles, it also abruptly ended on the eve of a major, cathartic set piece, leaving many underwhelmed and unsatisfied for literally years. (HOTD aired its Season 2 finale way back in August of 2024, and will return sometime in Summer 2026.)
So it’s honestly kind of wonderful that the understated simplicity of A Knight of the Seven Kingdoms has become such a wild success. What makes it such an enchanting new addition to the HBO slate has nothing to do with the dragons, battles, or incest that fellow spin-off House of the Dragon lifted and dialed up to eleven. Instead, A Knight of the Seven Kingdoms remembers that the power in George R.R. Martin’s writing is in its humanity. The result is a charming series that hews closer to Martin’s style than any other adaptation.
A Knight of the Seven Kingdoms is about living in a time where being the little guy feels harder than ever. The powerful are nakedly, shamelessly corrupt, and the people who are supposed to stand up to their evil would rather join in on the sadistic fun. A Knight of the Seven Kingdoms is about living in Westeros a full ninety years before Game of Thrones, but it’s also about what it feels like to exist in the real world right now. George R.R. Martin is an author whose genius is in helping us make sense of our reality through fantasy and A Knight of the Seven Kingdoms does just that.
A Knight of the Seven Kingdoms Episode 4 is now streaming on HBO Max. It will premiere on HBO on Sunday, February 8 at 10 PM ET.