REVIEW: HBO’s A Knight of the Seven Kingdoms Season Finale Caps a Remarkable First Season

Following the gut-punching, devastating blow of last week’s penultimate episode, we return to the now-concluded tourney at Ashford as Duncan (Peter Claffey) emotionally reels from the death of Prince Baelor Targaryen (Bertie Carvel). Survivor’s guilt weighs heavily on him, and as he processes the loss, we are treated to a number of reactions through truly remarkable performances. Claffey’s portrayal of Duncan the Tall serves as the anchor connecting these characters, both past and present, as their time together — and with the audience — comes to an emotional end.

Daniel Ings takes a bow with his beloved Ser Lyonel, exiting in true Baratheon fashion by cursing the Targaryens. Ira Parker leaves fans with the exciting “what if” that those who loved the pairing have enjoyed watching unfold this season, even throwing in a reference to Tarth for good measure (Duncan is the ancestor of Brienne of Tarth from Game of Thrones). He serves as a first introduction to the more intimate characters that remind us why this series has connected so well — because at its core is a vibrant and characteristically distinct set of personalities.

The confrontation between Duncan and Prince Valarr Targaryen (Oscar Morgan) lands powerfully. Valarr questions why their gods would take such a figure as his father over a common man, believing his life worthier than that of a hedge knight. The writing is elevated by a stunning and emotional performance from Morgan as the grieving son and now heir to the Iron Throne of Westeros.

Unlike Valarr, Prince Maekar Targaryen (Sam Spruell) understands that Baelor’s death is the fault of neither intentionally himself nor Ser Duncan, yet believes history will not look back on them kindly regardless. Spruell closes his time on the show as a definitive Maekar Targaryen, bringing to life the pain and hollowness of a man whose brother died by his own hand. There is a weight of wisdom in his words that transforms the scene, and you feel it immediately. Baelor’s death looms not only over these characters but over Westeros’ history to come. His sentiments even echo those of George R.R. Martin himself, who, like many in the realm, believes some of the horrors ahead may never have unfolded had Baelor ascended the Iron Throne as Protector of the Realm.

Dexter Sol Ansell is a flawless Prince Aegon “Egg” Targaryen. As Martin once described, it feels as if Egg has stepped straight from the pages of the novella into our world. Even at his young age, Ansell delivers an emotional performance that keeps pace with the seasoned adults around him. When Duncan and Egg are reunited at the end, your heart swells with the harmony of the score. We watch as the two venture into the lands of Westeros together, now fully bound to one another and prepared for the lessons ahead. It feels like the true beginning of their adventure — as if they have just left the Shire.

The finale confirms a long-hinted fan theory: Ser Duncan the Tall is not a Ser at all. By Westerosi standards, he is not a true knight, never having been knighted by Ser Arlan of Pennytree (Danny Webb) before his death. This was subtly foreshadowed in the fourth episode when Ser Raymun Fossoway (Shaun Thomas) is knighted by Ser Lyonel Baratheon (Daniel Ings), a moment that casts doubt on Dunk’s own past as we see Ser Arlan shrug at the ceremony — an act Duncan himself once hesitated to perform. So, what truly makes a knight? Words spoken with a blade on your shoulder? Victories in battle? Gleaming armour? None of these. The season makes clear that Duncan is more a knight than many who officially bear the title. His armour is not gleaming; he wears a rope for a belt. He has no great war stories, nor does he know the oath by heart. What he possesses instead is something rarer: an unwavering drive to protect the innocent and to live with honour. It reflects the very ethos that defines Martin’s world of ice and fire.

Once again, the sound mixing and music composition are incredible. Full stop. Dan Romer steps confidently into Westeros, carving his own path distinct from the beloved work of Ramin Djawadi, who until now served as the franchise’s sole composer. The framing and cinematography are exceptional, and I confidently place this among the most carefully crafted first seasons of the decade.

Showrunner Ira Parker, alongside directors Owen Harris, Sarah Adina Smith, and the entire crew, have delivered something truly special. Season one of A Knight of the Seven Kingdoms has been masterfully executed from start to finish, telling a story that captivates in a way only a Game of Thrones series can. The cast not only delivered award-worthy performances but embodied their roles so fully that the series often feels less like fiction and more like a window into the lives of real knights, lords, and princes.

The finale shines not only because it ties together an exceptional first season, but because it completes a moral journey that feels deeply relevant. In a time when the world can feel bleak, stories like this matter. Stories of true heroes standing for the innocent, choosing honour over cruelty, and love over spite.

The season finale of HBO’s A Knight of the Seven Kingdoms is now streaming on HBO Max.