A Knight of the Seven Kingdoms, the upcoming HBO series based on George R.R. Martin’s Dunk and Egg novellas, is scheduled to premiere on January 18, 2026. Before its release, however, a notable concern is emerging: the show may face the same core issue that affected the later seasons of Game of Thrones—the television adaptation potentially running out of its published source material.
This new series follows the adventures of the hedge knight Ser Duncan the Tall (played by Peter Claffey) and his young squire Egg (played by Dexter Sol Ansell), who is secretly Prince Aegon Targaryen. Set about a century before the events of Game of Thrones, the story unfolds in a more grounded and often lighter-hearted version of Westeros. Despite its different tone, the show’s future hinges on the same factor as its predecessor: the writing pace of author George R.R. Martin.
The Core Challenge: Published Stories Are Limited
The central issue is one of supply. A Knight of the Seven Kingdoms is adapted from Martin’s series of Tales of Dunk and Egg novellas. Currently, only three of these stories have been published: The Hedge Knight (1998), The Sworn Sword (2003), and The Mystery Knight (2010). These three tales are expected to form the basis for the show’s planned first three seasons.
However, Martin has publicly stated he has plans for many more Dunk and Egg adventures. In a blog post from when the series was first announced, he wrote that before the show catches up, he would “need to find time to write all the other Dunk & Egg novellas that I have planned. There are … gulp … more of them than I had once thought”. This directly echoes the situation with Game of Thrones, which began with a deep reservoir of published novels but eventually surpassed them, leading showrunners David Benioff and D.B. Weiss to craft original storylines for the final seasons.
For A Knight of the Seven Kingdoms, the timeline is simply compressed. With a six-episode first season launching in 2026 and a second season already confirmed for 2027, the television production schedule moves quickly. Martin is simultaneously working on other major projects, most notably The Winds of Winter, the long-awaited next novel in the main A Song of Ice and Fire series.
How This Situation Compares to Game of Thrones
The concern stems from a specific turning point in Game of Thrones history. The show’s first five seasons closely followed Martin’s published books. The critical and fan reception to the series began to shift after Season 6, which was the first season to move almost entirely beyond the published novels. Many fans and critics argue that the show’s storytelling became less nuanced, with a greater focus on major spectacle over the complex character development and political intrigue that defined its earlier years.
As noted by outlets like The Guardian, the show “became less character driven and ever more bombastic” after the creators “were forced away from Martin’s books due to lack of new material”. While later seasons still had major successes, the divergence from the source material remains a defining aspect of the show’s legacy.
A Knight of the Seven Kingdoms starts with even less published material than Game of Thrones did, setting up a potential race between Martin’s writing and HBO’s production calendar. The author has humorously acknowledged the challenge, outlining his writing priorities in a blog post: “I just need to finish The Winds of Winter, and then do either A Dream of Spring or volume two of Fire & Blood, and slip in a new Dunk & Egg between each of those…”.
Key Differences That Could Change the Outcome
While the source material concern is real, A Knight of the Seven Kingdoms is not an exact repeat of Game of Thrones. Several key factors could lead to a different result.
- A Planned, Contained Story: Unlike the sprawling, epic narrative of Game of Thrones, the Dunk and Egg tales are more focused. The first three novellas form a complete narrative cycle. HBO’s Head of Drama, Francesca Orsi, has indicated the show is planned as a three-season series that maps directly onto those three stories. This gives the series a clear and satisfying endpoint that does not require Martin to write new stories immediately.
- A Different Creative Approach: Showrunner Ira Parker has emphasized that the new series is intentionally distinct in tone and style from its predecessors. In an interview with Entertainment Weekly, he explained that even the decision to forgo an elaborate opening title sequence was a character-driven choice to reflect Dunk’s “plain and simple” nature. He described the world of the show as “hard nose, grind it out, gritty, medieval knights,” focusing on characters at the bottom of society rather than kings and queens. This smaller scale may make the story more manageable.
- Faithful Adaptation Intent: Early reports suggest a strong commitment to adapting the existing novellas faithfully. Martin himself has expressed approval, stating after viewing the first season cuts, “It’s as faithful an adaptation as a reasonable man could hope for”. This close adherence to a completed, beloved set of stories could help maintain consistency and fan approval through its planned run.
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The Road Ahead for Dunk and Egg
For viewers, the immediate future is clear. The first season, adapting The Hedge Knight, will arrive in early 2026. The story follows the lowborn knight Dunk and his new squire Egg as they travel to a tournament at Ashford, where a conflict with a cruel Targaryen prince tests their bond and honor. The core cast includes Finn Bennett as Prince Aerion Targaryen, Bertie Carvel as Prince Baelor “Breakspear” Targaryen, and Sam Spruell as Prince Maekar Targaryen, Egg’s father.
The show has already been renewed for a second season, confirming HBO’s confidence in the project. This biyearly release plan for Game of Thrones universe shows may also provide Martin with more time to write between seasons.
The ultimate path beyond a potential third season is less certain. It will depend on Martin’s progress on new Dunk and Egg tales. If he publishes more stories, the show could continue. If not, the series has the advantage of a natural three-act structure that could provide a complete and fulfilling narrative experience on its own, avoiding the need for the showrunners to invent an original conclusion as Game of Thrones did.
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