The creators of "A Night of the Seven Kingdoms" made a striking creative decision in their season 1 finale by opening with jazz. Specifically, they featured 30 seconds of jazz trumpeter Kenny Dorham's rendition of "Alone Together" from his 1959 album "Quiet Kenny." Although jazz does not align with George R.R. Martin's medievalist fantasy world, its inclusion was intentional and thought-provoking.
Some viewers found the jazz jarring, feeling it broke their immersion in the story. However, this choice seemed to be part of the narrative fabric, creating a double consciousness where viewers become aware of storytelling as they follow the narrative. It also injected a moment of humor, contrasting with the tragic preceding episode.
The finale included another unconventional music choice—"16 Tons" by Tennessee Ernie Ford. This 1955 country hit with grim subject matter played against a cheerful tune, corresponding with Dunk and Egg's journey through a harsh world.
Unlike its predecessors, Game of Thrones and House of the Dragon, "A Night of the Seven Kingdoms" uses such anachronistic music to reorient viewers' engagement with the story. Composer Dan Romer enhanced fantasy score conventions with western music elements while maintaining the sonic universe established by Ramin Djawadi.
These choices highlight the storyteller's hand, notably through changes in the title card reflecting narrative shifts. When Sir Arlland of Pennytree appears to die before finishing his story, it subtly echoes concerns over George R.R. Martin's unfinished series. This meta-commentary enriches the viewing experience.
This strategic narrative breaking encourages reflection and questions the construction of tales like that of Dunk and Egg, inviting viewers to think about fantasy storytelling differently.
