It has been nearly seven years since “Game of Thrones” ended with its infamous eighth season, an ending that left behind a complicated legacy for HBO’s adaptations of George R. R. Martin’s work. Since then, the network has returned to Westeros with “House of the Dragon,” a grueling prequel centered on the violent legacy of House Targaryen.
HBO’s latest adaptation, “A Knight of the Seven Kingdoms,” which premiered its first episode on Sunday, Jan. 18, takes a different approach. Based on Martin’s “Tales of Dunk and Egg,” the series favors a more intimate and grounded story unlike the spectacle-heavy adaptations that came before it.
The premiere episode is titled “The Hedge Knight” and follows Ser Duncan the Tall (Dunk), played by Peter Claffey, and his unlikely squire, Egg, played by Dexter Sol Ansell. Unlike the polished dragon riders and royal families audiences are used to, Dunk is strikingly ordinary. He doesn’t have a name worth knowing, no money or land to call home and not much of anything to lose besides three horses. The episode established this immediately through the death of Dunk’s knightly mentor, which marks the start of the loneliness that defines Dunk’s existence.
The grounded perspective of this episode is its greatest strength. “A Knight of the Seven Kingdoms” feels distinctly Westerosi without relying on typical grandeur. The cinematography captures moments of beautiful serenity along with the dirt and decay of the environment. The world feels lived in and busy, reminiscent of early “Game of Thrones.” There is a rawness that reinforces Dunk’s place in society.
Despite its somber start, the episode is consistently humorous. Much of this comes from the dynamic between Dunk and Egg, whose sharp wit contrasts with Dunk’s awkwardness and bluntness. Their exchanges feel natural and character-driven rather than forced, giving them personality.
In this episode House Baratheon’s Ser Lyonel Baratheon is introduced and leaves a lasting impact. He is a drunk, charismatic and flamboyant partying lord whose hectic hospitality makes him a particularly memorable and enjoyable presence.
One of the episodes’ strongest aspects was its use of music, particularly when Dunk approaches Lord Baratheon. The orchestra that is playing in the prior scene continues playing, but as soon as they face each other, the score seamlessly shifts into a more tense interaction. This transition mirrors Dunk’s internal conflict and anxiety surrounding being called to Lord Baratheon’s table. Dunk is nervous about being in Lord Baratheon’s presence as someone who is practically nameless and definitely out of place. The music lingers behind their exchange, immersing the audience in the tension of the scene.
“A Knight of the Seven Kingdoms” succeeds because it’s self-aware about its themes of survival and honor in the hectic Westerosi world. In doing so, it reminds viewers why Westeros is as compelling as it is.
Verdict: Episode one, “The Hedge Knight,” leaves viewers wanting more, not out of dissatisfaction, but out of anticipation.
