A Knight of the Seven Kingdoms: Dunk & Egg Arrive

Rain lashed down, mirroring the grief in Dunk’s heart as he lowered Ser Arlen into the cold earth. He was alone, a giant of a man facing a world that never seemed to fit him. He didn’t know it yet, but the promise he made at that graveside would change the fate of Westeros.

HBO’s newest George R.R. Martin adaptation shares the same world as House of the Dragon and Game of Thrones, but exists in a different era. The Dance of the Dragons is far behind, and Daenerys Targaryen’s fiery return to Westeros is still a distant dream.

Don’t be deterred by the absence of familiar faces. A Knight of the Seven Kingdoms introduces characters you’ll quickly adore, despise, or feel conflicted about, depending on their actions. The series explores Westeros through the eyes of Dunk, a hedge knight as tall as he is humble.

The story begins starkly. On a rain-soaked hillside, a towering figure—alone save for his horses—buries an older man. This is Dunk (Peter Claffey), honoring his master, Ser Arlen of Pennytree (Danny Webb), whose death sets the story of A Knight of the Seven Kingdoms into motion.

After years as a squire, Dunk is ready to forge his own path, uncertain of what awaits. He carries with him Ser Arlen’s lessons—the hard life of a hedge knight—blended with the resilience he gained growing up in Flea Bottom, King’s Landing’s most treacherous district.

First, though, a makeshift funeral. Unsure of what to say, Dunk improvises: “You were a true knight. You never beat me when I didn’t deserve it… except that time in Maidenpool.”

This curious tribute to Ser Arlen’s judgment is punctuated by quick flashbacks of Dunk, at different ages, receiving numerous smacks. It’s a brief sequence showcasing Dunk’s resilience and dedication to honesty. It also starts to paint a picture of his bond with Ser Arlen, a mentor he misses despite the hard knocks. “I wish you didn’t die, Ser,” he says, tearfully promising to care for the horses.

He also inherits Ser Arlen’s sword, which guides his next decision. “There is a tourney at Ashford Meadow,” he says, a hint of longing in his voice.

Here, A Knight of the Seven Kingdoms delivers what you’d expect from a Game of Thrones production: the familiar Game of Thrones theme music. Dunk appears determined. His hero’s journey is beginning. But, just as the music swells, we cut to Dunk… caught in a moment of extreme digestive distress behind a tree. The weight of entering a tournament has, unsurprisingly, unsettled his stomach. It doesn’t stop him, though: Ashford is the next destination.

The title card appears without an opening credits sequence. This isn’t the Westeros you’re used to seeing on HBO; A Knight of the Seven Kingdoms feels simpler and more direct. But, as you’ll see, despite its (at times crass) humor, it can be as unforgiving as Game of Thrones or House of the Dragon.

Dusk settles as Dunk and his horses approach an inn. A young boy with a shaved head appears. This, of course, is Egg (Dexter Sol Ansell)—and, if you know more about Egg’s destiny, HBO would prefer you keep it to yourself for now. The initial meeting of this future duo is a case of mistaken identity on multiple levels. Dunk assumes the kid is a stableboy with a bad attitude. (For those familiar with Martin’s source material, this is the first of Dunk’s many empty threats to give Egg “clout in the ear.”)

Dunk enters the inn to satisfy his hunger. The owner explains that most locals have gone to Ashford to watch the tournament. She doesn’t understand the appeal: “Knights are built the same as other men, and I never knew a joust to change the price of eggs.”

The only other patron is a passed-out drunk—until he abruptly sits up, stares at Dunk, brandishes a knife, and slurs, “I dreamed of you. Stay away from me, you hear?”

Dunk watches, perplexed, as the man throws down a coin bearing a three-headed dragon sigil (hmm, familiar) and stumbles out. It’s an unsettling encounter, and the weirdness escalates when Dunk returns to the stable to find the bald kid fiddling with his armor and his best horse.

Initially apologetic, the boy soon becomes cheeky, suggesting Dunk doesn’t appear to be a knight. He then brazenly asks Dunk to take him to the tourney. A knight needs a squire, after all! Dunk’s annoyance softens when he learns the kid is motherless, a situation familiar to Dunk, who also grew up an orphan. Still, he declines the offer to take on a pint-sized assistant.

The next morning, Dunk rides toward Ashford Meadow. A sprawling camp has sprung up around the tournament grounds—Dunk pauses to absorb the scene—with a modest castle on the hill above. Determined to enter, he seeks out the games master, hitting his head on the doorframe as he enters.

The awkwardness persists. The steward of Ashford (Tom Vaughan-Lawlor)—an unctuous man who pauses to dramatically clear his throat—gives him grief for not seeming like a knight, even after Dunk shares the sincere story of Ser Arlen knighting him before his death.

The steward questions his story—and, honestly, so do I—and toys with the gullible Dunk, describing how Ashford punishes those who falsely claim knighthood.

Dunk is growing weary. But the games master shows a glimmer of kindness as Dunk turns to leave. If Dunk can find “a true knight” to vouch for Ser Arlen, thus attesting to Dunk’s honor, he’ll allow him to enter. He also reminds Dunk that losers forfeit their arms, armor, and horse, requiring them to buy them back. This is a stark reminder for Dunk, who lacks the funds for ransom, and he hits his head on the doorframe again as he departs.

Determined to find a knight to support his entry, he heads to Ser Manfred Dondarrian’s (Daniel Monks) pavilion, hoping he’ll remember Ser Arlen. But Ser Manfred is asleep, and Dunk attracts snide remarks from the women lingering near the tent. “It’s a hedge knight, isn’t it?” one says, explaining, “It’s like a knight, but sadder.”

As he walks away, promising to find Ser Manfred later, he mutters to his horse about being called “sad.” Besides, “Ser Arlen always said a hedge knight was the truest kind of knight.” As you’ll see, Dunk’s conversations with his horses—and A Knight of the Seven Kingdoms’ fondness for flashbacks—helps overcome the fact that Martin’s stories are told as Dunk’s internal monologues, avoiding the need for voiceover.

Dunk’s grumbling is broken when he spots two men practicing in the training ring: Ser Steffon Fossoway (Edward Ashley) and his younger cousin, Raymun (Shaun Thomas), who serves as his squire and punching bag. Ser Steffon is loud and aggressive, challenging Dunk to a fight, but Dunk declines.

He desires peace and quiet, finding it in the nearby woods, where he cleans up (check “bare butt” off your Game of Thrones bingo card) before trying again with Ser Manfred. No luck: he’s still asleep, and the women offer more snide remarks.

“Must you mock me? I was only asking for a bit of help,” he says.

They apologize, but Ser Manfred is unavailable. Dunk wanders into camp, finding a puppet show.

“Fate has set his lonely path through corridors of chance,” the stage announces. “A boy from nothing risks it all, ignoring looks askance.”

The story—which holds a double meaning here—continues as Dunk approaches. An actor playing a knight faces an elaborate dragon puppet that breathes fire, eliciting gasps from the crowd, but Dunk is drawn to the young woman narrating. As he leaves, he hears “Half-man!”

A nod to Tyrion Lannister for Game of Thrones fans, but here it’s Raymun Fossoway joking that Dunk is “half-man, half-giant.” Raymun asks Dunk if he’s hungry. “Always,” he admits, following Raymun into a tent adorned with antlers—Baratheon territory. Here you see Ser Lyonel Baratheon, “the Laughing Storm,” a charismatic, drunken lord wearing a crown covered in antlers. It’s a lively, raucous scene, and eventually, the Laughing Storm notices the giant stranger.

Dunk is called over, and Ser Lyonel’s opening line is memorable: “You ever been punched in the face before?” The encounter starts playfully (Ser Lyonel scolds him for slouching), but turns serious—Dunk is intimidated by this wealthy, powerful lord giving him a hard time for crashing his party. The mood shifts again. “Do you like dancing?” Ser Lyonel asks.

The scene cuts to Dunk dancing wildly with Ser Lyonel, who becomes more intoxicated. They end up huddled at Lyonel’s table, where Dunk shares his fears. He’s big and strong, but lacks the training of most knights. “What chance do I have?” he wonders.

“You have no chance,” Ser Lyonel replies. “But it’s a great honor to test oneself against a worthy foe.”

Dunk points out that’s easy for a rich lord to say. If Dunk loses, he’ll have nothing. “What should I do?” he asks. Lyonel has no answer, and wanders off, leaving Dunk to consider his options.

Just then, Ser Manfred leaves the tent. Dunk pleads his case, but it’s futile. Ser Manfred doesn’t remember Ser Arlen and doesn’t care about Dunk entering the tournament. All that effort was wasted, and Dunk is dismissed.

Defeated, Dunk returns to his camp to find the bald kid roasting fish. He tries to be stern, but after the day he’s had, the boy seems like a friendly face.

“What’s your name?” the kid asks.

“Ser Duncan the Tall,” Dunk replies, standing tall.

The kid says he’s never heard of Ser Duncan the Tall, then shares his name is Egg. Dunk reluctantly agrees he can serve him for the tourney.

Egg’s joy is clear as Dunk says he doesn’t have much, but will always share. Also: “I promise not to beat you, except when you deserve it.” When Egg calls him “M’lord,” he corrects him. “Ser. I’m only a hedge knight.” There’s a small smile on Dunk’s face.

As they lie on their bedrolls, they see a shooting star. Egg says it brings good luck, and also notes that they’re probably the only ones who saw it, as all the fancy knights are in their pavilions.

Dunk is still grumpy, and it takes him a moment.

“So the luck is ours alone?” Dunk asks, his voice full of genuine wonder, and you see that same smile on Egg’s face.

The stage is set. The duo is together. Dunk’s quest to prove himself is akin to a ship setting sail on a storm-tossed sea; every choice is a gamble. His honor is the currency he uses to barter for respect in a world obsessed with bloodlines and gold. But will Dunk find someone to vouch for him so he can compete?

What makes ‘A Knight of the Seven Kingdoms’ different from other ‘Game of Thrones’ shows?

Think of your favorite coffee shop. The aroma of roasted beans, the soft chatter, and the feeling of community makes it unique. Similarly, ‘A Knight of the Seven Kingdoms’ offers a more intimate feel than its predecessors. It focuses on character-driven stories and moral dilemmas rather than grand battles and political intrigue, offering a grounded look at Westeros.

This Westeros, for the moment, is far removed from the Red Keep. There are no dragons filling the sky. The narrative is more concerned with the small battles of everyday life, the quiet heroism of a wandering knight, and the slow-burning friendship that will shape the future. Will this change in scope resonate with fans?

How faithful is ‘A Knight of the Seven Kingdoms’ to George R.R. Martin’s Dunk and Egg novellas?

Have you ever read a book, then seen the movie adaptation, and been disappointed by the changes? This show seems determined to avoid that. Early reports suggest that the showrunners are committed to staying true to the spirit and plot of Martin’s novellas. Dialogue, key scenes, and character interactions appear to be lifted directly from the pages.

Of course, adaptations always require some changes. Minor plot points might get streamlined, and some characters might be combined or omitted. But the core of the story—Dunk’s earnestness, Egg’s intelligence, and the bond that forms between them—should remain intact. The creative team, it seems, are huge fans who wouldn’t dream of disrespecting the source. But can any adaptation truly capture the magic of the original?

When will new episodes of ‘A Knight of the Seven Kingdoms’ air?

Remember waiting for new episodes of your favorite show as a kid? You probably circled the date on your calendar. ‘A Knight of the Seven Kingdoms’ arrives Sundays on HBO and HBO Max.

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