There is something distinctly intentional about A Knight of the Seven Kingdoms that signals this series is determined to carve out an identity separate from other George R. R. Martin adaptations. While nudity is a familiar fixture in this universe, full-frontal male nudity is far less common. The opening scene featuring a fully exposed and notably well-endowed Ser Arlan of Pennytree (Danny Webb), casually relieving himself outside his cabin, may give Hodor or Podrick Payne a run for their money. It also makes one thing abundantly clear: this show has a curious fixation on bodily fluids.
Our protagonist, Dunk (Peter Claffey), reflects on his past with the now-deceased knight Ser Arlan, a man who had no children, no lands, and no lasting legacy, yet shared an unmistakably close bond with Dunk. Though Dunk humbly describes his own abilities as “unsung,” the evidence suggests otherwise. This tension between Dunk’s version of events and the truth lingers heavily over the episode, reinforcing the central question: is he truly a knight?
While wandering the grounds, Dunk notices a lord dressed in unmistakable Targaryen colors. When approached, the man curtly orders Dunk to stop staring and tend to his horse. Dunk protests that he is no stable boy and not clever enough for horses, only to be told instead to fetch wine and a “pretty wench.” Dunk apologizes again, insisting he is neither servant nor errand boy but a knight. The claim is met with dry skepticism, a remark that knighthood has fallen on hard days, and a suggestion that too many people sleep too easily beneath borrowed titles.
This ongoing dismissal becomes something of a running gag, as disrespect toward Dunk’s claimed knighthood follows him at every turn.
Later, Dunk is caught spying and apologizes for interrupting a court led by Prince Baelor Targaryen (Bertie Carvel). He explains that he asked Ser Manfred Dondarrion to vouch for him so he could enter the tourney lists, only to be refused. Tensions rise as accusations of intrusion are thrown about and identities are questioned. Dunk swears he served Ser Arlan of Pennytree and offers the knight’s sword and shield as proof, though he is reminded that such items alone do not make a knight. Pressed for stronger evidence, Dunk appeals to memory, recalling Ser Arlan’s honor, his refusal to shame himself, and his victory over Lord Stokeworth in the King’s Landing melee. It is enough. Dunk is added to the list and granted his chance.
Dunk later attends another puppet show led by Tanselle (Tanzyn Crawford) and is once again immediately smitten. Socially awkward and utterly out of his depth, he even relies on Egg to help him find the right words. At Baelor’s instruction, Dunk asks Tanselle to repaint his shield, since he can no longer bear Ser Arlan’s sigil. Struggling to ask for her help, he mutters that she must think him a fool. Her reply is sharp and memorable: “All men are fools. All men are knights.”
During a tug-of-war contest, Dunk and Egg team up with Lyonel Baratheon (Daniel Ings). Lyonel’s playful pat on Dunk’s backside once again hints that he may have more than a passing fondness for the hedge knight. They win the contest, but victory does little to ease Dunk’s growing doubts.
As the episode draws to a close, Dunk and Egg sit together by the campfire, mirroring the quiet ending of the first episode. Dunk is visibly defeated, questioning not only his abilities but his very identity as a hedge knight. He wonders why none of the noble lords seem to remember Ser Arlan’s name at all.
Perhaps Dunk has more to prove than he ever imagined.
