Originally, “A Knight of the Seven Kingdoms” was to land on TV screens in mid-2025.

The gods had other ideas.

This third HBO series set in the world that author George R.R. Martin introduced with his “A Song of Ice and Fire” collection of fantasy novels finally arrives this week, mere months before the highly anticipated return of the second, “House of the Dragon,” in the summer.

While “Dragon” is much like “Game of Thrones,” the beloved (until it wasn’t) adaptation of “A Song of Ice and Fire” — an hourlong series chock full of drama, scheming, battles, magic and, of course, dragons — “Knight” is a small-scale, half-hour affair largely grounded in reality while still taking place in the realm of Westeros.

Look at it as an appetizer for the meal that will be the third season of “Dragon.”

“Knight” is based on Martin’s “Tales of Dunk and Egg” novellas, with this first six-episode season an adaptation of 1998’s “The Hedge Knight.” Dunk is the titular figure of that book and the TV series, the towering Ser Duncan the Tall (Peter Claffey), while Egg (Dexter Sol Ansell) is a diminutive boy who comes to squire for him.

Their adventures take place about a century after the events being chronicled in “Dragon” and about 100 years before those of “Thrones.” It is a time when the winged, fire-breathing creatures are thought to be extinct and one of relative peace in the realm’s seven kingdoms — or nine, depending on how you are counting.

Showrunner Ira Parker — who has produced and written on “Dragon” — is the writer or co-writer of each “Knight” installment, helping to lend it an unmistakable consistency.

We are introduced to Dunk as he buries the hedge knight for whom he squired, Ser Arlan of Pennytree (Danny Webb), and who, Dunk will come to insist, knighted him shortly before dying. Not long after this, we watch as he relieves himself (no, sigh, the second one) behind a tree, the camera still able to catch much of the, um, glory.

Man, it’s great to be back in Westeros!

Unable to conjure a more promising plan, the near-coin-less Dunk decides to ride for Ashford Meadow, soon to be the site of a tournament where he intends to compete in the jousting event. Along the way, of course, he encounters Egg, who asks to be his squire. Dunk initially rejects this idea but soon relents, allowing the lad to be his aide and promising to keep him fed, if not much beyond that, in exchange.

To compete, Dunk must convince others he is a knight — if only a hedge knight, a class of wandering warriors who, we learn, often must sleep in the hedges because no lord will have them. In this pursuit, he meets men with important last names, such as charismatic enjoyer of life Ser Lyonel Baratheon (Daniel Ings) and Prince Baelor “Breakspear” Targaryen (Bertie Carvel), the heir to the all-important Iron Throne in King’s Landing. The latter is unlike some other powerful members of his family — not just because he has short, dark hair but also because he is thoughtful, measured and kind.

Dunk’s life is complicated when he runs afoul of one of Baelor’s nephews, Prince Aerion “Brightflame” Targaryen (Finn Bennett), son of Maekar Targaryen (Sam Spruell), Baelor’s younger brother. Dunk was in the right, of course, protecting a Dornish puppeteer, Tanselle (Tanzyn Crawford), who was having a bit of satirical fun at the Targaryens’ expense, but that matters little considering the power wielded by Aerion.

Egg stands by Dunk, but he will need more formidable allies if he is to survive the trial to come.

“Knight,” with its basic story and Dunk’s relatable values — informed by a late-season flashback episode in which a younger version of the character is portrayed by Bamber Todd during a crucial point in his adolescence in the slums of Flea Bottom — is appealing in its simplicity. That said, even with most episodes around 30 minutes, it could use a bit more excitement and action.

Former rugby player Claffey is a nice find for everyman Dunk, and Ansell (“The Hunger Games: The Ballad of Songbirds & Snakes”) brings some clever touches to the complicated Egg. However, there’s more crackle to this series when it involves certain supporting players, including the aforementioned Carvel (“The Crown”) and Ings (“The Gentlemen”).

As has “House of the Dragon,” “A Knight of the Seven Kingdoms” serves as a reminder of just how well Martin has fleshed out both the geography and overall mythology of Westeros. (Relatedly, it shouldn’t come as much of a surprise to learn that this series is keeping a little secret, one no doubt already known to many well-steeped in Martin’s world-building.)

While “Knight” is, again, only so filling, you’ll get no objections here that it already has been renewed for a second season, which you’d expect to adapt Martin’s second novella in the series, 2003’s “The Sworn Sword.”

The gods are good.

‘A Knight of the Seven Kingdoms’

What: Six-episode first season of half-hour series set in author George R.R. Martin’s Westeros.

Where: HBO and HBO Max.

When: 10 p.m. Sundays starting Jan. 18.

Rated: TV-MA.

Charlie Polinger achieves a lot with relatively little with his feature directorial debut, “The Plague.”

Getting a wide release this week, this slice of psychological horror is quite effective despite its small scale and a cast consisting largely of little-known young actors.

A cross between “Lord of the Flies” and … some other movie set at a youth water polo camp, “The Plague” explores, as Polinger puts it in his directorial statement, “the clumsy liminal space between childhood and adolescence, when the id grows too fast and too strong for the conscience to keep up.”

Also the film’s writer, Polinger found inspiration for the story when he unearthed old journals from when he was 12. He read his tales of a youth sports camp, where boys told tall tales of a mysterious “plague” that had infected one unfortunate kid — it was the reason for his acne-covered face and was turning his brain to “mush.”

That is the situation 12-year-old Ben (Everett Blunck) encounters when he joins the second session of a water polo camp after moving to the area from another city in summer 2003. A bunch of the boys — led by the charismatic Jake (Kayo Martin) — have ostracized another with a skin issue, Eli (Kenny Rasmussen), which they make very clear as they accept Ben into their fold.

“Those aren’t regular pimples,” Jake tells Ben as they sit on the bottom part of a bunk bed, several feet from Eli. “Those are plague pimples. That’s a plague face.”

Jake proceeds to fill Ben’s head with more disturbing details, including the fate of the unfortunate boy who supposedly gave the plague to Eli. (Spoiler alert: He’s said to be spending his time in a mental institution playing “Jenga.”)

You can tell from Ben’s face that he doesn’t believe any of this to be true — mostly, kinda, probably — but he does as instructed, scrubbing his skin quickly after any physical contact with the outcast. He’s just trying to fit in, especially after Jake gives him a hard time about having trouble pronouncing “t” sounds, earning him the cruel nickname “Soppy” as a result. We’ve all been there — if roughly, not precisely.

That’s why “The Plague” feels so authentic for its first long stretch: It’s relatable in a way you may not enjoy thinking about, even if you were more follower than leader, more Ben than Jake, in your youth.

As the film progresses, however, Polinger skillfully blurs the line between childhood nonsense and reality in a really potent and, at times, downright chilling way, as Ben takes the inevitable turn away from Jake and toward Eli — despite the latter’s odd social behavior. (To be clear, Eli’s idiosyncrasies feel authentic for an outcast kid … at least for the most part.)

With the help of collaborators who include director of photography Steven Breckon, production designer Chad Keith and sound designer Damian Volpe, Polinger creates an aesthetic that evolves from lovely (the opening underwater shots) to unsettling (well, you’ll see).

Plenty of heavy lifting is also done by the aforementioned actors, with Blunck (“Griffin in Summer”) compelling as a pre-teen everyman — not exactly cool but able to vaguely fake it — and newcomer Rasmussen, who throws himself into the role of a boy trying to make the best of being separated from the group at camp.

The standout, though, is Martin, who, as the ringleader, straddles the line between angel and devil, aided by an often-present smile that can be read either way. (Also into skating and boxing, the youth has about a million Instagram followers.)

Joel Edgerton (“Boy Erased,” “Train Dreams”) portrays the only meaningful adult role, that of the boys’ coach, Daddy Wags, and he turns in solid work, both when his character lays into Jake for his behavior and later tries to comfort Ben.

Know that a viewer isn’t likely to find much comfort in “The Plague.” It isn’t a fun experience, the film dipping its toes into such upsetting topics as self-mutilation, but it is impactful.

Without hinting at the nature of the conclusion, Polinger sticks the landing, leaving the viewer wanting more — not of “The Plague” but of him.

‘The Plague’

Where: Theaters.

When: Jan. 2.

Rated: R for language, sexual material, self-harm/bloody images, and some drug and alcohol use – all involving children.

Runtime: 1 hour, 38 minutes.

Stars (of four): 3.