The Letter for the King (TV series)

Lore & Background

Production began in July 2018 when Netflix ordered the series, marking the first Netflix adaptation of a Dutch book, though it was adapted in English. Principal photography took place in New Zealand and Prague, Czech Republic. The music was composed by Brandon Campbell, who described it as an orchestral adventure score with Western elements. The series received mixed critical reception, with a 60% approval rating on Rotten Tomatoes and a score of 55 out of 100 on Metacritic, indicating mixed or average reviews.

Reader's Guide

The Letter for the King holds significance as Netflix's first adaptation of a Dutch book, bringing Tonke Dragt's classic novel to a global audience. Its reception was mixed: Anglophone critics noted poor pacing and a lack of appeal for both adults and children, with some dubbing it a 'Game of Thrones for children.' Dutch critics acknowledged its popularity in the Netherlands but criticized deviations from the source material, such as added inclusivity and romantic subplots. The series serves as a mild entry point into medieval fantasy for younger viewers, though it did not achieve the epic status Netflix may have hoped for. Its legacy lies in its attempt to adapt a beloved children's book for a modern streaming audience, with a focus on diverse casting and a Western-infused score.

Did You Know?

• The series is based on the 1962 Dutch novel 'De brief voor de Koning' by Tonke Dragt.
• Principal photography took place in New Zealand and Prague, Czech Republic.
• The music includes Western elements such as acoustic guitars, fiddle, and trumpet.
• The series was frequently dubbed a 'Game of Thrones for children' by critics.

Development & the Dutch-to-English Journey

In July 2018, Netflix greenlit what would become its first-ever adaptation of a Dutch-language novel, selecting Tonke Dragt's 1962 classic De brief voor de Koning as the source material. Will Davies stepped in as both showrunner and executive producer, while FilmWave secured the international rights through a partnership with Leopold. The project was adapted into English and given the title of the 2014 English-language translation. Paul Trijbits of FilmWave served as executive producer alongside Chris Clark in a producing role, with Alex Holmes and Felix Thompson at the helm as directors. The cast was formally announced in December 2018, with Amir Wilson cast in the lead. Principal photography spanned two distinct locations: New Zealand and Prague in the Czech Republic. The six-episode series ultimately landed on the streaming platform on 20 March 2020, following a promotional rollout that began with first-look imagery in January and a teaser and trailer the following month.

An Ensemble Built Around a Young Knight

The series centers on Tiuri, a young aspiring knight tasked with delivering a secret letter across the Great Mountains to the King, a role brought to life by Amir Wilson. Supporting him is a rich ensemble: Ruby Ashbourne Serkis as Lavinia, Thaddea Graham as Iona, Islam Bouakkaz as Arman, Jonah Lees as Jussipo, Jack Barton as Foldo, and Nathanael Saleh as Piak. The royal and noble world is populated by Gijs Blom as Prince Viridian, Emilie Cocquerel as Queen Alianor, and Peter Ferdinando as Jaro. The recurring and supporting cast adds further depth, with David Wenham as Sir Tiuri the Valiant, Omid Djalili as Sir Fantumar, Kemi-Bo Jacobs as Darya, Ken Nwosu as Ristridin, Yorick van Wageningen as King Favian, Jakob Oftebro as Prince Iridian, Tawfeek Barhom as Jabroot, and Moshidi Motshegwa. The guest roster is particularly star-studded, featuring Jóhannes Haukur Jóhannesson as Bors, Ben Chaplin as The Black Knight, Fionn O'Shea as Tristan, Andy Serkis as Mayor of Mistrinaut, Kim Bodnia as Abbot, David Wilmot as Slupor, Lisa Loven Kongsli as Shona, Peter McCauley as General, and Scroobius Pip as Grey Rider.

A Divided Critical Verdict

The critical response to the series was notably split. On Rotten Tomatoes, it holds a 60 percent approval rating from twenty critics with an average score of 6.69 out of ten, while Metacritic assigns it 55 out of 100 based on six reviews, signaling mixed or average reception. The Rotten Tomatoes consensus captures the central tension: the production reaches for epic scale but is held back by pacing that feels spread too thin across its episode count. In the Anglophone press, Jack Seale of The Guardian gave it three out of five stars, noting it failed to satisfy either adult or child audiences fully. David Opie of Digital Spy was harsher at two out of five, and Patrick Cremona of Radio Times, also at two out of five, framed it as a "Game of Thrones for children" that ultimately fell short of Netflix's fantasy ambitions. In the Netherlands, where the series topped Netflix ratings, reception was similarly mixed. Mark Moorman of De Volkskrant and Belinda van de Graaf of Trouw both awarded three out of five stars, with the latter specifically criticizing creative liberties such as replacing Piak with Lavinia as Tiuri's primary companion and adding a same-sex kiss scene that felt unearned.

A Western Heart in a Fantasy Body

Composer Brandon Campbell described his approach to the score as fundamentally Western in spirit, transplanted into a magical adventure setting. The result is an orchestral foundation layered with acoustic guitars, fiddle, trumpet, and vocal elements, creating a soundscape that evokes open-road storytelling rather than traditional medieval fantasy. Campbell told Awards Daily that the team's shared vision was essentially "a Western that takes place in the middle of this magical adventure," a framing that gives the series a distinct tonal identity separate from the more orchestral-heavy scores typical of the genre. One particularly striking musical choice involves the character Jussipo, whose songs are set to the melody of "In Hell, I'll Be in Good Company" by the band The Dead South. This same piece resurfaces as the music sung for his burial, creating a haunting bookend that ties the character's life and death together through a single folk-inflected tune.