As of this writing, the third film in Denis Villeneuve’s Dune series has yet to receive the official green light. (The project is technically still in development.) Nevertheless, parent company Warner Bros. Discovery and production company Legendary Television have invested billions of dollars in combined box office revenue from the film into multimedia projects. Work has already begun on converting it into a franchise. In fact, even before Dune Part 1 was released in theaters, a television spin-off was already in the works. This week, the prequel series “Dune: Prophecy” finally arrives on HBO, following “The Penguin,” which transformed HBO from once the rarest of premium broadcasters into a reliable purveyor of blockbuster IP. With a mission to create more material with less money and time, Prophecy cannot hope to match Villeneuve’s aesthetic achievements. But at its best, the show does justice to the complex politics and ethical debates that form the basis of Frank Herbert’s fictional world.
Set more than 10,000 years before the birth of the savior Paul Atreides, “Prophecy” centers on the early history of the Bene Gesserit, a shadowy sorority whose eugenics practices ultimately lead to the creation of Paul. I’m doing it. Loosely based on the 2012 novel Sisterhood of Dune, co-written by Herbert’s son Brian, Prophecy takes place just a few generations after the Butler Crusade, a massive war that ended the use of so-called “thinking machines.” happen. However, like Villeneuve, “Prophecies” eschews the specific terminology of the Herberts in favor of a more general “war.” Valya Harkonnen (Emily Watson as an adult, Jessica Barden as a teenager) is the second Mother Pastor of the order, and her efforts to secure the future of the order include the same social influences as Paul’s eventual rise. Contains a lesson in engineering arrogance.
Similar to adapting a novel to film, translating a series from film to television involves a series of unavoidable trade-offs. (Case studies include both Marvel, which partially weakened its brand by increasing its output, and Star Wars, which effectively switched formats in the five years since its last major theatrical release.) ) In the four episodes provided to critics, “Prophecy” navigates these inherent ups and downs well in a six-episode season. The show, run by Alison Schapker and co-developed by Schapker with Diane Adem-John, is noticeably missing the magical touch of cinematographer Greig Fraser and the star power of Timothée Chalamet. But “Prophecy” also has advantages in areas where television is already well-suited, such as bringing the vast empire’s many political factions to life. The interplanetary beings may not be as amazing as Villeneuve’s rendition, but we get to see more of the planets and meet more of their inhabitants.
The domineering Valya, flanked by her sister Tula (currently played by Olivia Williams and previously played by Emma Canning), leads the still-powerful Bene Gesserit, a group that has existed for thousands of years. resemble. Black robes, distinctive sign language, and the art of “truth-telling,” or detecting human lies, are all in place. Varya himself is credited with inventing the “voice” that forces the listener to do what the speaker says. Valia’s predecessor, founder Mother LaQuela (Cathy Tyson), praised her followers for “pushing the boundaries of what it means to be human.” For new fans drawn into the film, “Prophecy” highlights an aspect of “Dune” lore that might get lost in the spectacle. In other words, this society has focused on enhancing the natural abilities of humans by removing computers. The Bene Gesserit may look like cosmic witches, but what they do is not magic, but just superhuman self-control.
The added context is compelling, but “Prophecy” doesn’t explain everything. The Varia sisterhood faces a sudden existential threat from Desmond Hart (Travis Fimmel), a soldier once stationed on the spice-harvesting planet that gives Dune its name. Possessing strange powers that he says were gained from surviving an encounter with one of the world’s mythical sandworms, Hart is hell-bent on doing something crazy and mysterious against the Bene Gesserit . By inserting himself into the court of the Emperor (Mark Strong), Hart quickly becomes a formidable enemy, neutralizing the influence Valia had cultivated by recruiting the Emperor’s daughter Ines (Sarah-Sophie Bussunina) into her cult. become Hart’s motives remain unclear, but the rivalry has given shape to the season.
The main “Dune” plot has many echoes throughout “Prophecy.” Just as Paul ingests the Water of Life, some acolytes at the Bene Gesserit training academy undergo the Agony, a ritual in which the Sisters drink poison to unlock the memories of their ancestors. Even if “Prophecy” reverses his perspective by aligning himself with his former family, the Harkonnen family already harbors a grudge against the Atreides family. It’s perplexing how little we see of the actual Dune in the Dune series, but several characters have the characteristic blue eyes of native Fremen and chronic Spice users.
Still, “Prophecy” has a unique feel to it. By focusing on the Bene Gesserit, the show explores factions and dissent within their ranks, such as a rival (Camilla Beeput) who opposes the Varia’s use of strategic breeding to produce selected individuals. can be drawn. And while the sisters aren’t witches, the teenage acolytes make their headquarters no different from a gender-segregated Hogwarts. The cast of “Prophecy” is diverse and not equally well-served. The subplot about a seemingly conventional rebellion against the emperor is vague and unrelated, and despite a long sex scene, it lacks excitement for would-be romances. Still, the show is a canvas wide enough to explore and develop competing points of view, and it’s a show full of brilliant professionals like Watson and Williams, who are committed to their authoritative, veil-piercing gaze. You can pass the platform to .
“Dune” has long had a reputation as an elusive epic for the most hardcore of genre enthusiasts. Where even legends like David Lynch had failed, Villeneuve miraculously succeeded, turning this story into a mass phenomenon with timeless and resonant themes of colonialism, environmentalism, and religious fervor. “Prophecy” is well placed to serve as a bridge to those intrigued by Tentpole, but not keen enough to delve deep into the Herbert family archives. While it won’t stimulate the senses, it can be the fuel that fuels renewed viewer interest.
The first episode of Dune: Prophecy will premiere on November 17th at 9pm ET on HBO and Max, with remaining episodes airing every Sunday.
