30 years after the discovery of voice
116 years after the end of the great machine wars
10,148 years before the birth of Paul Atreides
Set 10,000 years before the events that will shape the first DUNE saga, this prequel series follows the treachery and political machinations that led to the dawn of the Bene Gesserit sisterhood. In the expanse of space, the classrooms of Wallach IX, and the throne room of the Imperium, Dune: Prophecy shifts the sands of Arrakis and the possession of its spice to create the legend of an order that will rule from the wombs and the whispers of women.
The series starts where sci-fi favorites like The Terminator, The Matrix, and even I, Robot end—in the aftermath of a war with sentient AI. This is the Butlerian Jihad, which led to the fall of the “thinking machines” and the rise of the mentats, the “human computers” who replaced them. This is the story told in the Great Schools of Dune Trilogy by Kevin J. Anderson and Brian Herbert, the son of Frank Herbert, the creator of this universe.
As it turns out, the feud between House Atreides and House Harkonnen is timeless. At the heart of the feud’s beginning are the Harkonnen sisters, Valya (Emily Watson/Jessica Barden) and Tula (Olivia Williams/Emma Canning), current and younger versions, portrayed with nuance by both sets. Their journey from disgraced nobles to leaders of a sect of warrior nuns is fueled by coldly calculated vengeance. Valya, in particular, emerges as a wielder of the power of the Voice and shapes the Bene Gesserit into the influential order we know from Herbert’s novels and Denis Villeneuve’s films (DUNE Parts: One & Two).
The Bene Gesserit’s origins and methods are explored in fascinating detail. Emerging from the chaos of the Butlerian Jihad, the sisterhood becomes a group of ‘sorceresses’ that form a powerful political and social force. Their methods, including genetic manipulation, political maneuvering, and the planting of myths through the Missionaria Protectiva, showcase the complex web of influence they weave across the galaxy. The series effectively captures the Bene Gesserit’s preternatural abilities, such as the Voice and prana-bindu control, adding to their mystique and power.
“Victory is celebrated in the light, but it is won in the darkness.”
Episode 1 “The Hidden Hand” is a sharply baited hook, especially for fans of the books or the franchise. It begins with a backstory sequence similar to a recap of previous episodes, before plunging us into Valya’s grudge against all the Atreides while introducing us to the founding Mother Superior, Raquella Berto-Anirul (Cathy Tyson). Here we learn about their extensive library of DNA and the development of a technique called “truth sense.” The Sisterhood plans to shape generations of future leaders by controlling their perception of the truth (as advisors and human lie detectors), and through genetics (utilizing carefully planned marriages and offspring). It seems too ambitious until you realize their goal started as noble—to do good—but also to protect women from the whims of men and war.
This episode has so much “got damn-ery” that you can’t help but sit up and lean in. Dune: Prophecy subverts our expectations, painting the Harkonnens not as the villains we’ve come to expect, but as multifaceted and ruled by a series of perceived injustices. But then again, the Harkonnens are Harkonnens and that’s never far from the screen. This complexity extends to every character—too many to name—but particularly with Desmond Hart, played by Travis Fimmel, who is draped in the promise of fuckery as he maneuvers to gain the trust of Emperor Javicco Corrino (Mark Strong).
However, the series struggles to hold the line of intrigue. The second episode, “Two Wolves” sacrifices momentum for exposition. The world-building, while necessary for such an intricate sci-fi universe, loses some of the initial spark. Dune: Prophecy also suffers from leaning too heavily on Game of Thrones-styling rather than relying on its source material. Yes, the enmity between the great families is central, but a Dune series should focus more on socio-political themes and science-fiction-based fantasy rather than on the epic fantasy tropes that feel like an offshoot of Tolkien. The pitfalls of imperialist reign, weaponized religious dogma, and megalomania are where this universe is at its juiciest.
In the four episodes I previewed, Episode 3 “Sisterhood Above All” and Episode 4 “Twice Born” don’t quite regain the allure of the first episode. However, as the series progresses, there are scenes and set-ups of shocking efficacy, making us believe the danger posed by the warring families outpaces the creatures of Arrakis and the possible return of the Thinking Machines. Treachery is another core theme in Frank Herbert’s work and Dune: Prophecy gets it right. From political betrayals to personal deceptions, the series explores how duplicity shapes power dynamics, reflecting the moral ambiguities inherent in the compulsion to rule.
Visually, the production design is lush, transporting us to worlds both familiar and futuristic. The costume design is equally impressive, with the Bene Gesserit’s attire evolving from practical to ornate, symbolizing the order’s journey from humble beginnings to galactic influencers. Another intriguing aspect of the series is the sound design. From mystical whispers to the strangely robotic noises in the sisters’ prophetic dreams. The SFX raise the question: Are the machines truly gone? This subtle hint at the lingering influence of AI adds a layer of tension to a world that supposedly is free from technological threats. Meanwhile, images of a sandworm‘s mouth doubling for the irises of eyes is a powerful motif, perhaps representing the connection between the true rulers of Arrakis and the root of the Sisterhood’s power.
The show grapples with other core themes of Herbert’s work: religion and prophecy, politics and power dynamics, ecology, fate x free will, social inequality, and gender roles. While it struggles for balance and pull, Dune: Prophecy isn’t without intrigue or the grip of sudden violence for galactic power. It is complex and contradictory, compelling and slow. The Sisterhood of Dune is indeed the fuel for Dune: Prophecy, but much of it lands on the machinations of the men and epic fantasy tropes similar to Game of Thrones. Let’s hope the last two episodes, like the spice, will flow.
the HBO Original Drama Series DUNE: PROPHECY Debuts November 17