Brian Herbert, Kevin J. Anderson & Frank Herbert (Novel),
Alison Schapker, Diane Ademu-John (Creators)

CAST

Emily Watson
Olivia Williams
Travis Fimmel
Jodhi May
Sarah-Sofie Boussnina
Mark Strong

Review

The Dune universe expands yet again with Dune: Prophecy, a television adaptation that delves into the shadowy origins of the Bene Gesserit—a sisterhood pivotal to Frank Herbert‘s saga. Set 10,148 years before Paul Atreides’ rise, the pilot episode sets quite the gripping tone, immersing us in the early days of the intrigue, manipulation, and the meticulous shaping of humanity’s destiny that these “witches” seek.

I’ve, so far, only read the first book but I know that the series is inspired by Sisterhood of Dune, a novel in the trilogy Great Schools of Dune by Brian Herbert – son of Frank – and Kevin J. Anderson. It creates an interesting dynamic for the show regarding the source materials because they are set in the universe the father created but that the son expanded upon. I have a sense that not all OG fans are happy with that expansion. So when bold creative liberties are taken I’m won’t be quite sure if due to Brian and Kevin’s inputs or the showrunner’s. For now, to me, the show remains faithful to the thematic essence of Frank’s source material. At its core, it’s a tale of power, ambition, and sacrifice, a political drama set in space and centered on sisters Valya and Tula of house Harkonnen of all houses. From the outset, their goal is the anchor of the narrative as they strive to forge a path for their nascent order.

One of the pilot’s greatest strengths is its worldbuilding. The show takes full advantage of the expansive Dune mythos, crafting a universe that feels ancient and complex yet accessible to newcomers. If you’ve never read the books or seen any of the movies, this show seems like a good starting point. From the austere landscapes of Wallack IV – the Bene Gesserit home world – to the decadent interiors of imperial courts, the production design is both lavish and meticulous, evoking the grandeur of Denis Villeneuve’s cinematic vision while forging its own identity.

The intricate political and philosophical elements permeating Dune are front and center, though the pilot smartly focuses on the personal stakes of its characters. Valya’s journey to establish and secure the Bene Gesserit is fraught with difficult choices, hints of discord, and a looming danger setting up the central tension of the show.

The cast of Dune: Prophecy carries the weight of the story admirably. The lead performances are good, particularly from the actresses portraying young and older Valya (Watson), they seem like one, both capturing their characters’ boundless determination. Supporting characters add layers of complexity, like the power-hungry nobles already worming their way to grab more power from the emperor, or Desmond Hart’s (Fimmel) arrival in the court and his mysterious power. These dynamics breathe life into the show and hint at a web of possible alliances and rivalries that will define the series.

However, Dune: Prophecy seems to lean into a slower, more measured storytelling style with little action. This cerebral approach might be divisive, while Dune purists and fans of slow-burn dramas are likely to appreciate that measured pacing, viewers expecting immediate spectacle may find themselves yearning for a quicker narrative payoff.

The pilot episode of Dune: Prophecy establishes a strong foundation for the series, putting together compelling characters, rich worldbuilding, and careful storytelling. It might not immediately capture the casual viewer but the potential is there, the series could be a deeply rewarding journey for fans of Dune and complex, philosophical sci-fi stories.

If the remaining episodes can maintain and…upgrade this balance between character-driven drama and the sprawling epic scope that defines the Dune universe, Dune: Prophecy has the potential to become a worthy addition to Herbert’s legacy.

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