HBO Prequel Series ‘Dune: Prophecy’ Capably Tailors the Epic Franchise to Television: TV Review

As a longtime admirer of the intricate tapestry that is the “Dune” universe, I must say that with “Dune: Prophecy,” the franchise has truly come full circle – from the big screen to the small one. While it may lack the grandeur and spectacle of Denis Villeneuve’s masterful vision, this prequel series does justice to the rich political intrigue and ethical debates that have always been at the heart of Frank Herbert’s saga.

Currently, there’s no official confirmation for the third movie in Denis Villeneuve’s “Dune” series. However, behind the scenes, production company Warner Bros. Discovery and producer Legendary Television are already transforming the films’ collective box office earnings of over a billion dollars into a multi-platform franchise. Interestingly, TV spinoffs were already being developed before “Dune: Part One” hit theaters. This week, the prequel series “Dune: Prophecy” debuts on HBO, joining “The Penguin” in transforming HBO from a prestigious outlet into a reliable source of blockbuster intellectual properties. With a tighter budget and shorter timeframe, “Prophecy” may not match Villeneuve’s visual mastery. However, at its peak, the series effectively portrays the complex political dynamics and ethical dilemmas that are fundamental to Frank Herbert’s fictional universe.

In a time more than 10,000 years prior to the birth of the influential figure known as Paul Atreides, the story “Prophecy” focuses on the early developments of the enigmatic Bene Gesserit sisterhood, whose genetic manipulation would eventually give rise to Paul. This narrative is inspired by “Sisterhood of Dune,” a 2012 novel co-authored by Brian Herbert, son of Frank Herbert. The story unfolds just a couple generations after the Butlerian Jihad, a significant conflict that put an end to the utilization of artificial intelligence, although it, like Villeneuve, avoids the specific terms used by the Herberts, referring instead to this war as simply “conflict.” Valya Harkonnen, portrayed by Emily Watson as an adult and Jessica Barden as a teenager, is the second Reverend Mother of the order, and her attempts to safeguard its future impart the same lessons about the dangers of social engineering as Paul’s eventual ascension.

Translating a movie franchise into a TV series inevitably involves certain compromises, much like transforming a book into a movie. For instance, Marvel has experienced some brand dilution due to increased production, while Star Wars has adapted to a new format since its last major theatrical release. In the four episodes shown out of six for “Prophecy”, it skillfully navigates these pros and cons.

Accompanied by her sister, Tula (portrayed by Olivia Williams in the modern era and Emma Canning in the past), the powerful Valya heads a Bene Gesserit group that, though still on the rise, bears striking similarities to the organization as it will be centuries later. The black attire, unique sign language, and skill of “truthsaying” – essentially lie detection among humans – are all established; Valya is said to have created the Voice, a technique that forces listeners to obey the speaker’s commands. Valya’s predecessor, Mother Raquella (played by Cathy Tyson), applauds her followers for expanding the definition of what it means to be human. For new viewers attracted by the films, “Prophecy” highlights a facet of “Dune” lore that might get overlooked amidst the grandeur: this society has prioritized honing natural abilities over relying on computers. Although the Bene Gesserit may appear as space witches, their abilities aren’t magic – they are simply exceptional self-discipline.

Though the added context is compelling, “Prophecy” isn’t all exposition. Valya’s 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 he says come from surviving an encounter with one of the world’s mythic sandworms, Hart is rabidly and mysteriously dead-set against the Bene Gesserit. By insinuating himself into the court of the Emperor (Mark Strong), Hart quickly becomes a formidable adversary, neutralizing the influence Valya had cultivated by grooming the Emperor’s daughter Ynez (Sarah-Sofie Boussnina) to join her order. Though Hart’s motivations remain obscure, the rivalry gives the season its shape.

In “Prophecy,” certain events mirror those from the storyline of “Dune.” Just as Paul consumes the Water of Life, some trainees at the Bene Gesserit academy experience The Agony, a ritual involving a sister drinking poison to access her ancestral memories. The Harkonnens carry a longstanding enmity towards the Atreides family, even though “Prophecy” shifts our allegiance towards them. Despite the series being titled “Dune,” we see very little of the actual planet in it. However, several characters possess the distinctive blue eyes characteristic of native Fremen and frequent spice users.

In ‘Prophecy’, the unique atmosphere is maintained by delving into the Bene Gesserit faction, showcasing internal conflicts and disagreements, such as Camilla Beeput’s opposition to Valya’s approach of strategic breeding to create a selected one. Although the sisters are not witches, their headquarters resemble a female-only Hogwarts in some ways. The diverse cast of ‘Prophecy’ isn’t evenly distributed; a plotline involving a rebellion against the Emperor is unclear and unnecessary, and despite numerous sex scenes, the potential romances lack passion. However, the show offers ample room for exploration and character development, allowing complex viewpoints to emerge – including prominent figures like Watson and Williams, who bring intensity and depth to every demanding, penetrating gaze.

The novel ‘Dune’ has been known as a nearly impossible epic for dedicated genre fans. However, Villeneuve managed where even a renowned figure like David Lynch couldn’t, transforming the story into a universal sensation with enduring themes such as colonialism, environmentalism, and fanatic religious belief. ‘Prophecy’, on the other hand, seems primed to serve as an entry point for those intrigued by the main concepts but not yet ready to fully immerse themselves in the Herbert saga. Although it may not be a sensory extravaganza, it could ignite renewed curiosity among viewers.

The initial installment of “Dune: Prophecy” is set to debut on both HBO and Max at 9 p.m. Eastern Time on November 17th. Subsequent episodes will be released weekly every Sunday.

2024-11-17 19:18

HBO Prequel Series ‘Dune: Prophecy’ Capably Tailors the Epic Franchise to Television: TV Review

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