Sisterhood reigns supreme in the prequel series

It is impossible to read Frank Herbert’s Dune novels or watch any of their film adaptations and not feel both enchanted and terrified by the Bene Gesserit. The mysterious, superpowered sisterhood is an ever-present, ominous force that looms large over the Imperium in both installments, quietly manipulating the galaxy from its darkest shadows in their quest to secure a carefully crafted male heir by any means necessary. However, in HBO’s exciting new prequel series Dune: Prophecyit is revealed that the order’s authority was not always so assured.

Set 10,000 years before Herbert’s original sci-fi novels, Prophecy is based on his son Brian Herbert and Kevin J. Anderson’s 2012 prequel Sisterhood of Dune, and tells the origin story of the Bene Gesserit in all its bloody, sexy and at times downright terrifying glory. The drama follows a pair of Harkonnen sisters – Valya (Emily Watson) and Tula (Olivia Williams) – as they run a school for gifted youngsters and try to prevent a long-forecast reckoning that could very well destroy humanity… or worse, their decades-long plans.

See, the Bene Gesserit intend to secure a sister on the throne by marrying off their soon-to-be apprentice Princess Ynez (Sarah-Sofie Boussnina), the daughter and future head of the ruling family House Corrino, to a young lad from House Richese . Everything goes smoothly until the arrival of Desmond Hart (Travis Fimmel), a battle-worn soldier who has returned from several stints on Arrakis with unprecedented powers and a real ax to grind against the Bene Gesserit. As Desmond and Valya jockey for control of Emperor Javicco (Mark Strong), Tula and the remaining sisters must use their talents to learn more about the fast-approaching, somehow-sandworm-related doomsday.

Amidst all this talk of planets and the Harkonnens and Heirs, it’s worth noting that viewers don’t technically speaking must have read any of Herberts books or even seen Denis Villeneuve or David Lynch’s movies to enjoy Prophecy. The series provides the context of its epic world when needed, but it has sufficient distance from the original Dune novels that it pretty much stands up as its own sci-fi fantasy series, with the Houses and Bene Gesserit each serving as their own factions, unafraid to slaughter, betray and use secret political tactics to ensure their survival. However, knowledge of Herbert’s epic world will certainly provide extra context for viewers and make hologram sword practice scenes and mocking some of the older relatives of House Harkonnen, Corrino and Atreides that much more exciting.

Despite having so many powers to establish, Prophecy quickly picks up steam through its non-linear storytelling, which rushes viewers back in time to witness Valya and Tula’s early days as children of the disgraced House Harkonnen one moment, then places them at the helm of a harrowing spice torture ritual the next . Showrunner, writer, and executive producer Alison Schapker keeps each of the hour-long episodes moving at a controlled, methodical pace, exploring the meaning of sisterhood—both as members of the Bene Gesserit and the bond between Valya and Tula—while providing just enough clues to its mystery and the occasional bomb. (Trust us: no in Prophecy is safe.)

The series is anchored by masterful performances from its central sisters. The pair are brought to life as both the leaders of the Bene Gesserit, played by Watson and Williams, and in flashbacks as younger siblings by Jessica Barden and Emma Canning, each revealing a unique aspect of their ever-changing bond. As Mother Superior Valya, Watson is brave and steadfast as she ruthlessly cuts through people to complete her goals, while the Bard’s version uses her unbridled anxiety and anger at her family’s dishonor to produce The Voice that will shape the Bene Gesserit for years to come . But for all Valya’s headstrong nature, it’s satisfying to see Watson’s face contort into a newfound emotion – fear – as the Emperor begins to side with Desmond, and the fate of the Bene Gesserit is suddenly on the rocks.

On the other hand, Williams’ venerable mother Tula serves as the show’s proverbial heart — a thoughtful educator with a soft spot for a young acolyte named Lila (Chloe Lea), whom she raised. While she may come across as the “kinder” sibling, both Williams and Canning prove that Tula is no pushover either, and will do anything to protect her family and win her sister’s approval. When Valya leaves her to hold down the fort, she leans on her sisters’ training and experiments to find out more about the account before it can harm another of their students.

But by isolating the sisters on their individual quests, Prophecy can at times feel like two separate shows tied together solely by the Bene Gesserit name, with frequent cuts back and forth to catch up on their latest developments, which only further extends their time apart. While there’s still time for them to reunite (only four episodes were available at the time of review), separating Valya and Tula for such a long period of time—and without contact—critically robs the couple and viewers of their greatest power: sisterhood. They’re not the only ones left behind: a collection of characters – like Princess Ynez, her brother Constantine (Josh Heuston) and the newest class of Bene Gesserit sisters like Emmeline (Aoife Hinds) and Theodosia (Jade Anouka) are largely underutilized throughout the series, with little room to grow so far.

Instead, Prophecy is best when all its morally gray bands of characters are schematic together and against each other to achieve their goals. Embrace the spice-filled romps of information extortion, ethically questionable medical decisions, shocking murders and romantic betrayals! Each character also has their reasons for their allegiances, allowing viewers to struggle with deciding whose side they’re on in a world where there are no clear heroes or villains. Even Valya’s adversary Desmond Hart is a charmingly unapologetic wild card with a crazed look in his eyes and an emotional backstory that has left him suffering from both physical and mental scars (which, if not further explained in Prophecyhas potential for a major spinoff).

While Villeneuve was not involved in the making of prophecy, his and Dune co-writer Jon Spaihts’ (the latter of whom serves as an executive producer) influence is still deeply felt in the show. Several of its fantastical scenes evoke the same moody, atmospheric images depicted in Dune and Dune part 2, juxtaposing the warm, hazy hues of the earth-colored planet Salusa Secundus with the stark, unforgiving mountain region of Wallach IX where the Bene Gesserit live. A visual feast, each episode is filled with impressive visual effects that bring to life sparkling thinking machines and beautiful costumes that see its powerful cast draped in black Bene Gesserit gowns, sandblasted overcoats and ruby ​​red wedding gowns.

Only four of Prophecy‘s episodes were available at the time of review, so it remains unclear whether the series will be able to stick the landing and deliver a rewarding conclusion to its many mysteries. But regardless of who makes it out alive, one thing is certain: Prophecy is a solid entry into the farthest ranks of Dune universe. Long may the Bene Gesserit rule. Grade: B+