Sisterhood reigns supreme in thrilling prequel series ‘Dune: Prophecy’

It’s 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 on their quest to secure a carefully created male heir by any means necessary. However, in HBO’s thrilling new prequel series Dune: Prophecy, it is revealed that the order’s authority wasn’t 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 of its bloody, sexy, and, at times, downright scary glory. The drama follows a pair Harkonnen sisters — Valya (Emily Watson) and Tula (Olivia Williams) — as they operate a school for gifted youngsters and attempt to prevent a long-prophesied reckoning that could very well destroy humankind… or, even worse, their decades-long plans. 

See, the Bene Gesserit intend to secure a sister on the throne by marrying off their soon-to-be-pupil Princess Ynez (Sarah-Sofie Boussnina), the daughter and future leader of ruling family House Corrino, to a young boy from House Richese. Everything is going off without a hitch until the arrival of Desmond Hart (Travis Fimmel), a battleworn soldier who has returned from multiple stints on Arrakis with unprecedented powers and a real ax to grind against the Bene Gesserit. As Desmond and Valya jockey for control over Emperor Javicco (Mark Strong), Tula and the remaining sisters must use their talents to learn more about the rapidly-approaching, somehow-sandworm-related doomsday.

Amid all this talk of planets and Harkonnens and heirs, it’s worth noting that viewers don’t technically need to have read any of the Herberts’ books or even seen Denis Villeneuve or David Lynch’s films in order to enjoy Prophecy. The series provides context of its epic world when necessary, but it has enough distance from the original Dune novels that it largely stands up as its own sci-fi fantasy series, with the Houses and the Bene Gesserit each serving as their own factions that are unafraid to slaughter, betray, and use clandestine political tactics in order to ensure their survival. However, knowledge of the Herberts’ epic world will certainly provide extra context for viewers, and make hologram sword practice scenes and spotting some of the older relatives of House Harkonnen, Corrino, and Atreides that much more thrilling. 

Despite having so many powers to establish, Prophecy quickly picks up steam through its nonlinear storytelling, which hurtles viewers back in time to witness Valya and Tula’s early days as children of the disgraced House Harkonnen one moment and then places them at the forefront of a harrowing spice agony 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 dropping the occasional bombshell. (Trust us: no one 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, with each revealing a unique aspect of their ever-changing bond. As Mother Superior Valya, Watson is bold and unflinching as she ruthlessly cuts through people to complete her goals, while Barden’s version uses her unbridled angst and resentment over her family’s dishonor to bring forth The Voice that will shape the Bene Gesserit for years to come. However, for all of Valya’s headstrong nature, it is satisfying to watch Watson’s face contort into a newfound emotion — fear — as the Emperor begins to side with Desmond and the fate of the Bene Gesserit suddenly stands on rocky ground.

On the other hand, Williams’ Reverend Mother Tula serves as the proverbial heart of the show — a thoughtful tutor 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 the approval of her sister. When Valya leaves her to hold down the fort, she leans on her sisters training, and experiments find out more about the reckoning before it can harm another one of their students.

However, by isolating the sisters on their individual quests, Prophecy can at times feel like watching two separate shows that are tied together solely by the Bene Gesserit name, with frequent cuts back-and-forth to catch up on their latest developments only further prolonging their time apart. While there is still time for them to reunite (only four episodes were available at time of review), splitting Valya and Tula apart for such a long period — and without contact — critically deprives the pair and viewers of their greatest power: sisterhood. They’re not the only ones left on the back burner: 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 space to grow thus far.

Instead, Prophecy is at its best when all of its morally gray band of characters are scheming together and against one another to achieve their goals. Bring on the spice-fueled romps to extort information, the ethically-questionable medical decisions, shocking murders, and romantic betrayals! Every character has their reasons for their allegiances too, allowing viewers to wrestle with deciding whose side they’re on in a world where there are no clear cut heroes or villains. Even Valya’s adversary Desmond Hart is a charmingly unapologetic wild card, with a crazed look in his eye and an emotional backstory that has left him suffering from both physical and mental scars (which, if not further explained in Prophecy, has the potential for a great 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 within the show. Several of its stunning scenes evoke the same moody, atmospheric visuals depicted in Dune and Dune Part Two, juxtaposing the warm, hazy hues on the Earth-toned planet Salusa Secundus with the stark, unforgiving mountainous region of Wallach IX, where the Bene Gesserit reside. A visual feast, each episode is filled with impressive visual effects that bring chittering thinking machines to life and gorgeous costuming that sees its powerful cast draped in black Bene Gesserit gowns, sand-blasted overcoats, and ruby red wedding dresses.

Only four of Prophecy‘s episodes were available at time of review, so it remains unclear if 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 for certain: Prophecy is a solid foray into the farther reaches of the Dune universe. Long may the Bene Gesserit reign. Grade: B+