HBO Review: ‘Dune: Prophecy’ Goes Deeper into an Already Mystifying World

The universe of Dune is a vast one, not just in its conception but in the sheer number of iterations it has seen starting with Frank Herbert’s books and the ones written by others after his death and the multiple adaptations for the big and small screen. The franchise is currently enjoying its best-received versions yet with Denis Villeneuve’s first Dune taking home six Oscars and its follow-up Dune: Part Two expected to be similarly feted at this year’s upcoming ceremony. When there’s plenty of buzz and fanfare, it’s the perfect time to launch a prequel series that focuses on the past and unpacks much of the mythology of this complicated and mystical world.

Ten thousand years before the birth of Paul Atreides, the Harkonnen sisters, Valya (Emily Watson) and Tula (Olivia Williams), train a group of women to become the Bene Gesserit, unlocking incredible powers with their minds and steering the paths of those fighting for control over many worlds and peoples. They have the ear of the Emperor Javicco Corrino (Mark Strong), but their influence is threatened when one of his soldiers, Desmond Hart (Travis Fimmel), displays dangerous and destructive abilities that he plans to use to establish himself as a necessary ally in any quest for dominance.

It’s hard to watch this show and not be reminded of another recent HBO entry, House of the Dragon, itself a prequel to the beloved series Game of Thrones. Both pairs of shows come from well-regarded book series and the prequels turn the clock back to a point long before the ascent of an unparallelled ruler. In addition to Paul’s name in the opening title cards, other elements seen in the first two Dune films appear in brief visions and dream sequences, and familiar house names like Harkonnen and Atreides are in abundant supply. Dune: Prophecy is an origin story that shapes the way the world will be in the future but intentionally can never get there, instead foreshadowing many developments with fan-service tie-ins to hint at familiar characters.

This series leans into the magic of the Bene Gesserit and the question of whether they are indeed heroes or villains, as evidenced by multiple scenes within this show’s first few installments in which Valya uses the commanding Voice to instruct those who pose a risk to her livelihood to cut their own throats. Hart is certainly no angel either and is well aware of the effects of his powers, and there’s something deeply unsettling about the callousness and frequency with which innocents are sacrificed as pawns, not dissimilar from the world of Game of Thrones and House of the Dragon where each season, and even many individual episodes, deliver enormously high body counts and no character is safe.

This series is particularly dense in its plot construction, demanding much of its audience in terms of understanding and referencing its mythology with many characters and, appropriately, prophecies. Fortunately, it benefits from a very strong cast, making exceptional use of Watson and Williams as its leads (Jessica Barden’s turn as a young Valya is also quite compelling and formidable). Strong is dependably great, and Fimmel, previously seen in Raised by Wolves and Vikings, brings a magnetic vision of violent chaos to Hart. Like its cinematic siblings, this show boasts stunning visuals, crafting a sleek vision of a society that’s at once both futuristic and also rooted in the past. Devotees of the franchise should appreciate this show’s commitment to honoring its many, many layers, while first-time audiences might have more trouble accessing its specifics while still grasping its boldness, scope, and vision.

Series Rating: 7/10

Awards Buzz: Though Game of Thrones was an awards magnet, House of the Dragon didn’t do all that well in the main categories in its first season. Expect this one to compete in the technical races, but, despite two-time Oscar nominee Watson at its center, this isn’t likely to be an above-the-line awards contender.