As a seasoned gamer with over two decades of binging TV series under my belt, I must say that “Dune: Prophecy” is like a high-stakes game of chess played at breakneck speed – it’s thrilling, but leaves you wondering if it might have been more satisfying with a few extra moves.
In the opening episode of the HBO series “Dune: Prophecy,” titled “The Hidden Hand,” the storyline unfolds swiftly and intensely. With such a brief first season, comprising just six episodes, it’s natural to wonder if the show would benefit from being lengthened into a typical 10-22 episode run or if it might work better as a lengthy film. “Dune: Prophecy” clearly falls into the former category, as its fast-paced narrative thrives on having more room to develop and expand.
The first 13 minutes of the pilot deliver a nonstop barrage of exposition about the great machine wars (what the “Dune” novels called the “Butlerian Jihad”), the Harkonnen family’s disgrace, the rise of the Sisterhood (the group that became the Bene Gesserit), the ambitions of young Valya Harkonnen (Jessica Barden) within the Sisterhood, political schisms, a few deaths, and a frightening use of Voice. In a longer season, the content of this cold opening could have sustained a full episode, and having more time for character development would have made it feel less like a “previously on” catch-up.
The fast-paced opening scene might cause the rest of the pilot to seem overcrowded initially. However, upon rewatching it after viewing the subsequent three episodes, it doesn’t appear as overwhelming. Although it effectively establishes numerous characters and conflicts, certain aspects, such as the training scenes for the Sisterhood in truthseeking, feel abridged and could benefit from additional time. Episodes 2 through 4 are more accessible, with the third episode, “Sisterhood Above All,” providing a stronger emotional foundation for the main characters’ histories compared to the initial deluge of information. Nevertheless, one might wonder how much detail viewers can absorb in such a short six-episode season, considering the intricacy of the presented drama.
An unusual sort of adaptation
Title “Dune: Prophecy,” created by Diane Ademu-John and Alison Schapker, has been recognized as an adaptation of the 2012 novel “Sisterhood of Dune” written by Brian Herbert and Kevin J. Anderson. “Sisterhood” is a prequel, set thousands of years before the original Frank Herbert’s “Dune” series, which is now being brought to life on the big screen by Denis Villeneuve. This makes it the fourth prequel novel in chronological order, meaning its source material is primarily intended for dedicated fans who are already deeply invested in the franchise.
Maybe the rapid pace of this TV adaptation is because it isn’t strictly an adaptation of the “Sisterhood” novel, but rather a sequel with additional original content. The scenes depicting Valya and her sister Tula in their younger years seem to be based on the book, while the parts showing older Valya (Emily Watson) as Mother Superior and older Tula (Olivia Williams) as Reverend Mother are exclusive to this series. I ponder if the power of the third episode stems from having more established source material to lean on, and if the series might have been even stronger if the flashbacks were presented in the first episode instead.
Prophecy is aiming to be like Game of Thrones in space. It focuses on political intrigue and powerful figures working behind the scenes, with sandworms and artificial intelligence adding an extra layer of unpredictability instead of dragons and White Walkers. If you take a drink every time someone mentions “Great Houses,” you’ll likely pass out every Sunday night. The visual style is reminiscent of Game of Thrones, with the Harkonnens’ icy planet resembling Winterfell or the Night’s Watch, but with fewer direwolves and more giant, furry whales. However, the characters in Dune: Prophecy aren’t as captivating as Tyrion, Arya, Daenerys, and others just yet, though Valya comes close, and the cast is filled with talented actors overall.
Creepy cliffhangers keep things intriguing
Despite some problems with pacing, “Dune: Prophecy” maintains enough suspense to keep viewers engaged and eager for more. Each episode concludes in such a way that leaves you yearning to see what happens next, thanks to its use of cliffhangers featuring intense violence, unexpected plot developments, and chilling horror scenes. The series ventures into the eerier, more supernatural aspects of the “Dune” universe that were less explored in the first two films. For example, it shows how characters communicate with the deceased or how their collective nightmares intersect in a dark shared space, which adds a genuine sense of fear to the quote “Fear is the mind-killer.
In the complex world of the series, Desmond Hart (portrayed by Travis Fimmel) stands out as the character most clearly embodying villainy amidst moral ambiguities. His unique brand of violence aligns seamlessly with the show’s darker tendencies towards horror. It remains to be seen if audiences will delve deeper into Desmond’s staunch opposition to artificial intelligence, a controversial topic that mirrors real-world debates and echoes Frank Herbert’s vision from 60 years ago. As we move forward to the next two episodes, it will be intriguing to observe any insights or messages the series may offer on this timely theme.
The last two episodes will significantly influence whether “Dune: Prophecy” is considered a hit or a miss. As we approach the end of the season, it’s generally good – yet not particularly outstanding. It has enough potential to become something remarkable, but this can only happen if it’s given more time to develop fully.
“Dune: Prophecy” premieres on HBO and Max on November 17 at 9 p.m. EST.
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2024-11-11 17:30