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

Set 10,000 years before Herbert’s original science fiction 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 sometimes downright scary glory. The drama follows the two Harkonnen sisters – Valya (Emily Watson) and Tula (Olivia Williams) – as they run a school for gifted youth and try to prevent a long-prophesied reckoning that could very well destroy humanity… or worse, their decades-long plans.

See, the Bene Gesserit plans to put a sister on the throne by marrying off their future student Princess Ynez (Sarah-Sofie Boussnina), the daughter and future leader of the ruling House Corrino family, to a young House boy. Rich. Everything goes smoothly until the arrival of Desmond Hart (Travis Fimmel), a battle-worn 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 battle 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 Judgment Day.

Amid all this talk of planets, Harkonnens, and heirs, it’s worth noting that viewers don’t. technical You must have read one of Herberts’ books or even seen the films of Denis Villeneuve or David Lynch to enjoy it Prophecy. The series provides context of the epic world where necessary, but has sufficient distance from the original Dune novels that it largely emerges as its own science fiction fantasy series, with the Houses and the Bene Gesserit each serving as their own factions unafraid to slaughter, betray, and use clandestine political tactics to ensure their survival. However, knowledge of the Herberts’ epic world will certainly provide viewers with additional context and make the hologram sword practice scenes and spotting of some of the older relatives of House Harkonnen, Corrino, and Atreides much more exciting.

Despite having so many powers to establish, Prophecy quickly gains steam with its non-linear storytelling, which hurtles viewers back in time to witness Valya and Tula’s early days as children of the disgraced House Harkonnen, and the next moment places them at the forefront of a harrowing herbal pain ritual . Showrunner, writer and executive producer Alison Schapker ensures that each of the hour-long episodes moves at a controlled, methodical pace, exploring the meaning of sisterhood – both as members of the Bene Gesserit and the bond between Valya and Tula – as they just enough offering clues to its mystery, and occasionally dropping a bombshell. (Trust us: no one inside Prophecy is safe.)

The series is anchored by masterful performances from the central sisters. The pair are brought to life as 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 fearless as she ruthlessly cuts through people to achieve her goals, while Barden’s version uses her unbridled fear and resentment over her family’s disgrace to bring forth The Voice who brings the Bene Gesserit will form in the coming years. Despite Valya’s strong-willed nature, however, it’s satisfying to watch Watson’s face contort into a renewed emotion – fear – as the Emperor begins to side with Desmond and the fate of the Bene Gesserit is suddenly on rocky ground.

On the other hand, Williams’ Reverend Mother Tula serves as the proverbial heart of the show: an attentive teacher with a soft spot for a young acolyte named Lila (Chloe Lea), whom she raised. While she may come across as the “friendlier” 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 sister’s training, and experiments learn more about the Reckoning before it can harm another of their students.

However, by isolating the sisters during their individual quests, Prophecy can sometimes feel like you’re watching two separate shows linked solely by the name Bene Gesserit, with frequent cuts back and forth to catch up on their latest developments, only furthering their time apart is extended. While there is still time for them to reunite (at the time of the review, only four episodes were available), splitting Valya and Tula for such a long period of time – and without contact – deprives the couple and viewers of critical way of their greatest strength: sisterhood. They’re not the only ones 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 room to grow thus far.

Instead of, Prophecy is at its best when all its morally gray characters are scheming together And in return for each other to achieve their goals. Bring on the spice-filled romp to extort information, the ethically questionable medical decisions, shocking murders and romantic betrayals! Each character also has their reasons for their loyalty, allowing viewers to struggle with deciding which side they are on in a world where there are no clear heroes or villains. Even Valya’s opponent Desmond Hart is a charmingly unapologetic wildcard, with a crazy look in his eye and an emotional backstory that has left him with both physical and mental scars (which, if not further explained in Prophecyhas the potential for a great spin-off).

While Villeneuve was not involved in the making of Prophecy, are and Dune The influence of co-writer Jon Spaihts (the latter of whom serves as executive producer) is still deeply felt in the show. Several of the stunning scenes evoke the same moody, atmospheric images as in Dune And Dune part two, combining the warm, hazy tones of the earth-colored planet Salusa Secundus with the stark, unforgiving mountainous region of Wallach IX, home to the Bene Gesserit. Each episode is a visual feast, filled with impressive visual effects that bring crackling thinking machines to life and beautiful costumes with the powerful cast dressed in black Bene Gesserit gowns, sandblasted overcoats and ruby ​​red wedding dresses.

Only four of them ProphecyThe series’ episodes were available at the time of the review, so it remains unclear whether the series can 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 foray into the further reaches of the Dune universe. Long may the Bene Gesserit reign. Grade: B+