Dune: Prophecy, HBO's new prequel to the cinematic interpretations of Frank Herbert’s epic saga, premiered recently with high expectations trailing it. Following the success of Denis Villeneuve's Dune, this series claims its turf by delving thirty generations prior to the birth of Paul Atreides. Titled "The Hidden Hand," the opening episode juggles the monumental task of setting the stage for the complex political landscapes and character relationships of the Dune universe, all the way back at the era of the Sisterhood of the Bene Gesserit.
The show kicks off with voiceover narration, reminiscent of Villeneuve's style, but it opts for the perspective of Valya Harkonnen, portrayed by Emily Watson. Valya’s narrative reveals her origin story as one of the Sisterhood, which is charged with the controversial mission of genetic manipulation to shape future generations. Solving the puzzle of power dynamics within this sisterhood and their historical role is no small feat, especially for those who may not be familiar with the Dune lore.
From this narrative standpoint, the series struggles; it buries viewers underneath layers of exposition rather than inviting them to experience the story. Unlike the film, which allows the viewer to infer and engage with the world presented, "The Hidden Hand" feels laden with history and details, more like an academic lecture than cinematic storytelling. The show occasionally jumps through time with flashbacks, which can confuse the timeline but also aim to maintain intrigue.
Adding to the complexity is the show's ambition to draw comparisons to Game of Thrones and other rich high-fantasy narratives. Dune: Prophecy is eager to showcase palace intrigue, secretive plots, and treacheries, yet it often feels as if it is merely echoing established hit dramas rather than carving out its unique identity. This was especially evident when the story mentioned the stark realities of House Richese, which does come across as reminiscent of the political maneuverings found within Star Wars prequels, but lacking the depth fans have come to expect from the Dune franchise.s
There’s little doubt the series succeeds at providing lore, especially around the Sisterhood’s role, but the pacing and execution of the narrative could still use refining. An early scene features young Valya Harkonnen grappling with her family legacy and learning to channel her powers — ostensibly exciting moments meant to flesh out her character. But interviews with audiences reveal disappointment, as viewers feel detached from the stakes and the character dynamics.
Significantly, the cast carries the load well—Watson and Olivia Williams as Tula Harkonnen are captivating, often delivering commendable performances, multiplying interest amid the muddied script. Yet, the younger actresses portraying them sometimes fail to strike the same footing, arriving off as somewhat stiff under the weight of the dialogue they are assigned.
Meanwhile, the conflict escalates beyond the Sisterhood as we meet the preeminent royal character, Ynez Corrino, who is to marry young Prince Pruwet Richese. This union is proposed to bolster alliances within the Imperium, showcasing the delightful, albeit at times awkward, intricacies of pre-arranged marriages. It’s filled with tension, particularly considering the mysterious undertones of the politics at play and the threat posed by the enigmatic figure, Desmond Hart, played by Travis Fimmel.
Desmond's arrival serves as the crux of the episode's dark twist—he instigates turmoil by committing shocking acts against the young royal, shocking relationships and crumbling the tentative alliances established. This twist, much like its counterparts from the Dune films, brutally reminds viewers of the narrative's darker themes, echoing the suffering and sacrifice tied to power struggles.
Critics suggest the drama does possess many engaging elements, including character relationships and hints of future calamities within the sisterhood itself. Yet, the risk of being overshadowed by its more illustrious predecessor remains at the forefront. The execution desperately attempts to match the visual grandeur and expansive world-building of Villeneuve’s work but often falls short, leaving fans of the series eagerly awaiting any respite as they plunge through exposition-heavy dialogue.
HBO's gamble on Dune: Prophecy is commendable, as it attempts to expand upon the grand narrative woven through Herbert's universe. Yet, it has to now prove it can evolve past first impressions. Critics are divided, with some expressing skepticism around whether the series can truly rise above expectations stemming from such entrenched source material. Flashes of brilliance suggest the potential of engaging moments intertwined with the all-important politics behind the Sisterhood, but whether the show can avoid the snares of cliché plots and laborious exposition remains to be seen.
Overall, whether the series is more reminiscent of the ambitious foundations laid by its predecessors or offers something fresh and innovative remains uncertain. The premiere seems to offer ample groundwork for solid character arcs, but it also risks collapsing under the weight of too many expectations. With only six episodes to tell its tale, will it hold fast to improve or stagnate within its own ambitious set-up?
