Audiences engrossed in the barren desert wastelands of Arrakis have been eagerly anticipating the release of DUNE: PROPHECY (2024) on HBO, a series set 10,000 years before the rise of the infamous Lisan al-Gaib – Paul Atreides (Timothée Chalamet). Following the stratospheric success of director Denis Villeneuve’s (Blade Runner 2049) summer blockbuster Dune: Part Two (2024), comes Warner Bros’ attempt to capitalise upon box office success and promote Dune as the latest star-studded franchise. However, the series rapidly reveals a lack of understanding of what makes Dune so beloved, delivering a hollow and convoluted mess that bares more resemblance to David Lynch’s disastrous 1984 version.
Disappointingly, DUNE: PROPHECY boasts what should be a genuinely intriguing narrative, following two Harkonnen sisters combatting the emergence of a catastrophic threat to humankind and establishing the fabled Bene Gesserit in the process. However, despite the casting of the illustrous Emily Watson (The Dresser) and Olivia Williams (The Father) as said sisters, the series never gains an exciting momentum to grip audiences. If anything, it tarnishes the reputation of what has become a modern cinema sensation. Alongside this narrative run sub-plots of political turmoil and treason within House Corrino, of which become excruciatingly boring thanks to sluggish pacing, lack of character personality and being devoid of substance. Written with too many similarities, viewers will quickly tire of character’s repeatedly gruff mannerisms that cancel out any glimpses of intrigue, leaving on-screen conflict feeling flat and purposeless.
Bookworms familiar with Frank Herbert’s literary genius recognise him as the author of the Dune series, the auteur behind the rich mysterious lore of Arrakis and it’s Fremen people. Those same bookworms may also recognise his son, Brian Herbert, as having a less than stellar reputation amongst fans, with his work in the series following his father’s passing regarded as the weakest contributions to the Dune story. This is a perfect representation of DUNE: PROPHECY’s position when compared to the films, with the series being Brian Herbert. It’s like a competitive younger sibling who wants to be so alike his track-running older brother and thus challenges himself to be faster and stronger by having more gear, more fans and a more motivating backstory, but then forgets he can’t yet tie his own shoes.
DUNE: PROPHECY begins with a mass of unnecessary exposition, running before it can walk, never allowing audience members to soak in the environment and breathe. Viewers will find themselves early-on attempting to untangle a confusing puzzle of character motivations, narrative direction and an under-explained historical threat of ‘Talking Machines’. On top of this, the series struggles to identify with a specific corner of fantasy, juggling the environmental feel of Game of Thrones, Dune Part 1 & 2 and futuristic robotic-based sci-fi simultaneously. Feeling like a cheap knock-off of each, this results in a messy concoction that continuously fails in translating to audiences what they’re watching. This isn’t helped by the bizarre presence of out-of-place accents, such as scouse, instantly evaporating any immersion.
Inclusion of the House of Corrino, led by Mark Strong (Shazam!), is not an unwelcome creative decision, yet fails to contribute a meaningful impact on the overarching narrative by the fourth episode. Around episode three, audiences are more likely to resonate more with the obsessive and horrifying actions of the Harkonnen sisters, whose story is provided a necessary depth at the half-season mark, albeit in a fashion more akin to a generic medieval show than anything remotely Dune related. Motivations within this episode are confidently cemented into the story, an ambitious move given the context, choosing not to paint them as heroes but instead ratifying their undisputable wickedness – which provides DUNE: PROPHECY with a late but refreshing edge.
In fact, Emily Watson and Olivia Williams are the singular bright light of DUNE: PROPHECY. Whilst they too suffer from some poor writing, their chemistry and mysteriousness sparks an eerie essence akin to the manipulative methods of the Bene Gesserit. Thus, the foundation behind the exclusive sisterhood, and any internal conflict, is sure to perk up some interest amongst viewers – or at least those that stick around long enough to witness it. Their story interweaves with the many sub-plots well, and by episode four manages to bring most characters into a position where there is a loose connection to one another, teeing up a more promising final two episodes. On the opposite end of the spectrum is Mark Strong, whose vast talent is unfortunately wasted. Written to be nothing more than a growling and frustratingly indecisive Emperor that didn’t necessarily require an actor of such gravitas.
Strong visuals are integral to film and television, an aspect that is prevalent throughout Dune: Part One & Part Two, thanks to the sheer brilliance of cinematographer Greig Fraser (The Batman). They have been lauded for their beautiful combination of colours and dynamic action that encapsulate audiences worldwide. Fraser’s absence is sorely missed throughout DUNE: PROPHECY, with it being apparent there was little attempt to replicate the magic he brings to the silver-screen. Every single scene bares a persistently bland colour palette, as if there has been a deliberate effort to avoid the enchanting colours that feature in Villeneuve’s magnum opus. Admittedly, there are a handful of creative sequences certain to excite audiences and deliver a unique twang to the show, of which occur when the Bene Gesserit use the infamous water of life, or their truth saying abilities and invoke audiences with a much welcome uneasiness.
Overall, Dune: Prophecy is a magnificently dull disappointment full of conversation and not enough tangible conflict. The Dune obsessed will be disheartened to find the Villeneuve-esque charm completely missing, with no leading star able to fill the role of Chalamet’s Paul Atreides. PROPHECY ends up being nothing more than a cheap, quick capitalisation upon cinematic success that potentially prophesises a swift end for any other Dune related spinoffs.
DUNE: PROPHECY premieres on HBO on November 17
