Dune: Prophecy – A Return to the Sands of Arrakis

What I loved about Dune: Prophecy was its deep dive into the history of the Dune universe. Unlike Villeneuve’s Dune films, which adapt Herbert’s main saga, this series rewound the clock by 10,000 years to explore the origins of the Bene Gesserit. I was hooked from the first episode, watching the foundation of this mysterious order take shape.

The show did an incredible job portraying the war against thinking machines that redefined human civilization (the Butlerian Jihad). The world-building is spectacular, with every detail contributing to the sense that I was witnessing Dune’s history unfold. The politics, the philosophy, and the sheer scope of ambition in Dune: Prophecy were breathtaking.

As a Dune fan, I’ve seen every adaptation—David Lynch’s flawed but fascinating 1984 film, the Sci-Fi Channel miniseries, and of course, Villeneuve’s modern masterpieces. Dune: Prophecy carved out its own identity while paying homage to both Lynch’s eerie surrealism and Villeneuve’s stark, grandiose realism. It had that unsettling, esoteric tone that Lynch brought to his version, but it was grounded in the kind of immersive world-building that made Villeneuve’s adaptation so striking.

I especially appreciated how the series leaned into the strangeness of the Bene Gesserit. Their rituals, their secretive manipulations, their almost supernatural control over genetics and prophecy—it was all given the eerie, reverent treatment it deserved. Watching it, I often felt like I was peering behind the curtain into the inner workings of a hidden empire.

One of my favorite aspects of the show was how it deepened Dune’s already intricate mythology. Seeing the origins of the Bene Gesserit’s infamous Voice, their breeding programs, and their secret conflicts with the Spacing Guild and Great Houses made everything in the main Dune saga feel even richer. It was fascinating to watch the ideological battles that shaped the universe we already know.

I was especially drawn to how the series explored the aftermath of the Butlerian Jihad. The way the fear of AI shaped humanity’s trajectory was more compelling than I expected, and it added a whole new layer of depth to Dune’s existing themes of control, destiny, and the limits of human ambition.

Emily Watson was absolutely commanding as a high-ranking Bene Gesserit, exuding an air of wisdom and quiet menace. Olivia Williams brought the same level of intensity, making every scene they were (both) in a joy to watch.

Travis Fimmel surprised me in the best way possible—his rugged charisma and unpredictable energy made his character one of the most compelling in the series. And Jessica Barden? I loved how she shows her emotions in a world that often feels cold, calculating and predetermined. Like in The End of the F***ing World I could not take my eyes of her.

Like with Villeneuve’s recent movies, I was impressed by the way Dune: Prophecy looked. HBO clearly spared no expense in bringing this vision to life. The sprawling deserts of Arrakis, the imposing corridors of the Bene Gesserit strongholds, the breathtaking practical effects—it all felt so tangible and immersive.

The cinematography was a standout for me. Every shot was meticulously composed, whether it was an intimate character moment or a sweeping view of an alien landscape. The lighting, the costumes, the sound design—everything worked in harmony to create an experience that pulled me completely into the world of Dune.

For me, absolutely. Dune: Prophecy was everything I wanted and more. It expanded the Dune mythology in ways I didn’t expect, it delivered powerhouse performances, and it was visually stunning from start to finish.

Was it perfect? No series is. Some moments may have felt dense for casual viewers, and at times, the pacing could have been tighter. But for me, as a longtime Dune fan, Dune: Prophecy was an experience. It didn’t just tell a story—it transported me into a universe I’ve loved for years.

If this is the direction the Dune franchise continues to take, the future looks good to me indeed.