Dune: Prophecy (TV Program)

The sisters have a terrifying vision. Desmond gives a terrifying display of his power and loyalty. Any connection?Season 1, Episode 4: ‘Twice Born’Two blue lights shine in the darkness, like the eyes of an insectoid machine. Guttural sounds, like speech in a language not yet invented, accompany them, but only for a second.Throughout “Dune: Prophecy,” this menacing pairing of sight and sound has recurred in dreams and visions. Are they the eyes of God, judging the Sisterhood, as Sister Emeline argues? Are they the eyes of the tyrannical force that Raquella, the Sisterhood’s first Mother Superior, warned about with her dying breaths? Are they the eyes of whatever entity gives Desmond Hart his “beautiful, terrible” power to burn people alive with his mind? Are all these things one and the same?I suspect we’ll get the answer eventually, but part of me thinks that’s a shame. Right now, the blue lights and the garbled grunts are the most Lynchian thing this franchise has served up since the director David Lynch himself was in charge of it 40 years ago. And as Lynch has demonstrated time and again, sometimes the mystery is its own reward.Not that the Sisterhood would agree. From Emeline on down, all of them — with the alleged exception of Sister Jen — experience simultaneous nightmares one night. They each begin differently, but they end in the same place: in the sands of Arrakis, standing before a sandworm’s maw, ready to fall in and meet that pitiless blue-eyed gaze. Mother Tula’s experiment with automatic drawing to uncover the meaning of the dreams almost ends in disaster when she completely loses control of the trance into which she places the acolytes, leaving them in the clutches of whatever force sent the dream in the first place.In a time of apocalypse, cults of personality spring up like fungus. So it is in the Sisterhood: Emeline revives the teachings of Valya’s rival, Mother Dorotea, whose death, we learn, was labeled a suicide by the Harkonnen sisters and their cronies. (In reality, Valya used the Voice to command Dorotea to kill herself.) In what appears to be a nightmare or a vision — though by the end of the episode, that distinction is slim indeed — Emeline confronts Tula with the truth, vowing to inform the Imperium; then Tula slits her throat. (This is the same fate Emeline met in her own nightmare, though in the dream it was she who wielded the blade against herself.)But the next thing Tula knows, she is sitting placidly by the side of Sister Lila’s stasis chamber once again, where Emeline found and confronted her. There’s no evidence Emeline has been there. But Lila is gone, broken free of her chamber; she emerges from the shadows, her eyes bright blue from overexposure to the psychoactive spice. Are those the eyes everyone is so afraid of?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

“Sisterhood above all” is the motto of Valya and Tula’s secretive organization, but its meaning seems to depend on which sister is saying it.Season 1, Episode 4: ‘Sisterhood Above All’They share a last name and a mission, but Valya and Tula Harkonnen are two very different women. At least that’s what “Dune: Prophecy” primed us to believe until this week’s episode.Tula, played by Olivia Williams as an adult and Emma Canning as a young woman, is the sensitive one, the sister who goes along to get along. Her older sister, Valya (Emily Watson all grown up, Jessica Barden in flashbacks), is the one who rages against House Atreides for slandering her great-grandfather as a traitor. She is equally angry with her own family, especially her mother, Sonya (Polly Walker), and her uncle, Evgeny (Mark Addy), for meekly accepting their fate of exile on Lankiveil, a frozen wasteland of a planet. Sonya warns Tula and her brother, an aspiring politician named Griffin (Earl Cave), to stay away from their sister, a “wolf” who will devour them both with her ambition.But both siblings are fond of Valya. Why wouldn’t they be? For one thing, the three of them seem to be the only members of the family willing to show one another consistent affection. For another, Valya saved Griffin from drowning by using the Voice on him, forcing his muscles to swim through icy water to the surface.So when Griffin is murdered, allegedly by an Atreides, after Valya encourages him to get involved in Imperial politics, her thirst for vengeance consumes Tula as well. The younger sister poses as the lover of a young Atreides, then massacres him and the entire male side of his family the night before a big traditional hunt. She spares only a disabled young teenager named Albert (Archie Barnes, whom you may remember as the bold young Lord Oscar Tully from “House of the Dragon’), to whom she had been friendly the day before.Thus, House Harkonnen has its vengeance — not that Tula and Valya’s older relatives are anything but aghast. It’s not only the murders they object to; it’s also the involvement of Tula, of whom they clearly have a higher opinion than they do of Valya.But the Harkonnen sisters weren’t out to curry their family’s favor with this mission; Valya, at least, was more interested in scoring points with the Sisterhood’s mother superior, Raquella, who had encouraged her to go home and take care of family business so that she could fully commit to the order. Her disgraced surname hangs around her neck like a millstone — Raquella’s granddaughter and apparent successor, Dorotea, hates Valya for being a Harkonnen as much as for anything else. You can almost feel Valya’s defiance as she makes her move via Tula: Fine, Dorotea. I’ll give you something to hate me for.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Valya has shown that she is clearly willing to sacrifice whatever, and whomever, it takes to accomplish her goal. Season 1, Episode 2: ‘Two Wolves’Desmond Hart is an anomaly. He is alive after a sandworm attack that should have left him in the belly of the beast. He knows of the Sisterhood’s secret plan to play puppet master with the universe’s rulers as their marionettes. He can burn people to death using only his mind, apparently from light years away. He can resist the Voice, with which Mother Superior Valya Harkonnen has subdued even other powerful members of her own Sisterhood.He has no compunction about consigning a child to an agonizing death, or about torturing that child’s father for displaying insolence toward the emperor he serves. He’s a scary dude.He also has a point.There’s no question where “Dune: Prophecy” wants your sympathies to lie regarding this guy; burning a little boy to death won’t win you many fans. However, in its second episode, the show reveals that Mother Valya is playing a game in which, up until recently, she was the only real player on the field. By installing her Truthsayers throughout the Imperium, she has managed to manipulate not only the emperor and his aristocratic frenemy, Duke Richese, but also the rebel forces responsible for taking down spice harvesters on Arrakis and infiltrating the imperial palace. When the rebel cell has outgrown its usefulness, she has no problem ordering its exposure and destruction. It’s all for the greater good, after all.The same is true of the orders she gives back at the Sisterhood’s home base. To her sister Tula’s dismay, Valya orders that Tula’s star pupil, Lila (Chloe Lea), undergo “the Agony.” This portentously named process, a version of which is undergone by Paul Atreides and his mother, Lady Jessica, in the “Dune” films, involves ingesting a poison with no antidote. With proper command of the body on a cellular level, an acolyte can break the poison down, unlocking her “genetic memory” — the collected knowledge and wisdom of all her maternal forebears — and becoming a Reverend Mother in the process.Why Lila? A powerful empath, she is secretly the great-great-granddaughter of Mother Raquella, the Sisterhood’s founder and the first woman to (involuntarily) undergo this process. If Lila is able to contact Raquella within her own mind, Valya believes that they can learn more about their founder’s prophecy concerning “the Reckoning” and “the Burning Truth.”But training for the Agony usually takes many years, and this is a rush job, precipitated by the coming of Desmond Hart and the monkey wrench he has thrown into the Sisterhood’s plans.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

The first installment of HBO’s “Dune” prequel series suggests there is a “burning truth” very few are capable of seeing. It may be too hot to handle.Season 1, Episode 1: ‘The Hidden Hand’“Humanity’s greatest weapon is the lie,” says Reverend Mother Tula Harkonnen of the Sisterhood (Olivia Williams). “Human beings rely on lies to survive. We lie to our enemies, we lie to our friends, we lie to ourselves. Lying is among the most sophisticated tasks a brain can perform.”The acolytes under Tula’s tutelage in this first episode of “Dune: Prophecy,” the new prequel series developed by Diane Ademu-John and Alison Schapker, are learning to lie more effectively in order to better control the people they supposedly serve. As recipes for political success go, it’s hard to argue with the results.As related in a lengthy flashback at the beginning of Episode 1, the Sisterhood’s story begins over 10,000 years before the birth of the messianic Paul Atreides, the antihero of the “Dune” films, played by Timothée Chalamet. Humans have won a hard-fought victory in a universe-wide war against the “thinking machines” they built, overthrowing their robotic would-be masters. Known in the source novels as the Butlerian Jihad, this successful struggle against artificial intelligence birthed heroes and villains among its human participants. (The source novel for the movies, “Dune,” was written by Frank Herbert; this series is based on both “Dune” and “Sisterhood of Dune,” a prequel novel by Herbert’s son Brian and Kevin J. Anderson.)Here, as we learn in a voice-over by Emily Watson, is where the great rivalry between House Atreides and House Harkonnen, the warring families at the heart of the “Dune” saga, began. According to the commonly accepted history, an Atreides led the fight while a Harkonnen slunk away from it. That act of cowardice led the triumphant emperor to banish the Harkonnens to a remote and desolate world.But not all the Harkonnens — notably Tula and her fierce older sister, Valya (Watson) — accepted that version of history, or exile. As the exposition continues, we watch Tula and Valya (played as young women by Emma Canning and Jessica Barden) leave home to join an organization of women founded by the legendary war hero Raquella Berto-Anirul (Cathy Tyson). The group is called simply the Sisterhood — known later as the Bene Gesserit, a name familiar to fans of the “Dune” books and movies. Through intense mental and physical training, Raquella and her acolytes hope to harness powers that will enable them to guide the rulers of the various great houses.At this early stage, the Sisterhood’s primary power is “truthsaying,” an inerrant ability to detect lies that makes them invaluable to any emperor or aristocrat who can convince the increasingly powerful organization to send such a human polygraph their way.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More