10/25
Two Harkonnen sisters battle forces that threaten the future of humanity and found a legendary sect that would become known as the Bene Gesserit. Whether they’re exploring the stars, escaping a dystopia, or making the world a better place, these women are science fiction. This series draws on material from Brian Herbert and Kevin J. Anderson’s Great Schools of Dune trilogy. This prequel to the original Dune tells the story of how Rosak’s sister became a Bene Gesserit. The incident in which Valya Harkonnen used her voice comes from one of them, titled “Mentats of Dune.” All three books are about the development of the sisters, Mentats, Navigators, and Brush Doctors. Mentioned in AniMat’s Crazy Cartoon Cast: The New Normal (2020). Let’s be clear right away: the reaction to the perceived “DEI politics” in this series is not only tiresome, but also fundamentally flawed. Anyone familiar with Frank Herbert’s Dune universe knows that women, and especially sisters, have always been at the center of the stories. This isn’t some modern “remake” designed to appease audiences—it’s written into the story’s very DNA. Complaining about women in power is like criticizing sand for showing up in the desert. If it somehow makes you uncomfortable, it’s worth considering why. With that in mind, let’s focus on what’s important: the show itself. Visually, it’s stunning. The art direction pays homage to the bold aesthetic established in Denis Villeneuve’s films, creating a seamless visual connection to the larger Dune universe. The phone feels ambitious yet intimate, balancing grand, expansive shots with more personal, intimate moments. Sure, the CGI sometimes shows its budget limitations, but the overall design is so sharp and thoughtful that it doesn’t really matter. It’s not perfect, but it’s close enough to feel immersive. The writing, while not as philosophically dense as the main Dune saga, respects the intelligence of the audience. It doesn’t oversimplify or dilute the complexity of Herbert’s world to satisfy the expectations of newcomers. Instead, it engages with the power dynamics and political intrigue that make Sisterhood so compelling. It’s an intellectual, slow-paced story that rewards your attention without ever feeling overly complacent. The final 20 minutes of the first episode, in particular, provide a level of suspense and closure that captures the spirit of Dune at its best—multi-layered, suspenseful, and quietly monumental. What sets this series apart is how it uses the Sisterhood to explore another dimension of the vast Dune universe. The political machinations are more front and center here, offering a fresh perspective on the undercurrents of power that often drive the larger narrative. It has early Game of Thrones undertones, but it has a distinctly Dune sensibility: less off-kilter, more thoughtful, and deeply engaged with the philosophical questions that define Herbert’s work. The cast is a compelling mix of seasoned performers and rising stars, with several standout performances that suggest even greater things are to come. As for the adaptation itself, it’s clear that the creators took great care not to compromise the integrity of Herbert’s vision. This isn’t a watered-down reimagining—it’s an honest, ambitious continuation of the world he created. Yes, newcomers may find the dense story and dark politics daunting, but for fans of Villeneuve’s books or films, that’s part of the appeal. For those already invested in Dune, this series feels like a significant expansion—a chance to delve deeper into the nuances of Herbert’s universe. If you’re a beginner, this is a worthy entry point, though you might have to make a greater effort to keep up. Believe me, the effort is worth it.