Season 1, Episode 1, titled “The Hidden Hand,” directed by Anna Foerster and written by Diane Ademu-John, marks the opening of the Max series Dune: Prophecy. This series, taking place 10,148 years before Paul Atreides, expands upon the Bene Gesserit’s mysterious history, diverging from the written works of Frank Herbert and existing exclusively within the framework of Denis Villeneuve’s Dune cinematic universe and books written by Brian Herbert and Kevin J. Anderson. In other words, characters such as Valya Harkonnen (Emily Watson), her biological sister Tula Harkonnen (Olivia Williams), and the rest are not Herbert’s characters. Nonetheless, the events and characters are canon to the Dune timeline. For those interested in exploring more beyond the show, additional details can be found in the novels Sisterhood of Dune, Mentats of Dune, and Navigators of Dune, all written by Brian Herbert and Kevin J. Anderson.
The theme of the episode centers on the concept of playing God. Throughout history, many real-world leaders have risen to power, enforcing their vision of a perfect society, often with catastrophic consequences. In the pilot episode, Dune: Prophecy explores this theme through the Bene Gesserit, portraying them as both creators and manipulators of societal order. Within the ranks of the Sisterhood and the Imperium, deep divisions arise—divisions rooted in conflicting beliefs about what is right or wrong in the pursuit of peace and order.
At the heart of this conflict is Valya Harkonnen, a figure who embodies the Harkonnen ethos: when they face their enemies, they destroy them utterly. Yet, before destruction comes preparation. To survive and thrive, one must be strong in both mind and body, and the most essential skill is the ability to decipher lies—and to wield deception as a weapon. This is the philosophy the Bene Gesserit embraces, and it is a lesson Valya Harkonnen understands all too well. The world is steeped in lies, and the act of lying, they believe, is humanity’s greatest weapon.
The Butlerian Jihad
What Herbert wrote about the Bene Gesserit prior to the rise of Paul Atreides is that they are an enigmatic sisterhood whose rise to power was rooted in the chaos following the Butlerian Jihad. The Sisterhood’s beginnings trace back to the aftermath of humanity’s revolt against thinking machines—a time of upheaval and reformation. While much about their early formation remains shrouded in mystery, Herbert’s lore suggests that the Bene Gesserit emerged from the remnants of so-called “sorceresses” who existed before the Jihad. These women, alongside leaders of nascent religions, sought to reshape humanity’s spiritual and political trajectory in response to the horrors of the Jihad.
By the time of the Battle of Corrin, twenty years after the Jihad’s end, the Bene Gesserit had established their hierarchical structure and begun exerting their influence. Their other memories, accessible to the Reverend Mothers, provided them with a deep connection to humanity’s distant past, even as far back as Earth. A surviving Van Gogh painting, one of the physical relics of those ancient times, serves as a poignant anchor for this knowledge.
Valya Harkonnen
As depicted in the trailers, Valya Harkonnen (Emily Watson) of House Harkonnen is portrayed as ruthless and unyielding in her pursuit of order within the Imperium. Her personality mirrors that of Gaius Helen Mohiam, the Reverend Mother who held power prior to Paul Atreides’ rise. The trailers highlight Valya’s ambition to steer the Bene Gesserit to control the Imperium from the shadows, manipulating the bloodlines of the Great Houses to create puppet leaders who serve their agenda. These machinations align with the sisterhood’s ultimate goal: the creation of the Kwisatz Haderach, a supremely powerful and wise being destined to sit upon the Golden Lion Throne.
The pilot episode carefully introduces Valya’s motivations, unraveling her actions with meticulous attention to detail in every scene. Her presence is both awe-inspiring and deeply unsettling; she commands respect as a strategic leader but is far from someone people admire or trust. After all, she is a Harkonnen, and the Harkonnens are infamous as the most vile, villainous, and ruthless of the Imperium’s Great Houses. Their cruelty is so profound that Gurney Halleck once described them as brutal savages, unworthy of being called human.
HBO’s Penguin masterfully baited fans into sympathizing with Oswald Cobblepot, only to reveal him as nothing more than a selfish villain by the end. A similar approach may be taken with Valya Harkonnen. While her strategies and victories may captivate viewers, her true nature as a devil in the shadows—a merciless force waiting to slaughter her enemies and subjugate those she can control—will likely be revealed. In the end, Valya’s triumphs may solidify her as the embodiment of Harkonnen ruthlessness: a cunning and relentless villain whose ultimate goal is domination.
The Game of Chess
Overall, Dune: Prophecy delivers a strong pilot episode, reminiscent of the masterful opening of House of the Dragon. Every scene is captivating and meticulously crafted, showcasing flawless attention to detail. One can only hope that future episodes will maintain the brilliance of the first and deliver a proper encore in the finale. Much like Game of Thrones and House of the Dragon, the pilot of Dune: Prophecy establishes a complex narrative, with the board set and the players in position.
In this intricate allegory, the black chess pieces represent the Bene Gesserit, with Valya Harkonnen positioned as their queen. The white chess pieces symbolize House Corrino, with Emperor Javicco Corrino (Mark Strong) as its king and Desmond Hart (Travis Fimmel) as its queen. However, unlike a traditional chess game, the black pieces infiltrate the white, manipulating and controlling them from within, leaving no outward sign of conflict or destruction. This subtle maneuvering reflects the Bene Gesserit’s modus operandi: ruling from the shadows. The allegory is further underscored by the Bene Gesserit’s attire:Reverend Mothers clad in black symbolize their role as shadow rulers, while their students and initiates, dressed in white, signify their training to adapt and infiltrate opposing forces. For this game to end, one of the queens must fall.
Despite the schemes unfolding, this remains a Dune story at its core, with Arrakis as the crown jewel of the Imperium due to its spice. Interestingly, the plot thus far does not depict House Harkonnen ruling Arrakis. Perhaps Valya is orchestrating a long-term strategy to ensure the siridar fief of Arrakis belongs to House Harkonnen in the distant future. The episode cleverly leaves Valya’s loyalty to her house shrouded in ambiguity, adding to her mystique. Nonetheless, the show is faithful to the timeline of when House Harkonnen gains control of Arrakis which is around or after the time of Baron Dmitri Harkonnen, the father of Vladimir Harkonnen.
The culture of House Harkonnen is a fascinating reflection of their methods: deceit, trickery, and, when necessary, assassination. These traits align with the Bene Gesserit’s own approach to manipulating the political landscape of the Imperium, making Valya’s duality a compelling centerpiece for the story. Whether her ambitions will succeed or unravel remains a tantalizing question as the series unfolds.
Rating: 9/10