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The Dune High School trilogy is a collection of short stories by Brian Herbert and Kevin J
Tale
Whether they’re exploring the stars, escaping dystopia, or making the world a better place, these women are what science fiction is all about. Anderson. A prequel to the original Dune, this is about how the Sisterhood of Rossak evolved into the Bene Gesserit. The incident with Valya Harkonnen, who used the voice, comes from one called “Mentats of Dune.” All three books intertwine the evolution of the Sisterhood, the Mentats, the Navigators, and the Suk doctors. Let’s be clear: resistance to perceived “DEI politics” is not just tiresome in this series, it’s fundamentally wrong.
Visually, it’s stunning
Anyone familiar with Frank Herbert’s Dune world knows that women, and the Sisterhood in particular, have always been central to the story. This isn’t some modern “rewrite” to appease audiences—it’s ingrained in the very DNA of the tradition. Complaining about women in power is like criticizing sand for showing up in the desert. If that bothers you in any way, it’s worth considering why that might be the case. So let’s focus on what matters: the series itself.
It’s not perfect, but it’s close enough to be immersive
The art direction pays homage to the bold aesthetic of Denis Villeneuve’s films and creates a seamless visual connection to the wider Dune universe. The scope feels ambitious yet intimate, balancing grand, sweeping shots with more personal, tightly framed moments. Sure, the CGI occasionally shows its budgetary limitations, but the overall design is so sharp and thoughtful that it almost doesn’t matter. The writing, while not as philosophically dense as the core Dune saga, respects the intelligence of its audience. It doesn’t oversimplify or dilute the complexity of Herbert’s world to accommodate newcomers.
It’s a cerebral, slow-paced story that rewards attention without ever feeling overly indulgent
Instead, it leans into the power dynamics and political intrigue that make The Sisterhood so fascinating. The last 20 minutes of the first episode in particular deliver a level of tension and reward that captures the spirit of Dune at its best, suspenseful and quietly monumental. What sets this series apart is the way it uses The Sisterhood to explore another dimension of Dune’s vast universe. The political machinations are more prominent here, offering a fresh perspective on the undercurrents of power that often drive the larger story. It has shades of early Game of Thrones, but with a distinctly Dune feel: less gratuitous, more thoughtful, and deeply engaged with the philosophical questions that define Herbert’s artists and rising stars, with a few standout performances that hint at greater things to come.
Trust me, the effort is worth it
As for the adaptation itself, it’s clear that the creators have taken great care not to compromise the integrity of Herbert’s vision. This is no watered-down reimagining—it’s a serious and ambitious continuation of the world he built. Granted, newcomers may find the dense lore and dark politics daunting, but for fans of the books or Villeneuve’s films, it’s part of the opportunity to broaden the appeal by delving deeper into the nuances of Herbert’s universe. If you’re new, it’s a worthy entry point, though you may have to work a little to keep up.
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