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Anderson’s Great Schools of Dune trilogy

Line of Events

Two Harkonnen sisters fight against forces threatening the future of humanity and found a fabled sect known as the Bene Gesserit. Whether they’re exploring the stars, escaping a dystopia, or making the world a better place, these women are what science fiction is all about. This series uses material from Brian Herbert and Kevin J. A prequel to the original Dune, it tells the story of how the Sisterhood of Rossak evolved into the Bene Gesserit. The episode in which Valya Harkonnen voices is from an event called “Mentats of Dune.” All three books intertwine with the development of the Sisterhood, the Mentatis, the Navigators, and the Suk Doctors. Referenced in AniMati’s Crazy Cartoon Cast: The New Normal (2020).

Visually, it’s gorgeous

Let’s get this straight: a backlash against perceived "DEI policies" This series is not only tiresome, it’s fundamentally misguided. Anyone familiar with Frank Herbert’s Dune universe knows that women, and the Sisterhood in particular, have always been central to the story. This isn’t a modern “rewrite” to appease audiences – it’s ingrained in the story’s DNA. Complaining about women in power here is like criticizing sand for showing up in the desert. If this somehow makes you uncomfortable, it’s worth considering why that might be. So let’s focus on what’s important: the series itself.

It’s not perfect, but it’s close enough to feel involved

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, and it balances big, sweeping shots with more personal, tightly framed moments. Sure, the CGI shows its budget limitations at times, but the overall design is so sharp and thoughtful that it hardly matters. The writing isn’t as philosophically dense as the Dune saga, but it respects the intelligence of its audience. It doesn’t oversimplify or water down the complexity of Herbert’s world to accommodate newcomers. Instead, it leans into the power dynamics and political intrigue that make Sisterhood so compelling.

It’s a cerebral, slow-burning narrative that rewards attention without ever feeling too self-serving

The final 20 minutes of the first episode in particular offer a thrill and a payoff that captures the spirit of Dune at its best, in a gripping and quietly monumental form. What sets this series apart is how it uses Sisterhood to explore a different dimension of Dune’s sprawling universe. The political intrigues 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 tones, but it has a distinctly Dune sensibility: less gratuitous, 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, and a few standout performances hint at bigger things. As for the adaptation itself, it’s clear that the creators took great care not to compromise the integrity of Herbert’s vision.

Trust me, the effort is worth it

This isn’t a watered-down reimagining—it’s a serious and ambitious extension of the world he built. Granted, newcomers might find the dense story and murky politics daunting, but for fans of the books or Villeneuve’s films, that’s part of the appeal. For those already invested in Dune, this series feels like a meaningful expansion—a chance to delve deeper into the nuances of Herbert’s universe. If you’re new, this is a valuable entry point, although you may have to work a little harder to keep up.