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‘Dune: Prophecy’ boss Alison Schapker on the Season 1 finale and Valya’s secret

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As a fan and admirer of the incredible talent that Emily Coutts has demonstrated throughout her career, I am truly captivated by her versatility and dedication to bringing unique and engaging stories to life. Her work spans genres, from sci-fi and fantasy to drama, always pushing the boundaries of imagination while maintaining a strong emotional core.

The concluding episode of the first season for “Dune: Prophecy” on HBO unfolded on Sunday, leaving viewers breathless from some unexpected twists and even more puzzled due to numerous unanswered questions. This prequel series, which is set 10,000 years prior to the storyline in Denis Villeneuve’s films “Dune” and “Dune: Part Two,” intricately intertwined multiple plotlines over six episodes, ultimately leading to a lengthy finale where Valya Harkonnen (Emily Watson) and her sister Tula Harkonnen (Olivia Williams) came together once more.

During a chaotic sequence, it’s unveiled that Tula secretly had a son named Desmond Hart (played by Travis Fimmel), who surprisingly possesses the ability to start fires. Additionally, we discover that Valya gained control over the Sisterhood, ancestors of the Bene Gesserit, through a series of brutal killings.

As a devoted viewer, I yearn for that satisfying sense of completion when watching a finale. According to showrunner Alison Schapker, this desire is exactly what they aimed to achieve with the season 1 finale. They wanted me to feel like I’ve been on a journey, uncovering insights and answers along the way. By the end, everything should have transformed, leaving me with a deeper understanding of these characters, their relationships, the significance of their struggles, and the truth in an entirely fresh perspective.

Television

In the captivating HBO space opera, the standout and intriguing protagonists are Valya Harkonnen, portrayed by Emily Watson, and her sibling Tula, who is brought to life by Olivia Williams.

The story reaches its end on the planet Arrakis, where Valya, Princess Ynez (Sarah-Sofie Boussnina), and Keiran Atreides (Chris Mason) flee following Emperor Javicco Corrino’s (Mark Strong) demise. It now seems that Desmond’s abilities are not rooted in the sandworms, as he had stated, but rather from a hidden, enigmatic power source.

Schapker notes that it seems appropriate for Valya, who’s been tormented by Arrakis, to return to where her journey began. It will certainly be intriguing to discover what secrets she uncovers as she now pursues the mysterious influence lurking in the shadows.

In 2022, Schapker, who joined the prequel series, utilized her rich background in television shows such as “Alias,” “Fringe,” “The Flash,” and “Westworld” to collaborate with the writers in shaping the episodes. She candidly acknowledges the pressure of adapting and expanding the cherished content from Frank Herbert’s “Dune” novels, but takes pride in the way the cast and crew have successfully translated the universe onto the small screen.

Schapker remarks, “The world is vast and full of opportunities to explore,” he notes. “Our audience had reasonable and involved expectations, and I’m thrilled that we could share this tale with them.

In this discussion, edited for conciseness and clarity, Schapker delves into the details of the “Dune: Prophecy” series finale, along with her aspirations for future developments following HBO’s announcement on Thursday about renewing the show for another season.

What is your reaction to getting a second season and is there anything you can tease?

I’m overjoyed that “Dune: Prophecy” has been renewed, allowing us to carry on the narrative of Valya and Tula Harkonnen, as well as the emergence of the Bene Gesserit. The chance to explore these characters further and expand upon their part of the “Dune” universe is something I greatly appreciate. I’d like to express my gratitude to all those who watched and supported our series, making Season 2 a reality. Our writers’ room is already in full swing, and I can hardly wait for what lies ahead.

Were the designs for the sandworm seen in the finale of the “Dune” movies available for your team to use as a reference?

In a different phrasing: Denis was incredibly generous, but we didn’t simply take his files and use them for the show. Instead, we aimed to replicate the concept of the worms from the films, which are integral to the universe of Dune. This decision had the backing of both Legendary and HBO. However, it’s challenging to achieve such a grand visual style within the constraints of a TV budget and schedule, even with a supportive studio like ours.

What was most important for you to do thematically in the finale?

It was crucial for us to reconnect Valya and Tula, characters who have been central to our plotline this season, separated on different planets. To make their reunion significant and impactful, we planned a three-act story arc that would culminate in an exciting climax.

Did you always plan for Desmond to be Tula’s child?

Yes, absolutely.

How does Tula know where her son is and what his name is?

She knows he’s on Salusa Secundus. She lands in the space port and hears the whispers of her ancestors telling her Valya is near and that happens to be where he is. I don’t think she knew when she landed at the space port or thought, “I’ll meet him at the space port.” It was a bit of a collision course. She sees Valya with him and I think she understands.

Desmond isn’t in the books. What did you want to achieve with that storyline?

It’s very powerful in the “Dune” universe when a Harkonnen and an Atreides connect, and that’s really part of the longer story we want to tell. I don’t want to speak too much. But you see Valya is saying, “This child has so much potential. He could change worlds.” He has that charismatic potential that makes him a really powerful figure. Valya wants to harness it, and Tula starts to feel that nothing good is going to come of their shaping his life. The question becomes: If they’re not the only ones who understand that about him, who else saw that and how and why was he weaponized? That gives us more questions to guide us in the future.

Television

Before playing Tula Harkonnen in the prequel series, the actress wasn’t familiar with the ‘Dune’ universe. However, she found plenty of material from history to develop her character.

Did you always plan to thread flashbacks through the entire season?

Absolutely, and crafting six episodes for this was quite challenging. The prologue served as a flashback, and I aimed to complete the narrative loop. I was thrilled to initiate the finale in a manner similar to the prologue, yet introduce an additional layer and progress the story so that the audience could fully grasp the past. It seemed crucial to clarify the circumstances surrounding Desmond’s conception and his origin, which is why Episode 3 delved deeply into the younger timeframe to establish that foundation, in hopes that the finale would resonate more effectively. Additionally, it was essential to reveal a secret that had been hidden within the Sisterhood throughout the series.

It’s very shocking to find out that young Valya and her followers killed so many members of the Sisterhood to get into power.

Her hands bear the stain of blood. Everything Desmond claimed about Valya throughout the season proved accurate. She ascended to power in a brutal manner, and although it was difficult to accept, I understand her motives. The central theme of the series revolves around pondering how far we might be willing to go now if we truly believed we were safeguarding the future. I don’t believe Valya took their lives out of enjoyment; rather, I think she was cornered by Dorotea and her followers, leaving her with no other choice.

Why do you think the acolytes are so quick to follow Dorotea as she reemerges in Lila?

It’s a horrifying revelation that there’s a mass grave at the heart of the Sisterhood, and they have no context to understand it right now other than what Dorotea is telling them. You see Jen wrestling a bit [with] how to process this. I don’t think it’s all over, by any means, but Dorotea picks up where she left off. And she was a zealot. “Dune” is a really big world. It has a lot of players and there are characters that I feel like I have big plans for who just got a table set in Season 1. Like all of those acolytes. We’re focusing on them for a reason, right? The journey they’re on is very essential to the story.

Overall, how much did you end up pulling from the books and how much did you invent?

In our series, we drew inspiration from the books, sometimes changing or expanding upon certain elements while staying true to their essence. Many of the Tula, Desmond, and Valya storylines in the present are original ideas that have been developed alongside the Herbert estate. I’m incredibly proud of the relationship between Valya and Tula and where it leads. The journey we took with these characters really touched me, and I believe there’s a lot more potential for their story to unfold.

How was the Herbert estate involved?

In this collaborative setup, they delved into the scripts we provided, open to our questions and ready to pose their own. They were fully engaged with our work, and we valued their insights. It was a mutually supportive working environment. What stood out for me was the freedom it afforded us to innovate. I felt we had the creative liberty to adapt the story in a manner that excited us, all while maintaining deep reverence. The most challenging yet exhilarating aspect of this project was the opportunity to work within the “Dune” sandbox, metaphorically speaking.

Has Denis seen the show?

It’s uncertain, but it seems like Denis is deeply engrossed in his movie projects. He has expressed interest, and I look forward to discussing this with him eventually.

Movies

In a discussion, director Denis Villeneuve shares some substantial changes he’s made when adapting the iconic sci-fi novel “Dune” for the big screen.

As a seasoned movie critic who’s delved deep into the realms of science fiction and fantasy, I must say there’s an undeniable allure to these genres. They transport us beyond the confines of our world, offering limitless possibilities for exploration and imagination. Each tale, whether it be a gripping space odyssey or an enchanting magical quest, invites us to ponder the complexities of the universe and the human spirit. The thrill of discovering new worlds, unraveling cosmic mysteries, and witnessing the triumphs and trials of extraordinary characters keeps me enthralled in this captivating genre.

I’m captivated by the creative landscape it presents. I appreciate the intricate world-building aspect of it. Delving into its many details is a delightful challenge. There’s an abundance of opportunity for imagination, awe, and exploration, but what truly grips me is the human narrative at its core – that’s my primary focus.

Prior to working on “Dune: Prophecy,” you were involved with the final season of “Westworld.” Was there a plan for additional episodes if it hadn’t been cancelled?

It seems to me that Jonathan Nolan and Lisa Joy still have an untold chapter in their story. The universe often unfolds in ways we can’t predict, and if one day I get to witness that conclusion, it would be incredibly exciting for me. Working on “Westworld” was a profoundly impactful journey, and I believe the narrative is only growing clearer and more relevant with time.

You also worked on “Alias,” another show with strong women at the forefront and huge scope.

Back in the day, it was an absolute blessing for my fledgling career to be part of the television revolution. Being around at the dawn of the network age allowed me to immerse myself in shows for extended periods – a privilege I still cherish today. For three exhilarating years, I graced the set of “Alias.” It was nothing short of fantastic! The narrative captivated me, and working with J.J. [Abrams] was an unforgettable experience. His creative workspace was buzzing with energy and innovation. “Alias” wasn’t just a show; it aimed to push the boundaries of what could be achieved on the small screen, and under J.J.’s guidance, we were free to explore those limits.

Do you see a commonality through all of the shows you’ve worked on?

What I aim for consistently is creating work that resonates on a deeply human level while still challenging my intellect with complex and captivating themes. Working within science fiction provides me an exceptional platform, allowing me not only to delve into the lives of people (which I find incredibly rewarding), but also explore thought-provoking concepts such as the impact of artificial intelligence creation. This aspect has added a rich layer of satisfaction to many of my projects.

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2024-12-23 07:02

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