Lifestyle
'Dune: Prophecy' series tackles how women view and wield power
Women and how they wield power are at the center of HBO’s new series Dune: Prophecy, a prequel to the epic first imagined by Frank Herbert in the 1960s.
The six-episode season, debuting Sunday on Max, tells the origin story of the matriarchal order later known as the Bene Gesserit, 10,000 years before the rise of messianic figure Paul Atreides. “We like to call it 10,000 years B.C. — before (Timothée) Chalamet,” jokes Emily Watson, who plays the group’s leader, Mother Superior Valya Harkonnen.
“We’re part of this sisterhood that is trying to direct humanity on the right path.” The Oscar nominee spoke with NPR’s Michel Martin during a recent visit in New York with other members of the cast and crew.
Power from the shadows
A few decades before the series’ time period, in what’s known in the Dune universe as the Butlerian Jihad, humans barely triumphed over”thinking machines” — computers and other artificial intelligence.
Emily Watson plays the role of Mother Superior Valya Harkonnen in the new HBO prequel series Dune: Prophecy.
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Courtesy of HBO
The members of the order — from leaders to the young acolytes they train — advise leaders of the so-called Great Houses, or dynastic seats of power. They pull the strings of power from the shadows, literally whispering into the ears of the men who hold apparent power. They do so discreetly, veiled and dressed in black, while communicating with each other through hand signals.
“As we know from our politics in the U.K., and maybe you might feel in your politics that sometimes it’s not the person at the podium, but the shady characters to one side that you need to keep an eye on,” said SAG Awards nominee Olivia Williams, who plays Valya’s sister, Reverend Mother Tula Harkonnen.
The two sisters grow the order through subtlety and mystique in the fledgling Imperium while fighting against a powerful, terrifying new enemy.
“These women were created by a man in the 60s. And the things that make them frightening to men are the same old stuff: women, in order to be scary, are in a convent, they seem to be in some way chaste… It’s like, what are women getting up to when men aren’t there?” Williams said.
“Part of the sisterhood is that they have to maintain this mystery that freaks men out. Because when you look at the Council of the Imperium, it’s still a bunch of blokes. And that if we need to be isolated in a convent style enclave in order to make men fear us, then that’s what we’ll do as Harkonnen sisters.”
The wedding ceremony between the heir to the imperial throne, Princess Ynez Corrino (Sarah-Sofie Boussnina) and Pruwet Richese (Charlie Hodson-Prior) sets off a period of major turbulence in Dune: Prophecy.
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Attila Szvacsek/HBO
The women in the sisterhood wield superpowers that allow them to tell whether someone is telling the truth. They can also control their bodies on a cellular level to communicate with their ancestors.
“Truth is like a currency. And he who controls that narrative controls the power in the universe,” Watson said. “And it’s ultimately all down to… the Dune equivalent of oil is spice and he who controls the spice controls the universe.”
Decades-old friendship
It’s fitting that Watson and Williams would be cast as sisters. They have known each other for decades, dating back to when they first joined the Royal Shakespeare Company in the U.K. But they had never worked together until now. Williams reflected on how much has changed in her field since she got her first start.
Emily Watson, left, and Olivia Williams, right, play two Harkonnen sisters who form a sisterhood later known as the Bene Gesserit in Dune: Prophecy.
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Marco Postigo Storel/NPR
“All those years ago, drama schools took 10 men to two to three women in every year to reflect the proportion of casting once you went out into the business,” she said, while sitting alongside Watson. “And just on the sheer numbers, how astonishing to have two — forgive me Emily, if you object to this term — middle-aged women playing the leads and getting the good lines and the great costumes and the storylines in a major HBO Max TV show.”
Members of the sisterhood such as Reverend Mother Kasha (right) pull the strings of power from their discreet positions as advisors to leaders of the Imperium, here Emperor Javicco Corrino (center)
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Photo courtesy of HBO
One of the ways in which the Harkonnen sisters try to gain power is through a carefully calibrated breeding program. Williams sees parallels with Germany under the Nazi regime and the lead-up to World War II.
“Their motives are appallingly set in the world of eugenics, which is was dreadful when it was was dabbled with in the 1930s in a lot of scientific communities throughout the world, and I don’t look forward to it coming back again to fashion in 10,000 years time,” she said.
“But it’s an interesting study that over the many, many centuries we’re talking, that is still a preoccupation of people. Really, it’s depressing, but I think it’s probably true.”
Sisterhood leaders place much of their hopes for the future in young acolyte Lila (Chloe Lea) in the HBO prequel series Dune: Prophecy.
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Attila Szvacsek/HBO
The Harkonnen sisters may not be ideal female role models, but the complexity of the characters is what Watson calls “a really tasty dish” for an actor. She and Williams drew some of their inspiration from the bloodier chapters of British royal history.
They visited the National Portrait Gallery in London to view portraits of Elizabeth I and Mary, Queen of Scots to try to “get a sense of what that deeply powerful, paranoid complex, born out of violence” character might be,” Watson said.
Williams muses about more reasonable and palatable female protagonists. “What is interesting to me is seeing women who are well and healthily integrated into society and can still be wise and powerful,” she said. “That would be an interesting project.”
The broadcast version of this story was produced by Claire Murashima.
Lifestyle
‘How to Rule the World’ explores education and power at Stanford University
Students walk on the Stanford University campus on March 14, 2019, in Stanford, Calif.
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Ben Margot/AP
When Theo Baker arrived at Stanford University a few years ago, he joined the student newspaper, following the path of his journalist parents, Peter Baker, a White House correspondent for The New York Times, and Susan Glasser, a writer for The New Yorker.
Through his reporting as a student journalist, he eventually broke a story about manipulated data in Stanford President Marc Tessier-Lavigne’s neuroscience research that helped lead to the university president’s resignation.
Theo Baker’s book, How to Rule the World: An Education in Power at Stanford University was released May 19. In it, Baker describes Stanford as a place where proximity to Silicon Valley gives rise to a parallel system of influence, recruitment and money, with investors looking to identify promising students almost as soon as they arrive on campus.
He told Morning Edition host Steve Inskeep there was “a sort of Stanford inside Stanford,” where elite students are drawn into an “alternate reality” of excess and access to cut corners.
In the interview, he discusses how Stanford is not just a university but also a pipeline where status and power can matter as much as ideas.
We reached out to Stanford University for comment and have not heard back.
Listen to the interview by clicking play on the blue box above.
Lifestyle
OTB Takes Full Control of Viktor & Rolf
Lifestyle
How having zero points in tennis — or ‘love’ — came to sound so sweet
The scoreboard shows the results of the women’s singles final match between Iga Swiatek of Poland and Amanda Anisimova of the U.S. at the Wimbledon Tennis Championships in London, Saturday, July 12, 2025.
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Kirsty Wigglesworth/AP
Fifteen points in tennis? Nice. Thirty, 40 — even better. Advantage — that sounds good. “Love” — that also must be great, right? Well, not quite.
As the French Open rolls on and Serena Williams has announced her return to the sport, maybe you’ve been paying a little more attention to tennis. The sport’s scoring system is notably distinct, and can sometimes be hard to grasp for newcomers. But even tennis aficionados might not know why, or how, “love” became the unmistakable callout for zero points. For this installment of NPR’s Word of the Week, we’re exploring how a word that signifies trailing behind got such a sweet name.
“Love” comes from the heart — or an egg?
It’s hard to pinpoint when the first tennis ball went over the net. Tennis is a derivative of lots of other sports, such as “jeu de paume,” a handball game played in France, said JT Buzanga, the collections manager at the International Tennis Hall of Fame museum.

But tennis became a patented, official sport in 1874, said Steve Flink, a journalist whose tennis coverage got him inducted into the International Tennis Hall of Fame. It has retained its unique, mysterious scoring system ever since.
“By and large, the original system has held up almost entirely,” Flink said.
The use of “love” goes back to the late 18th century, said Jesse Sheidlower, a lexicographer. But it was used earlier than that in card games such as whist and bridge. Before the term made its way to tennis, the sport favored plain old “nothing,” or “nil,” he said.
Why love in the first place, though? Historians don’t really know for sure, but there are a few theories.
The French could have something to do with it. Some historians believe “love” derives from “l’oeuf,” which means “the egg” in French. Because eggs are shaped like zeros, terms such as “goose egg” and “duck’s egg” have been used in other contexts to mean zero, Sheidlower said.
It’s also possible English speakers mispronounced l’oeuf as “love.” But Sheidlower isn’t convinced that’s the answer.
“It’s the French equivalent of an English expression. But since that expression doesn’t appear in French, the French word wouldn’t have been used,” he said.
To be sure, France has had a lot of influence on tennis culture, Buzanga said. For example, “deuce” or a game tied at 40 points, comes from the French word for “two”: “deux.” But he prefers another prominent theory: that “love” comes from the idiom “for the love of the game.” Even if a player hasn’t scored, it doesn’t matter, because their heart is in it. It’s the theory Sheidlower said is the most plausible, because the idiom was used by the English before tennis was popularized.

Another variation of the “love of the game” theory is that the word could have come from the Dutch “lof,” or “honor” — or the Latin “amare,” meaning “to love,” Flink said.
But if tennis’ “love” doesn’t come from a French word, the theory at least has a French sensibility.
“I think the ‘for the love of the game’ is kind of romantic,” Buzanga said.
“Love” probably isn’t going anywhere
Tennis used to be a sport of leisure. The style of play has changed a lot over the years; players are more athletic and competitive, for instance, Flink said. But the rules of the sport are more steadfast, he said.
“There’s this incredible, enduring respect for tradition in tennis,” he said. “Changes are not made easily.”
There has been one major change in modern history: the tie-break. Matches can go on and on because players have to score two consecutive points to break a deuce, or by two games to break a tied set. But the onset of television meant matches would have to get shorter if the sport wanted to capture a larger audience, Flink said.

Change even came for “love.” An alternative sprouted up in the 1970s, and is still used today: “bagel,” named for its zero shape, Sheidlower said. Novices may say “zero,” and insiders will understand what they mean, but they “will needle them about it,” Flink said.
But “love” still prevails.
“People kind of like it,” Flink said. “It’s different. Why say zero when you can say love?”
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