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Credit Image: © Villeneuve Films/Entertainment Pictures/ZUMAPRESS.com
Credit Image: © Villeneuve Films/Entertainment Pictures/ZUMAPRESS.com

Dune is a great movie, and director Denis Villeneuve has filmed what some called an “unfilmable” story. YouTube commentator “Morgoth’s Review” calls the book a “reactionary masterpiece” and adds that conservative views of Dune say more about the reviewer than anything else. If so, then this may be more about me than the movie, but I think these themes speak to everyone.

Dune is about great issues, so both progressives and conservatives can justify their own interpretations — the mark of a great work. Unfortunately, unnecessary elements in the film about contemporary American racial politics jar the viewer out of absorption. Dune has become yet another battleground in America’s tiresome victimhood competition. Still, there’s a great deal of value.

Dune’s universe is too sprawling to explain without its own essay, but to make it simple, in the far future, mankind is governed by a vast Imperium. The Padishah Emperor, backed by his ruthless Sardaukar forces, is limited in his power by great feudal houses. A guild of “navigators” makes swift travel across the interstellar empire possible, but its members need a chemical called “spice” in order to use their powers. Spice is found on just one planet, Arrakis, known as “Dune,” which is governed by the ruthless Baron Harkonnen. The emperor has ordered House Atreides to take over from the evil Harkonnens. This seems like a windfall for House Atreides, but it is a trap, and the Duke Leto Atreides knows he is walking into it.

Why does he do it anyway? The duke will not stain his honor by defying an imperial command. And he has other motives. The ancient population of Arrakis, the “Fremen,” could be a powerful ally and give the house the “desert power” it needs to fight on Dune. Harkonnen oppression has also given the Atreides a chance to prove they are different and to win over the indigenous Fremen.

There is also an organization called the Bene Gesserit, a female religious order that cultivates mysterious powers, advises the imperial court and the great houses, spreads religious myths to protect its members, and works for its own interests. It’s like the Jesuits. Its long-term plan is to breed a superior human, the “Kwisatz Haderach,” a term from Hebrew that means “contracting the path.” This superman would be able to see the past, predict the future — and be easily managed by the sisterhood. Duke Leto’s concubine Jessica, the mother of his heir Paul, is a member of the sisterhood. She is independent enough to give her duke a male heir instead of a daughter as the sisterhood ordered. However, she’s still enough of a sister to guard the door while her sister superior gives her son a potentially deadly test.

The Atreides invade Arrakis (Dune) and have a promising beginning with the Fremen. However, the Harkonnens attack more quickly than the Atreides anticipated. Reinforced by Imperial Sardaukar and helped by a traitor, the Harokonnens wipe out the Atreides. The now-Duke Paul and his mother escape into the desert and win a place among the Fremen. Dune the movie ends here, but readers of the book series know that later, Paul becomes the leader of the Fremen and wages an insurgency that wins him the Imperial Throne.

Why would traditionalists, conservatives, or people interested in race care about Dune? First, it rekindles the prospect of human greatness. The war leads to a ban on artificial intelligence. Instead of relying on computers, humans must develop their compacities. Specially trained humans, “mentats,” replace computers; the powerful learn to manipulate others; and warrior aristocrats risk their lives to hold their positions. The Fremen respect strength, honor, and tradition. Aristocrats govern through personal courage, combat, and skillful governance. Personal shields make weapons like guns or lasers ineffective, so personal combat has returned. A semi-feudal system re-emerges. People who cannot depend on machines must improve themselves through training and breeding.

Dune is also about genetics, science, and religion. The sisterhood is largely a eugenic society. Early in the film, a “Reverend Mother” tests Paul to see if he is human or just an animal by judging his self-control in the face of extreme pain. The sisterhood deliberately seeds myths for its own ends, and its prophecies become self-fulfilling. Even the protagonist Paul, a character with extraordinary power, finds he can’t stop a holy war waged in his name. Dune raises questions about what defines a people and evokes the relationship between religion, race, and IQ. Paul has powers that are essentially “magical,” so religion is real in some way.

Credit Image: © Villeneuve Films / Entertainment Pictures / ZUMAPRESS.com
Credit Image: © Villeneuve Films / Entertainment Pictures / ZUMAPRESS.com

Finally, Dune shows that a higher purpose is more important than money. One subplot largely ignored in the film is the importance of the guild and the directorate that handles profits from spice. The book explores the consequences of the enormous wealth spice can bring. Today, international finance is an obstacle to white interests and denies dissidents basic services. A victory of tradition over money is an attractive message for today. The “hard times make strong men, strong men create good times” concept is also part of the story, with the Fremen becoming powerful warriors because of where they live.

What of race? It is 10,000 years in the future, so circumstances are different. It’s more useful to think about men of race instead of race generally. The Atreides line traces its founding to Agamemnon. Superior humans research their own history, and the Bene Gesserit sisterhood deliberately tries to breed different strains together. Blood is even more important than was in feudal Europe because certain people can sense the blood memory of their ancestors. Paul speaks of a “race consciousness” that is using him as a tool to lead religious and military movements to serve a sacred yet scientific evolutionary impulse. Nature, breeding, and discrimination have returned.

The book’s author Frank Herbert drew heavily on Islam. As allegory, the religious “Fremen” are Arabs, the great houses are the Western powers, and the “spice” is oil. The idea of a “voice from the outer world” — a white man who could lead the Arabs to their destiny — has been a popular concept since Lawrence of Arabia and World War I.

However, the book is far broader, so progressives find other messages. Ecology, skepticism about “great men,” and anti-colonialism are themes that appeal to them. The idea that strong warriors are formed entirely by their environment denies race. The Fremen are strong because they live on a hellish world, not because they have special gifts.

Unfortunately, America today is dominated by the search for racism, so the movie has racial messages. The evil, perverse Harkonnens are all pasty white. The Atreides are mostly white, with the occasional non-white among its officers, but clearly a white, colonial power. Duke Leto, played by Oscar Isaac (by appearance, a light Hispanic), is white, his concubine Jessica is white, and Paul is played by Timothée Hal Chalamet, perhaps best known for playing Henry V in The King. His house is relatively honorable, but the Fremen, the “indigenous” people of Dune, still see them as colonizers. The movie begins with actress Zendaya Coleman (faintly black, and known as just “Zendaya” professionally) asking the audience who the next “oppressors” will be. Of course, humans have traveled to other planets, so it would be hard to say anyone is truly “indigenous.”

Rebecca Ferguson as Jessica. (Credit Image: © Villeneuve Films / Entertainment Pictures / ZUMAPRESS.com)
Rebecca Ferguson as Jessica. (Credit Image: © Villeneuve Films / Entertainment Pictures / ZUMAPRESS.com)

In the film, the Fremen are all brown and black, including black Africans, but they are led by Stilgar, played by Javier Bardem, who is mostly white. Dr. Liet Keynes, the “planetologist” and imperial servant who fuels the Fremen’s dream of transforming Arrakis into a lush, water-rich planet, is made into a black woman in the movie. Rather than being the menacing, legendary figure of the book who rules the Fremen by force of personality and scientific knowledge, Dr. Keynes is now a mystic. We get no sense of the character’s importance or the depth of his (now her) dream of terraforming the planet.

Sharon Duncan-Brewster as Liet-Kynes. (Credit Image: © Villeneuve Films / Entertainment Pictures / ZUMAPRESS.com)
Sharon Duncan-Brewster as Liet-Kynes. (Credit Image: © Villeneuve Films / Entertainment Pictures / ZUMAPRESS.com)

Zendaya, who appears as an ethereal vision for most of the movie as Paul’s future love, represents an ideal of authenticity. Her role consists mostly of whispering Paul’s name and staring into the camera, so it’s hard to separate the character from the actress Zendaya, a BLM-supporting celebrity whose music (“pretty like Beyonce, big time like Kanye, Imma rock out, rock you like Green Day”) celebrates becoming part of the all-consuming nothing that is pop culture. This almost custom-made persona is why she has such an enthusiastic personal following, and her lack of screentime in the movie is a major controversy.

From the perspective of 2021, the fault lines are clear: We have the extra-evil, extra-white Harkonnens, the condescending whites of House Atreides, the all-white Sardaukar, and the boy who would be Emperor learning the deep wisdom of indigenous people about the environment, spirituality, and love. It is after the young duke essentially becomes a Freman that he can return to the Imperium with his non-white army, claim the throne from the white ruling class, and reshape the empire for the Fremen. A bloody jihad, which even Paul can’t stop, will bring “social justice” to other planets. While Paul fears the jihad (about 61 billion die in future books in the Dune series), he recognizes it is part of “race consciousness” for humans to “mingle their genes.” The carefully bred white superhuman has a mission of miscegenation. We can see this as a white liberal’s power fantasy, similar to that of Daenerys in Game of Thrones.

Of course, there’s no reason why a group people shaped by an extreme environment thousands of years from now would be any particular race beyond who the first settlers were. We also clearly see high-ranking blacks in the Imperium, so there’s no “racism,” beyond preserving certain bloodlines. The racial justice seems forced.

Oscar Isaac as Duke Leto Atreides. (Credit Image: © Villeneuve Films / Entertainment Pictures / ZUMAPRESS.com)
Oscar Isaac as Duke Leto Atreides. (Credit Image: © Villeneuve Films / Entertainment Pictures / ZUMAPRESS.com)

Fremen can’t or won’t drive out the Harkonnens until they are led by Paul , their messiah from another world. Religiously, the Fremen combine Zen-Buddhism and Islam, though they have myths that were implanted in their culture by the women of the Bene Gesserit. Fremen are brave and strong, but not politically sophisticated enough to seize power on their own. Thus, even a film that sets up a non-white liberation myth is a problem for critics, because it’s a white guy who leads them to freedom.

The novel’s popularity in reactionary circles also worries critics.

The last article complains that author Frank Herbert’s “personal politics were complex and often reactionary,” adding that he was racist. Who isn’t? Still, the overall thrust of the Dune series is not a Luke Skywalker style “hero’s journey,” in which Paul avenges his family and becomes a just ruler. Instead, Paul sets in motion monstrous events he can’t control, and shies away from a sacrifice that would save humanity. However, if you don’t read the rest of the series — and many don’t — you won’t know that.

The racial politics will become more important in the sequel. The first film was about the somewhat Eurocentric Imperium while the sequel is about the Fremen. We will see Paul and his mother become part of the Fremen and lead them. Paul knows this. Zendaya’s “Chani,” his future lover, greets Paul with the words “you look like a little boy,” so we’ll probably see some of the casual, anti-white putdowns typical of a movie like Black Panther. There will also be the predictable fashion of the white hero learning spiritual wisdom from the more “authentic” non-whites. The idea that the white leaders can learn wisdom from the non-whites and so recreate their culture reminds one of Michel Houellebecq’s novel Submission, in which Islam revitalizes a dead Europe by letting it shed its guilt. Paul’s vision of his mother as a tribal “reverend mother” is typical.

Zendaya as Chani. (Credit Image: © Villeneuve Films / Entertainment Pictures / ZUMAPRESS.com)
Zendaya as Chani. (Credit Image: © Villeneuve Films / Entertainment Pictures / ZUMAPRESS.com)

The Dr. Keynes of the book was a scientist who won over the Fremen with his dream of terraforming Arrakis and his powerful personality. In the film, we have a black woman who is essentially a victim, who loved and lost a Fremen, went native, and dedicates herself to Shai-Hulud, the giant sandworms on Dune. The character’s importance (arguably the real “white savior” of the Fremen) is gone.

Still, that’s one of the film’s few missteps. Unlike David Lynch’s 1984 version, this Dune shows us the world instead of telling us about it. Its spaceships, architecture, and aesthetics are reminiscent of the best aspects of 1920s futurism and modern revivals. The Sardaukar falling from the sky in silence to bring death is like something out of a nightmare. Fewer shots of characters staring pensively into the distance might have given us more scenes that show politics, but the film wisely cuts many subplots.

Dune is archeofuturist and this has a certain forbidden appeal in liberal democracy. In our system, status competition is more intense and less dignified and courageous than noble houses fighting declared war against each other but bound by certain conventions. The ideal of pursuing human greatness by fully developing the body and mind is explicitly inegalitarian.

Some leftists have argued that Dune is about fearing power and warning against charismatic leaders. However, the idea of being caught up in cycles of history is a traditionalist idea. Opposition to central authority or messianic saviors is stronger on the American Right than the American Left, which until recently was selling devotional candles of Robert Mueller. Besides, even if a book is “supposed” to be progressive, sometimes the authors get it wrong. If Dune is meant to be critical of tradition, it fails just as Starship Troopers failed, by inadvertently making tradition look better than what we have now.

In future books, Paul’s son accepts the mantle Paul couldn’t, and becomes prescient, almost divine, and rules as “God-Emperor” for thousands of years. However, this is meant as a sacrifice, not tyranny. Eventually, the “Golden Path” he steers humanity towards frees it from any possibility of central control. He sacrifices his reputation and life for this. True diversity really is strength when domination by one “correct” point of view is impossible. Today, when we are denied freedom of speech or access to services because of our views, the idea of being beyond any central control is attractive.

Timothee Chalamet as Paul Atreides. (Credit Image: © Villeneuve Films / Entertainment Pictures / ZUMAPRESS.com)
Timothee Chalamet as Paul Atreides. (Credit Image: © Villeneuve Films / Entertainment Pictures / ZUMAPRESS.com)

The real reason white advocates should see Dune (and read at least the first book) is to see a future that is run by humans who have become more than human, who treasure family and lineage, and who live for honor rather than victimhood. The most noble ruling house is run by warrior-poets, who know philosophy, holy texts, and military strategy. Dune does speak to something in the blood, that odd feeling of “life reaching beyond itself,” a message most recently popularized by the pseudonymous author of Bronze Age Mindset.

Cover of the first edition of the novel.
Cover of the first edition of the novel.

Whites can see a world in which Western Civilization (symbolized by the House Atreides descended from the ancient Greeks) continues. We ponder the question of whether an exhausted formal tradition can be overturned by a more vital faith from outside if we can’t summon strength from within. We are also reminded of the costs of decadence and weakness, and that a people must remain hard and strong to survive. Finally, we see a message that is anti-egalitarian and values freedom. The “Golden Path” leads to a world in which no one can tell everyone what he is allowed to think or write. The book is also fun to read; if not a literary classic, it ranks well above cheap thrillers and may stimulate an interest in history, religion, and political philosophy.

The negative side of this movie — perhaps my only real objection — is that it crowbarred in contemporary racial dynamics. There’s no reason to make Dr. Kynes a black woman. The theme of the noble, non-white, wise “native” oppressed by fat, immoral whites is just under the surface, like one of Dune’s giant worms. The next film could be far worse, larded with even more of America’s painfully hypocritical and stupid racial orthodoxy. Paul’s role as “white savior” will mean that even as the film implicitly smears whites, non-whites will still feel like victims.

Still, we can’t complain about a culture that others control. The system that made Dune is the one that rules the culture in which we are trapped. We can take what lessons we can from it and create our own subculture — eventually to become a dominant culture.

Simply as a movie, Dune is brilliant, with a powerful supporting cast. It’s a real film, not a Marvel farce with ham-handed cues to tell young boys when to laugh or feel forced emotions. That’s rare in the age of Netflix. Dune, like the book, ditches irony and detachment, and plunges into its themes. Stylistically, it’s a joy to watch.

Dune is about human greatness, and that is more inspiring than just saving our people as a biological entity. We really are the people that acts with a kind of divine madness that drives us to the heights of conquest, adventure, and exploration. The idea of training one’s body and mind to perfection to defend your loved ones is thrilling and inspiring. At the same time, Dune reminds us that we are part of a line greater than ourselves even as we pay for the sins of our ancestors, and that we cannot always defy fate. The best we can do is be strong, even to the point of seeking out hardship.

A good book or movie shouldn’t just make you think, but make you want to be better. It’s hard to watch Dune and not feel challenged somehow to prove you are human, not just an animal. Like Duke Leto, we are surrounded by foes and traitors, face total extinction, and are in many ways trapped by the system we ourselves helped build. Paul’s strategy of revolution from the periphery, both culturally and militarily, has lessons for us. Building something on the periphery that’s better, stronger, and more fulfilling than the system is part of the answer. Dune isn’t just a faithful and inspiring recounting of a great book, but a challenge. Anything that can drive people to act, build, and create is something to support, even if it means giving Hollywood a few more dollars.

(Republished from American Renaissance by permission of author or representative)
 
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  1. Franz says:

    A good book or movie shouldn’t just make you think, but make you want to be better.

    Yep. I for one will be real happy when whites and blacks make their own movies again.

    1943 — All-Black movies included Stormy Weather and Cabin in the Sky.

    1943 — All-White movies included Casablanca and Lassie Come Home.

    That’s only a few. But segregated screens were good for racial peace AND great films!

  2. A good book or movie shouldn’t just make you think, but make you want to be better. It’s hard to watch Dune and not feel challenged somehow to prove you are human, not just an animal.

    Very true, I got that feeling reading Dune, but watching Villenueve’s film only challenged me to stay awake for the entirety of the film. The film was profoundly boring in color, dialogue and music (very loud).

  3. KenR says:

    This analysis is fixated and over-delighted on identity issues and political allegory. Taken on its own, however, Dune sucks. What a boring, turgid film, in fact. The film requires the viewer to do what the author of the article does here in spades: over-invest one’s own agendas.

  4. El Dato says:

    Interesting interesting.

    But where are the Jews in the first two books (i.e. “Dune + Dune Messiah” which actually form a single story with proper closure, leaving the reader to imagine what will happen next, as in Sarah Connor’s “A Storm is coming”)

    Yes, Jews they make a token appearance in one of the sequels as a community that has detached itself from the galaxy’s (or the galaxies’) coming and goings, but that sounds weird and like an excuse. Are they Bene Tleilax? Is that thought antisemantic?

    It also occurs to me that the book shows people computing all the time, evaluating their actions and their effects on others and trying to guess at others’ motivations. It’s Putin Inside ™ all the time. No feelz and Blinken Lights are allowed and “the dog ate my homework” is no longer an excuse. In fact, when youthful Paul is letting himself go, he is reprimanded in no time by his body guard and gets a few bruises for his momentary lapse.

    • Agree: Zorost
    • Replies: @Ray P
    , @W
  5. I recently rewatched Children of Dune a couple of times; loved it. Also it has no anti-white elements nor a blacked up cast. Just a perfectly entertaining show without propaganda.

    Nice review, Greg, but you were too kind. I plan to skip the new Dune remake and rewatch my 1980’s dvd of Lynch’s Dune.

  6. El Dato says:

    One may not that Dunic “seed material” by Cordwainer Smith exploited by Herbert, also takes place in a universe in which humankind has been recentered after a hiatus. Indeed, the short stories and novellas have been collected in a volume entitled “The Rediscovery of Man” (as a counterpoint to Lewis’ “The Abolition of Man”? I am not well-read enough to judge)

    From the introduction to “The Rediscovery of Man”

    [MORE]

    You may have already read the story of Paul Myron Anthony Linebarger (1913-66), the man behind Cordwainer Smith, who grew up in China, Japan, Germany, and France, and became a soldier, diplomat, and respected authority on Far Eastern affairs. He was the son of Paul Myron Wentworth Linebarger, a retired American judge who helped finance the Chinese revolution of 1911 and became the legal advisor to Sun Yat-sen. It was Sun himself who gave young Paul his Chinese name Lin Bah Loh, or “Forest of Incandescent Bliss.” (His father had been dubbed Lin Bah Kuh, or “Forest of 1,000 Victories.”) In time, the younger Linebarger became the confidant of Chiang Kai-shek, and, like his father, wrote about China. Still later, he was in demand at the Department of Asiatic Politics at Johns Hopkins University, where he shared his own expertise with members of the diplomatic corps. And that isn’t counting his years as an operative in China during World War II, or as a “visitor to small wars” thereafter, from which he became perhaps the world’s leading authority on psychological warfare.

    He wrote *the* book on psychological warfare—under his own name, as with all his non-fiction. But he was very shy about his fiction. He wrote two novels, Ria and Carola, both unusual due to their female protagonists and international settings, under the name Felix C. Forrest, a play on his Chinese name. But when people found out who “Forrest” was, he couldn’t write any more. He tried a spy thriller, Atomsk, as Carmichael Smith, but was found out again. He even submitted a manuscript for another novel under his wife’s name, but nobody was fooled. Although Linebarger wrote at least partial drafts of several other novels, he was never able to interest publishers, and it appears he never really tried that hard. He might have had a distinguished, if minor, career as a novelist—it is an odd coincidence that Herma Briffault, widow of Robert Briffault, to whose novels of European politics Frederik Pohl would later compare Ria and Carola, had in fact read Carola in manuscript; only she compared it to the work of Jean Paul Sartre!

    It is important to understand some crucial facts about his life that have previously been overlooked: for example, although he was a devout Episcopalian late in life, he was only a nominal Methodist (his father’s church) at the time he wrote “Scanners Live in Vain.” He originally joined the Episcopal Church as a compromise with his second wife, who was raised as a Catholic. Only about 1960 did he become a believer in any deep sense, and only then did the religious imagery and Christian message become strong in his SF works. The change in spiritual orientation that marks his later work is thus a genuine change, not merely a change of emphasis. There are also all kinds of details about the life of Paul M. A. Linebarger, his family and friends, that bear on his work—as we shall see when Elms’ researches bear fruit.

    The strictly literary history, however, is fascinating in itself. In spite of such major gaps as the loss of Linebarger’s main notebook for the Instrumentality saga in 1965, and the apparent disappearance of the dictabelts on which his widow recalled that he had recorded notes for or even drafts of stories never committed to paper, it is possible to reconstruct a lot of this literary history from Linebarger’s literary papers, now at the University of Kansas (although some, including more juvenilia, and such oddities as an early poem titled “An Ode to My Buick,” mistakenly ended up at the Hoover Institution at Stanford, the repository for papers relating to his military, diplomatic, and scholarly career). Among these literary papers are any number of variant (mostly partial) manuscripts for stories already familiar to us, false starts for stories never completed, notebooks with ideas for stories never written, and miscellaneous correspondence.

    The story of the Instrumentality saga has been told before: the Ancient Wars, the Dark Age, the renaissance of humanity in the time of the scanners, the romantic age of exploration by sailship, the discoveries of planoforming and stroon that bind together the myriad worlds and usher in a bland Utopia of ease and plenty, the twin revolutions of the underpeople’s Holy Insurgency and the Instrumentality’s Rediscovery of Man. The stories in this volume tell it all better than any summary can. Smith had it all worked out, of course; he even offered to supply a chronology for You Will Never Be the Same, which would undoubtedly have been far superior to the one I supplied for The Best of Cordwainer Smith for Del Rey Books. But the saga was never conceived as a seamless whole, however much Linebarger worked to develop the overall framework that would embrace both his original conception and his later one.

    One may also not that at least the name of “Instrumentality of Mankind” was used in Anno’s “Evangelion” as the name of a project to re-fuse humankind with its Gods (which are essentially Gilgameshian). Material enough for another article.

    • Replies: @idrankwhat
  7. Does Zendaya have to use relaxer on her hair?

    Does this version of Baron Harkonen have adolescent male concubines?

    I always liked the manatee guild navigators. These not so much.

    • Replies: @Director95
  8. Realist says:

    Excellent analysis and observations.

  9. @Emil Nikola Richard

    I think that is a big Yes to your first question. Not hard to find photo of her in full Afro Sheboon. Her father is Kazembe Adaju – from Zimbabwe. He is an entertainer and adopted an Anglo-Saxon stage name. Anthony Anderson. You will see both these knuckleheads in the next BLM rally.

  10. Aside from the token niggers that make no sense whatever, it was a pretty good attempt. I enjoyed it almost as Children of Dune.

  11. Ray P says:
    @El Dato

    Are they Bene Tleilax?

    In Frank Herbert’s later sequels, set thousands of years further on, the Tleilaxu are revealed to be Sufi: a well-known mystical sect of Islam. Herbert said that his own ‘religious’ views were Zen Buddhist.

    In the Dune books it is the mentats who are explicitly human computers not everyone. Paul was trained in mentat thinking along with Bene Gesserit school techniques (e.g. the Voice) making him a kind of Swiss Army Knife multi-talented superhuman when combined with his prescience.

    DuneWorld was originally published in serialized form within Analog sf magazine. Its infamous editor, John W. Campbell, was a believer in the untapped hidden powers of the human mind (scientifically understood as Psionics) which included esp and telepathy and possibly telekinesis and more. He backed L. Ron Hubbard and published his original Dianetics non-fictional articles on the new science of the mind which claimed that people could realize their inner mental potential by expunging engrams (repressive memories of trauma in past lives) and become Clears which would lead to genius and perfect recall and other enhanced mental and physical abilities. Herbert was likely drawing on his editor’s prejudices. The absence of robotics and ai could have been a take that issued at Isaac Asimov who was another protege of Campbell and who thought psychic powers were unscientific nonsense against his editor’s firm conviction.

  12. Wokechoke says:

    No one mentioned it but Paul is similar in his early life story to William the Bastard. Heir to a Dukedom that various other people would take off him. Leads a crusade under a papal banner and sacks AngloSaxon England. Dies miserable and hated by the court and people he rules.

  13. Frank Herbert’s Dune came out in the same decade as Gene Roddenberry’s original Star Trek series. From hindsight Herbert’s Enlightenment-rejecting view of “the future” has actually started to look more plausible than Roddenberry’s postwar liberal-progressive utopianism.

    Given what we know now about Arthur C. Clarke’s sexuality, and the real reason he moved to Sri Lanka, I have to wonder if science fiction’s insiders in the early 1960’s knew about Clarke’s preference for buggering brown boys. Perhaps Herbert heard the rumors, and he dropped a hint about Clarke’s degeneracy in his portrayal of the Baron Harkonnen.

    • Replies: @Ray P
  14. @KenR

    I have a big fan of SF, but Dune (the books and the movies) were not that great for me.

    There is so much out there that is much much better–here are some books if anyone wants to try some of them:

    Any of these for starters– https://en.wikipedia.org/wiki/Culture_series

    Anything by Philip K. Dick–two classics for starters:

    Anything by Robert Charles Wilson–one to start:

  15. Rahan says:

    It’s a real film, not a Marvel farce with ham-handed cues to tell young boys when to laugh or feel forced emotions.

    Aaaaalmost. There’s still too many “vibrating effects” to show that something powerful is happening, and too many soaring choral gibberish moments to show that drama is taking place.

    I was prepared to accept that this is focus-group obsessed beancounters meddling with the director, but then re-watched his earlier films. Nah, it’s him. He’ll cram violins into any moment of alleged drama, and he’ll turn it up to 11 every time. Maybe that’s why Hollywood “accepts his vision”.

  16. Sorry, don’t watch remakes (except for The Texas Chainsaw Massacre, which is the only remake superior to the original). Especially when blacks play characters meant to be white (blacks playing Vikings? You gotta be kidding me!), or vice versa….or heterosexuals becoming trannies, that sorta thing. In other words, I won’t waste my time watching or paying for most of today’s movies! Down with “woke”!

    • Agree: Realist
  17. El Dato says:
    @Justvisiting

    Anything PKD is always welcome.

    • Agree: Mustapha Mond
  18. Ray P says:
    @advancedatheist

    No idea about Herbert but Colonel Pyat, the antihero protagonist and autobiographical narrator of the Between the Wars tetralogy (Byzantium Endures, The Laughter of Carthage, Jerusalem Commands, The Vengeance of Rome) by Michael Moorcock, former New Worlds sf magazine editor and Elric creator, who knew Clarke, said he based the Czarist imperialist Pyat on Clarke partly because he would regularly plaintively moan to anyone in earshot that he’d invented the communication satellite and never got a penny for it. Pyat was also a Lolita-obsessed paedophile who ended up working as a transvestite in the Third Reich.

  19. I saw the film. My son treated me so who was I to say no. Well, having also seen the 80s Lynch version, all I can say is that its “OK”. The people falling all over themselves about this are projecting their hopes onto something that is good but in no way is great. I read the story in the late 70s and never thought it would be possible to film but several have tried and its all been hit or miss. I have to give them credit for having at least tried. To be honest its simply too big of a story to do it justice with a couple of movies. Several seasons on TV where the characters and story can be fleshed out would have been better. Think The Expanse. And don’t get me started on the Zendaya girl. She comes across as an American teen and annoyed the hell out of me. It can only get worse. Should have found some foreign beauty with a lovely accent. It couldn’t have been that hard. Shame on you Denis.

    • Agree: Ukraine Tiger
  20. One of the greatest films about racial tension in the USA is “A Soldier’s Story”. A must see.

    • Replies: @The Anti-Gnostic
  21. As a devotee to the Dune trilogy I can say that this latest attempt at a Dune flick is a catastrophic failure. Wokeness has struck again.

  22. I am a filmmaker from India, and I have learnt so much from the American English and the occasional German and French movies. Metropolis, 2001, Blade runner, Alien…the list is endless. This movie belongs on that list. But then I’ve always believed in the auteur theory- the director creates the film, no one else and Denis Villeneuve proves it. All his films are exceptional, watch his entire filmography.

    My favorite filmmaker, the greatest ever is Stanley Kubrick. Below him, a few notches is Ridley Scott(who I prefer over Spielberg sentimentality). Then amongst the newer generation there are 4: Quentin Tarantino, PT Anderson, Chris Nolan and Denis Villeanueve. They all still shoot on film and are the last bastion of artistic integrity in a system(Hollywood) that has gone haywire in the past 20 years.

    Anyone here read the Mars Trilogy (Kim Stanley Robinson)?Why hasnt that been adapted yet? The mars obsession is at an all time high.

  23. SafeNow says:

    Good review, thank you, but I so much miss Roger Ebert. As the old saying goes, men comb the horizon for a successor, but his class was extinguished with him. I purchased the hardcopy compilations of all of Ebert’s reviews, and read or skimmed almost every review. Now I am pretty good at understanding what is good in a movie, what is bad, and what the movie is about.

    • Replies: @Realist
  24. I am also a huge scifi fan. Have you read the english author John Wyndham? Severely underrated.

    My list of the top 10 greatest scifi movies of all time:

    1. 2001 A Space Odyssey
    2. Metropolis
    3. Blade Runner
    4. Alien
    5. The Matrix
    6. Jurassic Park
    7. The Empire Strikes back
    8. The Thing(1982)
    9. The Terminator
    10. Planet of the apes(1968)
    11. The fly
    12. Aliens

    Hon mentions: Solaris(1973), Star wars a new hope, Terminator 2, Annhilation, Predator.

    • Replies: @Mike Tre
    , @Hacienda
    , @Mehen
  25. The casting in the remake seems uniformly inferior to the original; for example compare Sean Young to her successor in the remake. There is one exception though; the luminous Rebecca Ferguson compares well with the original Francesca Annis. Thanks, but I’ll pass on the remake.

  26. Hegar says:

    An excellent review by Gregory. I would just add a few things, mostly about the novels:

    -I read the novels long ago, and they are extremely wooden. Not recommended, other than for nerds who can’t recognize a good story but will instead obsessively tell you about the details in the rubble. “The sand worms create the spice!”

    -The author is incapable of understanding grand scales – he describes an empire of THOUSANDS OF WORLDS as if every planet was a town. So every planet only has that one small living area for the nobility to rule over, and no variation, like a real planet would have. There is no reason why planets would trade with each other – what, send metal across the ENORMOUS distances of space, when every planet will have anything it could possible need? It’s ridiculous. The only thing you’d actually trade is Spice, because it can only be found on one planet.

    -Herbert’s inability to understand scale is also seen in the Fremen conquering thousands of worlds, in a war that kills 61 billion. These people come from just a single planet. “Oh, but they control the spice!” So what? The scale is like Kuwait conquering all of Earth because they own the oil. As if everyone else couldn’t just swamp them and take it. And even if they manage to keep all the oil/spice, how do you use that to conquer everyone else? There is maybe one Fremen to every 10,000 other soldiers. And that’s being generous.

    -In the movie, there are Blacks. You don’t find them in the novels. How would Blacks remain in White society after 10,000 years? It’s laughable. It’s completely unstable in any society to have different races, and they’d either be defeated or they’d slowly mix with the Whites, like what happened to Whites the Middle East and India, creating Arabs, Persians and Indians.

    -Then again, in the sketchy sequels (more an outline of a story, as someone described them) written by Herbert’s son and an aide, there are Jews. Who are still “poisecuted” and just try to find a safe home for themselves. A group of Jews travel around with those who are the main characters for the latter sequels, until they finally find a place to settle.

    • Replies: @InnerCynic
  27. Dumbo says:
    @KenR

    It is typical of movie reviewers at this site (or perhaps in general) to look at a movie only from their own political prejudices and search for ideological things that perhaps aren’t even there, while forgetting the real aspects about the film production, its technique and how it was made.

    I haven’t seen the new Dune, nor have much interest in it, having seen very bland or even bad films by the same director. Also, I don’t like that actor much.

  28. Anonymous[661] • Disclaimer says:

    As immutable as a law of physics that many sci-fi novels are first-rate ideas executed by second-rate authors which are followed by third rate movies.

    • Replies: @Sollipsist
  29. Realist says:
    @SafeNow

    Now I am pretty good at understanding what is good in a movie, what is bad, and what the movie is about.

    You have to have someone else tell you whether to like a movie or not??? WTF

    • Replies: @SafeNow
  30. This all sounds like a very complicated plot.

    Can a normal person follow all this??

  31. Mike Tre says:
    @RJ Macready

    Your top ten list is 12 movies long. “The Fly” – the original with Vincent Price or the remake with Jeff Goldblum?

    The Matrix is good but many of the plot devices and specifically the catalyzing red pill/blue theme of consciousness are ripped off from the excellent sci fi movie Total Recall by Paul Verhoeven (whom you leave off your great director list along with James Cameron, interestingly) I would dump Jurassic Park – the visuals were like nothing else up to that time but the casting was bad and none of the actors really captured the essence of their characters as compared to the book. Spielberg also made it way too “kid friendly” and as is often the case the two kids in the movie are extremely annoying. Crichton himself was said to have walked out of the screening before it had finished – as well as PotA (the entire PotA genre is shameless negrophilia; all of it is trash, go with Soylent Green or The Omega Man if you want sci-fi Heston) and replace them with Interstellar and Inception by Christopher Nolan.

    Other classic sci-fi movies are Flash Gordon, They Live, The Time Machine, Close Encounters of the Third Kind, Journey to the Center of the Earth, The Last Starfighter, Kaufman’s Invasion of the Body Snatchers (I actually like this make was the best), Westworld, and for ultimate space campiness: The Ice Pirates.

    • Agree: Mehen
    • Replies: @RJ Macready
  32. @KenR

    This analysis is fixated and over-delighted on identity issues and political allegory. Taken on its own, however, Dune sucks. What a boring, turgid film, in fact.

    I never was into films for reasons such as that and many more, so it doesn’t surprise me that it sucks. The whole industry has sucked for a long time.

    Posting articles like this one when there are many more important thing to attend to suggests that maybe the time spent on this site is wasted. I used to feel that the UR had a touch of class…

    • Agree: Maddaugh
    • Replies: @Mike Tre
  33. Maddaugh says:

    Dune is about great issues, so both progressives and conservatives can justify their own interpretations — the mark of a great work.

    HUH ??

    Well I have not seen the movie and no amount of gushing blather is going to induce me into the cinema. Where Hollywood trash is concerned the \$15 ticket plus another \$20 + for junk food is better served in my pocket than in the coffers of someone whose name ends with “berg” or “stein”.

    When I want to avail myself on “great issues” I will head to the library to read the works of the great masters and writers.

    Besides, these days the pretty exteriors and pansy interiors of most of the youth and woke adults are unable to deal with the setbacks, difficulties and hardships of daily life. I doubt the cast of these young fresh faced and clean well dressed “heroes” would last more than three days in an SHTF or any similar life and death scenario.

    Hopefully, wherever they are, there will be crayons, colouring books (and safe spaces LOL) so that they will not be stressed out. As for me, if I ever find myself in the desert and see a Dune, I would take such a rare opportunity to take a dump.

    No doubt my life will be a ruin and I will be less cultured and possibly even unable to go on if I dont see the show. I will miss out completely not being aware of the great issues both progressive and conservative but somehow or the other I will pick myself up and move on. Wait, I already have . LMAO

  34. “the boy who would be Emperor learning the deep wisdom of indigenous people about the environment, spirituality, and love”

    The only people peddling that shite are Jews (for their own profits and power) and the American Negros (for their own jive) but nobody else gives a rat’s ass.

    • Agree: Che Guava
    • LOL: Maddaugh
    • Replies: @Maddaugh
    , @The_MasterWang
  35. Che Guava says:

    I doubt that I will be seeing this abomination.

    The Lynch take, the extended cut he and Trevor don’t like, and the 00s version were fine.

    Why watch a version where, just for starters, Paul is played by a Jewish man with a ridiculous name IRL, and Liet Kynes is morphed into the sistah soljah strugglin’ fo justiss?

    The theme of human development in Herbert’s books (at least the first four or five, the last two are abject nonsense)is lost.

    • Replies: @John Johnson
    , @Olivia
  36. Too many darkies and half-breeds in the new version. And the actor who plays Paul looks and acts like a homosexual. Waste of money and time. No thanks.

    • Replies: @Maddaugh
  37. Mike Tre says:
    @Fart Blossom

    It is important to understand how all forms of media are being used by the ruling class to gaslight and subjugate the majority population. These reviews are helpful in that regard, but should be limited to that scope. Any slobbering over the greater artistic significance is not useful in the context of this magazine.

    But come on dude, your name is Fart Blossom. Perhaps the expectation of class is a bit out of reach for you! (I dig the name, btw)

    • Replies: @Anonymous
  38. Maddaugh says:
    @Mackie Messer

    “the boy who would be Emperor learning the deep wisdom of indigenous people about the environment, spirituality, and love”

    The only people peddling that shite are Jews (for their own profits and power) and the American Negros (for their own jive) but nobody else gives a rat’s ass.

    The deep wisdom of the indigenous people is worth learning. In following them we long for a simpler time when we lived in brush shelters, slept on the ground, took our dumps in a hole with the rest of the Tribe watching and had a leak against the nearest rock or tree.

    The Jews are merely trying to put us in touch with our inner Indian while the Negro wants us to be more centered with our white guilt. They both have their motives but it would be crass to lay them out here.

    YOU may not care about any of this. However Maddaugh can hardly wait for the time when I can live in the wilderness comforting myself with the Torah and reading Kendi and absorbing the deep philosophical wisdom of the Natives. How can striving to attain a greater spirituality as taught by these 3 noble peoples be shite ?

    • LOL: Mackie Messer
  39. Maddaugh says:
    @Jimmy le Blanc

    Dune is about great issues, so both progressives and conservatives can justify their own interpretations — the mark of a great work.

    Well Jimmy, you seem to be out of touch.

    This movie is about great issues especially the ones of today. Cant you see one of these is another Ju movie about darkies, half breeds and other fruity actors, of buggery, fellatio and lapping ? You have to look behind the scenes and read between the lines to see and appreciate the subtleties of our modern civilization. Hollywood is just keeping it real and there is something for progressives, conservatives, freaks and perverts.

    Its the mark of a great work !

    • LOL: Jimmy le Blanc
    • Replies: @Truth
  40. SafeNow says:
    @Realist

    Thanks for “WTF.” I really didn’t understand this issue until that clarified it for me.

  41. Hacienda says:
    @RJ Macready

    2001 was a terrific movie, but I enjoyed Avengers Infinity War more.

    Someone explain to me why G. Hood is not a pistachio almond Ben and Jerry’s ice cream cake.

  42. @El Dato

    Fascinating. Thanks for taking the time to write this.

  43. AReply says:

    Empire of Dune: Indigeneity, U.S. Power and a Science Fiction Classic — A Talk by Daniel Immerwahr

    Considers the structure of the Dune story from the perspective of Frank Herbert and his background as a Republican speech writer and his friendship with the Quileute Indians in NW Washington State.

    — Fair warning to meatheads, Immerwahr is a Jooooo, so raise your shields!

    If you enjoy the above talk, you’ll enjoy his presentations:

    How to Hide an Empire

    and

    Everything You Always Wanted to Know About Guano But Were Afraid to Ask

  44. @Che Guava

    I really enjoyed both versions.

    The Lynch version was compromised by producers and too many parts feel chopped. If he had been given full control it would have been amazing. It really should have been two movies.

    Without knowing the story the Lynch version is difficult to pick up in a single viewing.

    The new version is well done. Just all around excellent acting and the special effects don’t feel artificial. The problem I have with a lot of Star Wars type movies is that the CGI is 90% there at best and sticks out. I think they should have stuck with puppets until the CGI was solid.

    My only complaint is that the actor who plays Paul looks a bit young and immature for the part but he still does a good job.

    • Thanks: Che Guava
    • Replies: @Che Guava
  45. Mehen says:
    @RJ Macready

    I always thought S.T.A.L.K.E.R. was superior to Solaris.

    • Replies: @RJ Macready
  46. @Justvisiting

    As young sc-fi enthusiasts, PKD was someone who’s new works were always wildly welcomed by our small group of friends. A couple of these guys had the balls to drive down to Orange County (Yorba Linda, I believe) to his apartment and knock on his door unannounced and uninvited. He answered, they had a brief, very friendly chat at the door (no invite inside), and he autographed some of their books. Apparently, this happened more than a few times with PKD’s fans, showing what a great, down-to-Earth guy PKD was. (Unless, of course, they were bullshitting us, phonied-up the signatures, and lied through their teeth. Always possible with those guys. But I suspect they maybe were telling the truth given their insanely joyous attitudes when informing us of what they claim happened.)

    Unfortunately, I lost touch with almost all these guys over the years, but often wondered what those books would be worth now, if the signatures were in fact PKD’s.

    Over the years, I would describe my buddies to others as “Big Dick fans”, which always got some laughs, even from them.

    He was and is missed by those that know what a great and insightful author and social commentator he was.

    Thank you for reminding me about all that……. 🙂

    (I admit, I never got into Herbert/Dune, nor Tolkien/Ring. But PKD’s writing style drew me in like just about nobody else, aside from Burgess, who’s “A Clockwork Orange” and “The Wanting Seed” still blow my mind when I think about when they were written. Same for John Brunner with “Stand on Zanzibar” and “The Sheep Look Up”. Awesome writers with real style and prescience, all.)

    • Thanks: InnerCynic
  47. Corrupt says:
    @Justvisiting

    Gene Wolf has some great books too.

    • Replies: @GeologyAnonMk4
  48. @Anonymous

    Agree in general, but exceptions like Blade Runner can wreck the usual curve. Ridley Scott made a great movie that worked on its own terms.

    • Replies: @Justvisiting
  49. Mr. Hood, I would gladly pay you to write my obituary. Your review in parts are more detailed and inspiring than the movie. I had not noticed before the many parallels between you join together.

    Thanks a bunch.

  50. @Hegar

    When it dawned on me that Spice was worm shit I thought to myself. “Thats not something they highlight now is it!”

  51. @Sollipsist

    There have been a large number of movies based on PKD books and short stories but there is just one scene in Total Recall (original version) that captured the true spirit of PKD perfectly:

    This is exactly what all of us face today–how do you tell when the authority figures are lying and when they are telling the truth?

    It is the little things that give them away!

    • Replies: @Sollipsist
  52. Olivia says:
    @Che Guava

    So you prefer to see for example Ben Hur where Jewish folks incl Jesus etc are played by white Christian folks ??? Or Moses played by an American actor and all the Egyptians are white incl the pharaoh etc And why exhibit unnecessary racism ? Your mind is unable to handle a black women ??

    But I guess your type prefer John Wayne films where the genocide of the natives is marketable and better than the reality ?

    • Replies: @Che Guava
  53. Truth says:
    @Maddaugh

    Cant you see one of these is another Ju movie about darkies, half breeds and other fruity actors, of buggery, fellatio and lapping ?

    Or, as it’s known in West Hollywood, Saturday night at the Maddaugh residence…

  54. @Mike Tre

    Interesting comment Mike. I’ll respond in points.

    – Yeah I couldn’t help myself by adding two more and making it a top 12. Come to think of it I should’ve made a top 15 list instead.

    – The Jeff Goldblum one which I love for its atmosphere. The city of Toronto is a character in itself. I have yet to see the original.

    – I love Total Recall but not so much as to include it in the top 15. Maybe top 25. I much prefer Starship Troopers which was an excellent satire that failed at the box office for unknown reasons.

    – My favorite directors list includes filmmakers of all genres(hence PT Anderson). I dont think Verhoevan, as good as he is(I even like Hollow Man) belongs there. As for Cameron- he was one of my first inspirations but I think hes not there because he only makes scifi movies and so few at that. Avatar wasnt even all that, and now all he wants to make are avatar sequels. I prefer The Terminator and The abyss over his blockbuster fare. But yeah…hes not on the best directors list for the reason he works only in one genre and his output quality has deteriorated.

    – I agree with your assessment of Jurasic Park but for me it is dear for nostalgic reasons. My happiest years- the early 90s were formed around such movies. It also had a huge influence on special effects. Objectively I agree with you….Jurassic Park would be in the 20-30 range on the top 50 scifi movies list not top 10.

    – Intereting comment about Planet of the apes. I usually am on a lookout for woke bullshit(which is all too common in todays cinema) but what is necrophilia in POTA? Unless you mean the chimps themselves but I saw that as simply a plot device and nothing to do with human sociology. I also love it for its pacing and atmosphere. Soylent Green is amazing though I need to see it again.

    – I’ve seen and liked most of the other films you listed. They live is amazing as is invasion of the body snatchers. Close encounters I found sappy. Curious if you thought spielberg was sentimental in Jurassic park how was he not in ET? ET is more sappy and sentimental imo. It is also the reason John Carpentars The Thing flopped at the BO in 1982.

    – I’ve seen most scifi movies out there and havent listed them…Spielberg has made good ones- Minority Report and War of the worlds. So many indie greats like Moon(2009). Cant list them all here.

    • Replies: @Mike Tre
  55. @Mehen

    I like them both but slightly prefer Solaris. Stalker is also a great film indeed.

  56. I first read Heretics Of Dune, found it awful, was masochistic enough to read Chapter House On Dune – in my defence I was a teenager then – and couldn’t make it past the first fifty pages of the original Dune. I wouldn’t watch this flick to save my life.

    • Replies: @Che Guava
  57. @Mackie Messer

    That boy later compares himself to Hitler and laments that there’s a galaxy-wide wild jihad butchering billions in his name and he can’t stop it. What kind of Jews peddle this shite?

    • Replies: @Mackie Messer
    , @Che Guava
  58. Mike Tre says:
    @RJ Macready

    Thanks for the reply.

    I’ll just clarify the difference between something like ET and Jurassic Park. ET was supposed to be and is a kids/family movie, so it works. The Explorers, The Goonies, Stand by Me, The Sandlot – these are movies that work well because they are written as kids movies. Jurassic Park was not supposed to be. Like all of Crichton’s work, the book was a mature and at times dark and graphic story. Spielberg made the mistake* of altering the mood of the story so he could sell more tickets to children. Lucas did it with his prequels. Cameron did it, but less annoyingly with T2. Lots of directors/screenplay writers insert very annoying child characters into an otherwise adult story and it rarely works as intended. The child characters are at best a distraction from the story.

    *The mistake being a bad movie; It made a ton of money and sadly that was the priority.

    • Agree: Mehen, RJ Macready
  59. Che Guava says:
    @Fiendly Neighbourhood Terrorist

    Agreed, those were pretty poor books. From my reading, this movie seems to cover just half of the original novel.

    The earlier ones from the two you cite are pretty good, it is a joke to call them science fiction, space opera or space fantasy is correct, but as all of the best such, they really do play with more real human motives and behaviours in a fantasy context.

    Sincere Merry Christmas to thee and thine.

  60. Che Guava says:
    @The_MasterWang

    Herbert was rejected by the Jewish clique that already controlled science fiction and fantasy writing in the U.S.A. at the time.

    His first edition of Dune was published by a company specialising in road maps and guides. Its runaway success attracted the parasites.

  61. Che Guava says:
    @Olivia

    The opposite seems to be the case, Scorcese is a master of it, casting Dicaprio as the white-collar criminal in The Wolf of Wall Street, having the only Jewish characters in Goodfellas as Henry Hill’s accomplice wife, and their Jewish wedding. She betrays him. It is based on a true story, IRL she doubtless had her own conduits for the ill-gained loot, but the movie touches neither that nor her role in the case, retention of major profits on crime, and likely encouragement of Hill on a path that his Italian associates would not have approved. One has to read between the lines, unfortnately and intentionally, it is designed so that the average viewer won’t notice and think it through.

    Of course, there’s also Laurie, the inoccent wig man.

    More recently was the hagiogra
    phic depiction of the evil and Jewish supremacist Ruth Bader Ginsberg, someone who actually looked like her would make her actions look absolutely as they were, against the people of the land that gave her so much, so they cast a pretty shiksa who doesn’t remotely resemble her, as her.

    Countless similar examples.

  62. @Justvisiting

    Good observation! Even with all its 80s Hollywood OTT elements, Total Recall had more moments of faithful PKD than many of the supposedly “darker” later adaptations.

    In a perfect world, PKD would have been involved in They Live. I guess the Ray Nelson connection is as close as we get.

  63. Che Guava says:
    @John Johnson

    BTW, last time I looked, a good fan-edited extended edition was still up on u-tub.

  64. @Justvisiting

    PKD’s juvenile compulsion to always shoe horn in a twist made him almost unreadable for me.

    Herbert’s Mentor, boat partner, and long time friend Jack Vance is the real underrated master of the Golden Age of sci-fi to me, both for his originality, and truly unique literary style. The Dying Earth and the Demon Princes are both just fantastic reads.

    • Replies: @Justvisiting
  65. @Corrupt

    Agreed. The Severian trilogy is a masterpiece. And I’ve never felt more mind-fucked by a book in the first 20 pages than I was by “There Are Doors”, definitely the most mind-bending novel I have ever come across.

  66. @GeologyAnonMk4

    Jack Vance was a wonderful writer–no doubt.

    PKD was not as skilled as a technical writer–but PKD had more original ideas in one short story than most people have in their lifetimes.

    Vance brilliantly described worlds.

    PKD created whole realities.

  67. Anonymous[334] • Disclaimer says:
    @Mike Tre

    The fact that a guy named “Fart Blossom” is lamenting the deterioration of “class” in any context is a meme waiting to be granted its 15 minutes of fame…

  68. W says:
    @El Dato

    But where are the Jews in the first two books..

    Face Dancers.

  69. The above link had been given on another thread about Gislaine Maxwell and Epstein. Since it is a very good text and as relevant to this very thread about an Hollyweird movie:

    Good reading

    https://deets.feedreader.com/secretsun.blogspot.com/

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