A scheming quest for power. A strategic marriage to strengthen ties. Passion. Deceit. Unexpected deaths.

This isn’t the latest installment of HBO’s “Game of Thrones,” but rather a television adaptation of Denis Villeneuve’s “Dune” saga.

“Dune: Prophecy,” set to debut this Sunday at 9 EST/PST and streaming on Max, spans six episodes and serves as a prequel set a staggering 10,000 years before the beloved films and Frank Herbert’s classic novel. If the films echo an excitement akin to “Star Wars,” this show feels more aligned with “Thrones,” featuring intricate political maneuvers amongst a vast array of morally ambiguous characters in diverse locales, complete with graphic scenes − a departure from the more family-friendly tone of the films.

Alison Schapker, the showrunner, states that HBO executives didn’t mandate the series to maintain a family-friendly label or to cater to a broad range of viewers.

“We felt encouraged to dive deep into complexity, explore mature themes, and inhabit a space that HBO has defined for more adult narratives, akin to what is typically rated R in cinema. ‘Dune’ truly provides an opportunity to tackle serious subjects,” she explained.

Set more than a hundred years after a war against sentient machines that resulted in a ban on AI, “Prophecy” unveils the hidden machinations of the Bene Gesserit, a clandestine society of women who secretly guide galactic events.

Central to the narrative are Valya Harkonnen (Emily Watson) and her sister Tula Harkonnen (Olivia Williams), leaders of the Sisterhood − the group that evolves into the Bene Gesserit. Their stories unfold across two distinct time frames, separated by three decades.

Chloe Lea, portraying a young Sisterhood student named Lila, remarks, “The series demystifies the so-called witches that the movies focus on. What really defines these enigmatic figures? Why do they possess such knowledge, and what gives them an aura of power? The show adds depth to these characters, portraying them as multi-dimensional individuals rather than mere objects of dread.”

Boussnina observes, “Facing such situations while maintaining the expectations of royalty and concealing your true emotions is a challenge our characters endure.”

Watson and Williams visited London’s National Portrait Gallery to observe portraits of influential women such as Queen Elizabeth I and Mary, Queen of Scots. This experience led Williams to ponder, “As a woman, what do you have to demonstrate to be taken seriously by men? Even two millennia later, there’s still unease among men about women forming connections,” she adds.

Joining the diverse cast are characters like Keiran Atreides (Chris Mason), a predecessor of Paul Atreides; the emperor’s wife, Natalya (Jodhi May); and Desmond Hart (Travis Fimmel), an enigmatic soldier harboring an astonishing secret about a voyage to Arrakis. Fimmel finds Desmond’s unclear history and intentions intriguing, stating, “It’s always more satisfying for an actor to keep the audience guessing.”

Notably, “Prophecy” highlights a female-dominated ensemble, with some scenes featuring only women and no men. Lea expresses that starring in a series with so many strong female figures feels “unfortunately rare.”

“It’s a true honor, though it shouldn’t be, to partake in a project that proudly showcases women in leadership roles. We need more narratives like this that explore women’s connections not centered around men.”