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#reverend mother mohiam
sequenceofmind · 21 days
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quite the line-up
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thecoffeelorian · 2 months
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dune-gifs · 2 months
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"You must do everything the Reverend Mother tells you."
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gotham-at-nightfall · 2 months
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House Atreides of Caladan
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House Atreides of Arrakis
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House Harkonnen of Geidi Prime
By Matt Rhodes
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prickly-paprikash · 1 month
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One of my favorite things about Denis Villeneuve's style is how utterly masterful he is at subtle storytelling. Using the visuals to tell a tale that, even when you don't figure it out explicitly, one feels it immediately.
In Dune Part 1, my favorite form of this is at the very beginning when the Herald of the Change arrives to formalize the transition of Arrakis' ownership from the Harkonnens to the Atreides. The procession is full of pomp and posturing, with the Herald speaking in this loud, bombastic voice just to announce what is already a given, and Leto responds with his own spectacle—the armies of Atreides, chanting as one. It's all a show, since at this point House Atreides has been commanded by the Emperor. The contract is a legal formality; the costly procession on Caladan was (un)necessary showmanship. In the books, showing off the illusion of power and authority is vital in maintaining this cruel, unyielding power system, and without bringing mention of it, the film shows this off too. Then, once the Duke has sealed the form with his signet ring, everything just... drops.
Leto looks at the Herald in the eye, and asks, "So, it's done?"
And just as Leto replied to the grandiose display of the Emperor, the Herald now replies with the levity the situation truly deserves.
"It's done."
Both the Herald and the Duke know what this truly is. It's not a reward. It's not a show of love. The Herald, at this moment, is looking at a dead man walking. Millions of their currency sunk into this process, barely five minutes in total, and all to simply declare it all "done."
You can even feel a sense of satisfaction from the Herald.
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The Emperor, in his paranoia and envy, guided the hand of the Atreides into a trap. And the Atreides know it is their doom, but they have no choice. They are popular and loved by the Great Houses, but they are bound by honor. And bound by might.
And all of this, narrowed down into one brilliant scene.
Once again, this subtle, visual storytelling is in full display in Part 2, and my favorite by far happens on Giedi Prime.
The Bene Gesserit Sister, Lady Margot Fenring (who is also a Lady of her own House in the books), watches on as one of their prospects, Na-Baron Feyd-Rautha engages in ritual combat for his birthday. Afterwards, in a hallway lit by only the fireworks outside, she stalks the Harkonnen heir, and Feyd catches on immediately.
Here's the thing: barring other Sisters of the Bene Gesserit, Paul Atreides, and some very gifted Mentat Assassins—you will never know if a Sister of the Order is stalking you. From the beginning, she had wanted to be caught by him. A lure. A tantalizing bait, perfectly designed to entrap the feral Feyd.
And he sinks in immediately.
Here is where my favorite visual storytelling comes into play.
In the hallway, we begin with a fully covered Margot. She is veiled completely in shadow, with the oil fireworks illuminating only her visage.
Next, Feyd strikes and holds his blade to her neck, revealing her face. But only her face.
Slowly, the scene shows off little by little her skin. In the hall, I believe the most we see is her throat, and I could be mistaken. The light flashes erratically, and we see her the way Feyd must see her.
In the shadows, a threat. In the brief sparks of light, a curiosity.
And when Margot confuses him, leading him to the Guest Wing where she stays, the light fully shows her off. She's still in formal clothing, but now we see her dress. It reveals a plunging neckline that barely shows off the top of her chest. Her top is sleeveless, showing off her shoulders and the soft musculature of her arms. In the dark, we could clearly see her wearing a veil that covered her body.
And the light mimics her, stripping away and revealing something beautiful. Irresistible, especially to Feyd, who despite his high intelligence and skill, is just as brutal and animalistic as his uncle and brother. All three so easily give in to their vice, and Feyd is no different.
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He is allured by her. He lusts after her.
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And all this without a word hinting towards sex in their entire shared dialogue.
Just the use of light, shadow, and body to tell a story.
Afterwards, Margot speaks to the Reverend Mother and Princess Irulan, revealing that she has secured a child from Feyd in her womb, which again without saying anything specific immediately shows that the Sisters have such power over their own bodies that they can ensure fertilization and have complete knowledge over their pregnancy. They even control what sex the child will be, as alluded to in Dune Part 1 when Jessica, out of the love she had for Leto and his desire for a son, rebelled against the Bene Gesserit's orders and sired a male.
Again, without info-dumping, we immediately understand that this religious order engages in Eugenics, and uses sex, fanaticism, and more to control the Great Houses.
Please watch Dune. Please read Dune.
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Reverend Mother Mohiam: We wouldn't be in this mess if Jessica had just done as she was told and had a daughter. Alia: 'Sup bitch. Reverend Mother Mohiam: I take that back. This is so much worse.
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the-gom-jabbar · 2 months
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The whole genetics project of the Bene Gesserit may have been dubbed a failure because Paul wasn't a girl but there was nothing stopping Paul and Feyd-Ruatha acting on that sexual tension they had in both book and film.
Paul could have taken Feyd as a third Consort. Just imagine Paul with his Empress Irulan and his wife Chani sitting at his side and Feyd just sprawled on the dais steps just wearing something scandalous like
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You were right Reverend Mother Gaius Helen Mohiam, wasted potential.
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more correct quotes
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ellestra · 2 months
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Paul Muad'Dib Usul
Dune Part 2 had more changes to the story than Part 1. It's not just omitting stuff for the sake of time but also changing the roles of many prominent characters. On one hand I understand why it feels like changing the story and characters. I felt it too watching - especially with Jessica and Chani becoming so different.
But on the other I feel it makes final message clearer. There are so many people who mistake this for a hero's story. This is why the white saviour phrase is so often thrown around. I feel like this version of the ending makes it very clear that is in not what Paul becomes.
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It makes it sadder too since we see him try to avoid this and just be part of his new home. But the weight of expectations of so many people leave very limited options - from the believers and Jessica to his old life and Gurney Halleck - they all push for what they want him to be so they can get their fight and their revenge. And none of them is interested in the cost. Just like Stilgar they see the opportunities to get what they want and ignore everything else (which really is so common in wars it's not surprising even 20 000 more years in the future nothing changes). So Paul is left with only two options - it's either swim with the current and keep some control over where it takes him or go against it and drown.
It is of course magnified by the other side doing all they can to stack the deck for themselves so it's either victory or annihilation. And trying to pull the rains out of the hands of forces controlling the universe is never not bloody.
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Reverend Mother Mohiam admits here directly that Bene Gesserit didn't just want a Kwisatz Haderach. They wanted one they could control. Just like they planted religions to control the populaces of countless worlds. But this kind of manipulation is easy to get out of hand when infighting happens and in the end not even chosen one can chose how it ends.
Even knowing the truth doesn't stop it. Even knowing what will happen doesn't stop it. Avalanche of history only stops at the bottom and you can only hope not to be one buried by it. But you can still judge those who started it.
The parts under the cut are bit more spoilery (about spice and controlling the universe)
So I don't necessarily disagree with the changes. Like I understand why Alia the way she is in books wouldn't really work. And I certainly get why they cut Count Fenrig. But there is one thing I wish they did leave - the Space Guild confrontation. Because this is missing important part of the message - the person who rules the Empire isn't the Emperor but the one who controls spice. Paul taking the title is just a formality.
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Spice has always been the clear metaphor for oil. Spice is what allows for space travel and without it world become stranded alone. People are literally addicted to it and its life prolonging properties. Who controls the Spice controls the universe. And the person who can destroy something controls it. And this means there is no stopping the jihad. No bombing Arrakis from space. No travel ban on Fremen from Spacing Guild.
This allows Paul to destroy the old balance of power. He controls it all but he only does it through fulfilling other people expectations of who he is. And that means he becomes figurehead of a holy war. Those who helped him win now awaiting their rewards in blood for all that was done to them.
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sand-realtor · 1 month
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thecoffeelorian · 2 months
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lucimiir · 1 month
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Reverend Mother Mohiam:
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gotham-at-nightfall · 2 months
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Baron Harkonnen negotiates with Reverend Mother Mohaim
Dune: The Official Graphic Novel
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cressida-jayoungr · 6 months
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One Dress a Day Challenge
October: Black Redux
Dune / Charlotte Rampling as Reverend Mother Gaius Helen Mohiam
A great example of costume as worldbuilding, the Reverend Mother's robes and headdress evoke tradition, mystery, and power. The robe is made of some heavy, rich material with a subtle pattern that is hard to see in the dim lighting of the scene. The tall headdress suggests high rank and also confers an air of authority, while the coarse net veil hides her features just enough to make her inscrutable. All in all, a very effective costume that contributes to making this scene very memorable.
To see all that gravitas turned into something completely silly, check out this video:
youtube
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twlvie · 1 year
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misery's a family business.
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