Dune 2: More Dune, AI, Inequality, Power-Seeking Behaviors, and You

Dune 2: More Dune Is Actually About AI and Economic Inequality

walk without rhythm and you won’t attract the worm

JS notes how characters in dune have two perspectives, and one perspective is: as if the characters are aware they are in a novel and are actively exploiting the novelization to achieve their goals. This reading is supported because of how the Missionaria Protectiva brainwashed entire planets into believing in eventualities they could control themselves. She who controls the thousands-year-old historical religious narrative controls the limbic system of a planet.

The structure of Dune 2: More Dune reminds me of the opening scenes of Whiplash oddly enough. Whiplash opens in medias res and just has scene after scene of intensity devoid of plot or character until the midpoint of the film. Dune 2: The Duneining also feels like a collection of scenes with almost no plot and no character development — Paul is directed so blandly one wonders if the melange is actually just supersaturated with SSRIs. There’s endless gen z “emotionless deadface” through the young cast which places more emphasis on actions than character. Almost every character building moment for the protagonists derives from the supporting cast being excessively emotional while the primary cast is, again, putting on their best SSRI gen z emotionless deadface impressions. Maybe they are all auditioning for the next Apple Vision Pro commercial.

Dune 2 director Dennis Villanova actually says he’s not a fan of dialog or speaking so he prefers to direct primarily towards visual and audio impact and less towards plot and character and setup/payoff story telling. It feels like Dune 2: The Sandy Squeakquel is lacking a complete through-line story. The movie is almost entirely disjointed scenes presented back-to-back as if the entire movie were just collections of 10 minute climax scenes assembled from a 22 episode season of full length episodes, but we’re missing all the connective tissue of story beats and highs and lows and wins and losses in the middle of all the clips peaking in intensity.

Due to the truncated storytelling, the ending had to be revamped into “we will nuke the planet to destroy the spice” instead of the more clever approach of releasing water of life floods to destroy all the worms, which couldn’t be used as a reason in this movie because it was never explained water kills the worms and the baby worms generate the spice, so the worms are the spice, so if you flood the desert, then you destroy the spice cycle, then the empire could no longer do near-immortality or non-catastrophic space travel.

When characters say they need to be on another planet in Scene N, immediately afterwards in Scene N+1 they are suddenly teleported to their immediately-previously-mentioned destination. Is there a magic wardrobe in the hallway we didn’t see? Is Ember screwing with us? It’s a perfect storytelling technique for people who want to just see more and more and more and more, but jumping from 10 minute climax to 10 minute climax elides the actual story itself as we’re being shown an establishing mythos without motivation besides get this sand out of all my holes i miss my gosh darn palace.

Though, one masterful representation is showing the Fremen as a truly primitive near-stone-age hunter-gatherer society. I don’t recall the other adaptations showing fremen in such quantity and lack of modern civilization. Ironically, I don’t think the “we need desert power” theme is ever directly stated as we’ve come to know it, but showing the scope of what “desert power” can provide was quite an improvement (where “desert power” means manipulating millions of people you don’t consider your equals into dying for you and your cause — real big CEO energy there). Other adaptations basically presented fremen as, yes, surviving in the desert, but they came across as almost suburban communities just camping for a while without the danger and lifetimes of primitive influences holding them in check. The Dune 2: Electric-Dunealoo fremen collectively have no education and are entirely manipulated by their local priest(es)hood for generations. They live in the sand with dirt floors and have no purpose in life except to struggle against their own existence until some situationally charismatic influencer appears and invigorates their collective culture-wide amygdala into action.

Humor of Evil

If you pay attention, you may notice writers often position humor as either an exclusive protagonist or exclusively antagonist character trait. Good examples springing to mind include the whole Marvel’s The Avengers (humor) vs. Thanos (serious), Adventure Time where only The Litch is deadpan serious never having any expression of levity while all other characters are goofballs, and here, in Dune 2: Join The Dune Cave, our protagonist twink is hyper serious/manipulative/sociopathic-to-outgroups/power-seeking while his peer antagonist in Feyd holds the antagonist humor plays (and is sociopathic to all, not just his out-group).

It is somewhat of a subversion to have the prime mover remain locked stoic while the competition retains the humor, but it plays out because, as we know, the prime mover of Dune 2: Evil Dune is not the good guy which he somewhat struggles against (don’t enter the desert or you will be conscripted into time’s river where you have no control over the destined death of billions; don’t take the water; don’t visit vesuivus fire of fire i’m insecure), yet he continues purely for his own survival. He had a chance to stop it. He could have unpeopled himself, but his fractured lateral-KH ability didn’t see any alternative if the prescient seekers were to be eventually stopped. Rock meets unmovable instrument of retrocausality enabled via familial CTC inspirational nudges.

go ahead and laugh yeah i’m a funny guy

I also asked yi:34b and he contributed:


  • “Harry Potter” series by J.K. Rowling - Harry Potter and his friends (protagonists) often engage in light-hearted banter and pranks, while Voldemort and his Death Eaters are portrayed as dark and menacing with little to no humor.
  • “The Lord of the Rings” by J.R.R. Tolkien - The Hobbits Frodo, Sam, Merry, and Pippin (protagonists) have moments of levity in their journey, while Sauron and his orcs are depicted as purely evil with no comedic relief.


  • “Romeo and Juliet” by William Shakespeare - Romeo and Juliet’s young love is contrasted with the serious and violent feuding of their families, the Capulets and Montagues.
  • “Macbeth” by William Shakespeare - Macbeth’s descent into madness and tyranny is juxtaposed with the comic relief provided by characters like the porter and the witches’ ambiguous humor.


  • “Beowulf” (Old English epic poem) - Beowulf, the hero, is a strong and noble warrior, while Grendel and his mother are terrifying monsters with no humor attributed to them.
  • “The Raven” by Edgar Allan Poe - The speaker’s grief-stricken state is contrasted with the seemingly mocking presence of the raven, which becomes a symbol of his despair.

Some of those may be a bit of a stretch though.

But What bout AI

We know Paul is burdened with a dark glorious purpose and he is slightly conflicted (because he says so, tell don’t show “but i don’t want to go to the southern water tribe, mommy!”) about if he should abandon his visions or embrace the inevitable. He is an unexpected player after all since Jessica defied her order thus derailing their thousands years of bloodline planning.

At no point is it expressed the royal family sees themselves as equal or partners to the planet’s inhabitants. They claim superiority, reinforced by pre-seeded brainwashing, and they demand their destiny be made manifest as they see fit. Everything becomes plays for unlimited power and manipulation in the service of the privileged family worldview: they alone must control the future of the universe and nobody can stop them — Dune 2: OpenDune, Dune is Nothing Without its Fremen

They pull off a full Life of Brian where some prophecy says the messiah will claim to not be the messiah, so the more you reject it, the more the seeded beliefs grow reinforced.

For the entire movie you could basically deepfake replace the junior atreides with any 30-something tech billionaire bro and it is just the story of our current timeline. Their destiny is their destiny. They are inevitable. They shall not be stopped. They are assembling global shadow governments answerable only to their own monetary resources and ambition. lead me to paradise, sammy.

Rabid belief in savior archtypes can only appear in unequal societies though. Inequality means there are upper classes and lower classes, stratified by our captain gini. The more inequality you have, the more you are likely to surrender to a savior to, literally, save you from your broken life and be led to an effortless better future. There are no saviors in the suburbs. Neighbors of suburbs aren’t pig butchering each other for survival — only the less privileged societies try to manipulate the more privileged societies with no regard for damage done because what have the lesser classes of an unequal planet got to lose?

anti-AI false contrarians are equivalent to the arguments young earth creationists use around “natural selection does not provide new information, it only uses information already existing, so natural selection cannot create anything new.”

Best Lines

Best lines in Dune 2: The Sand Awakens

  • uh, bruv, ya’ll know this planet is actually called Dune, right?
  • here wormy wormy wormy… here wormy wormy wormy
  • may thy knife be like really really sharp but not too sharp where you slice your finger then think you didn’t actually cut yourself because it’s not bleeding but only because the knife was too sharp and it’s actually a big wound taking a few seconds to open up
  • yeah, i spermjacked him just like you asked, mother
  • i want my mtv

or, in an alternate universe, we’d vote for everybody’s obvious favorites:

  • Dune
  • lead them to paradise
  • not only a line, but the choreography and intensity accompanying the final may thy knife chip and shatter
  • the entire scene of Feyd getting dressed of course
  • absolutely hilarious how they turned Chani into a militant atheist married to the literal messiah (though, they should have modernized the story and turned Chani into Shane or something). going to make for some awkward thanksgiving dinners.


482 free movie posters in genres of:

  • dune 2: more dune
  • sexy dune (with the nsfw filter disabled)
  • dune + halo
  • dune + evangelion: Dunegelion
  • dune + stargate: Dunegate (it even drew a DHD once lol)
  • dune + thundercats: Thunderdune
  • dune + sesame street: dune street (these are great, should have done more)
  • dune + star trek: dune trek
  • dune + star wars: dune wars
  • dune + dune: all the dunes

you made it to the end! good on you. vote for your favorite poster to win an all expenses paid trip to Dune! offer not valid on giedi prime or kaitain.

Bless the Maker and His water.

Bless the coming and going of Him.

May His passage cleanse the world.

May He keep the world for His people.