pieced the lyrics together from excerpts of the Fremen language that appear throughout the Dune series of novels, and that the title translates as "She is Eternal". However, the lyrics are in fact an alteration of text published in Dune Encyclopedia (1984), a companion book not written by Herbert. Reception Laura Fries of Variety cited the complexity of Herbert's novels and called the adaptation "decidedly more accessible—even if that means more soaplike". Melanie McFarland of the Seattle Post-Intelligencer called the miniseries "exciting to watch", adding that "common couch potatoes will delight in the show's dark operatics, especially when cloaked in exquisite special effects" and that "Herbert devotees should be pleased with the outcome". McFarland noted that, though complex, "Children of Dune doesn't feel weighed down by its ponderous story line, where its predecessor did". Ron Wertheimer of The New York Times, however, wrote, "Subtlety? Nuance? No and no. The plot ... doesn't always make sense. The film ... unfolds more as a pageant than as a coherent narrative." Emmet Asher-Perrin of Tor.com wrote that "there are ways in which this sequel series outstrips the initial series entirely." She praised the "clever changes" made to the plot, in particular the removal of Irulan from the conspiracy against Paul, and the expansion of Wensicia's role. But Asher-Perrin also criticized the first installment, blaming the lack of plot and difficult-to-adapt themes in Dune Messiah. According to Fries, "it’s Susan Sarandon and Alice Krige who steal the thunder as opposing matriarchs of the great royal houses. Although the two never catfight, their ongoing struggle to rule the Dune dynasty gives this mini a real kick." Observing that Sarandon and Krige were "clearly relishing their roles", Fries added that "Sarandon makes a formidable enemy, while Krige, traditionally cast as the villain, proves she can work both sides of the moral fence." McFarland concurred, writing "[Sarandon's] princess may be the villain, cooking up deadly schemes, but we're right along with her in having a good time." Stating that the acting "is at best utilitarian, the universally attractive performers embody attributes, not people", Wertheimer added: While Fries continues that "the mini picks up a great deal of charisma when McAvoy and Brooks come aboard as the next generation of the house of Atreides" and that "Amavia and Cox as the tortured Alia and the put-upon Irulan offer layered performances", she also adds that "Newman, as the sour