As Dune: Part Two storms through the box office and dazzles critics worldwide, a rather unsettling revelation has emerged from the Academy Awards voting process: at least four Oscar voters have admitted to not watching Denis Villeneuve’s sci-fi epic.

One of them even confessed they couldn’t finish Dune: Part One and had no interest in dedicating another three hours to its sequel.

This revelation sparks an ongoing debate about the legitimacy of Oscar voting and whether Academy members are truly engaging with the films they judge.

This isn’t the first time Oscar voters have admitted to skipping nominated films.

Over the years, stories have surfaced of voters making decisions based on trailers, buzz, or even personal bias rather than sitting through all contenders.

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While this may be understandable given the sheer number of films in contention, it raises concerns about fairness, especially when it comes to complex films like Dune: Part Two that demand full attention and immersion.

One anonymous voter told an industry insider, “I tried watching the first one and just couldn’t get through it.

It was visually stunning, but it didn’t hold my interest.

There’s no way I’m sitting through another three hours of that.

” Another voter admitted they simply “don’t like sci-fi” and would rather focus on films they personally enjoy.

This raises the question: should personal taste outweigh professional responsibility when it comes to Oscar voting?

Historically, the Oscars have had a complicated relationship with science fiction and fantasy films.

While visual and technical categories often reward genre films, Best Picture and major acting categories tend to favor dramas, biopics, and character-driven narratives.

Despite Dune: Part One winning six Oscars and Dune: Part Two being hailed as a sci-fi masterpiece, some voters still dismiss the franchise as “just another effects-heavy blockbuster.”

This bias isn’t limited to Dune.

Many groundbreaking genre films, from Blade Runner 2049 to The Dark Knight, have faced similar uphill battles for top honors.

The Academy’s older demographic and traditional preferences play a role in this ongoing struggle.

While it may seem logical that Oscar voters should watch every film before voting, the reality is more complicated.

Academy members receive a massive number of screeners, and with their busy schedules, watching every single film is almost impossible.

Some voters rely on industry screenings, critical reviews, and word-of-mouth when making decisions.

But should they be allowed to vote on a film they haven’t seen?

One possible solution is to implement a mandatory screening confirmation system, where voters must verify that they have watched a film before submitting their ballot.

While this might not be foolproof, it could ensure a more informed and fair voting process.

Unsurprisingly, movie fans have taken to social media to express frustration over the admission.

Many argue that Dune: Part Two is a cinematic achievement that deserves serious consideration, not just a quick dismissal from voters who refuse to engage with it.

Some users even called for reform in the Oscar voting system, suggesting that members should lose voting privileges if they admit to not watching nominated films.

On the other hand, some people sympathize with the voters, acknowledging that Dune is an acquired taste.

One X (formerly Twitter) user joked, “Honestly, if you didn’t like Dune: Part One, Dune: Part Two is just Dune: Part One but longer and sandier.”

At the end of the day, the Oscars are as much about industry politics and personal preference as they are about cinematic excellence.

While it’s frustrating to hear that some voters aren’t giving films like Dune: Part Two a fair shot, the Academy’s decisions have never been a perfect reflection of quality.

History has shown that great films can be overlooked, and less deserving ones can take home the gold.

However, as the film industry evolves and audiences demand more transparency, the Academy may need to reconsider how it ensures that its most prestigious awards are handed out by well-informed voters.

Whether Dune: Part Two sweeps the Oscars or not, one thing is clear: the spice must flow, but maybe some Oscar voters just aren’t interested in drinking the melange.

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Like a Harkonnen soldier levitating around in the endless desert, one can find oneself a bit lost when it comes to Dune. On paper, the franchise has everything a science fiction space opera needs: telepathic matriarchs with hostile accents, ostentatious helmets, slimy villains that resemble pudding, a coming-of-age story about destiny, and colossal worms that shake the sand like a T. rex in Jurassic Park. Yet, after seeing each of director Denis Villeneuve’s interpretations — two now, clocking in at nearly five and a half hours of Dune — I find myself with more questions than answers about how this world works, who’s bad, who’s good, and what the worms on Arrakis eat.

Dune: Part Two, officially in theaters March 1, tells the tragedy of House Atreides, a noble family with great hair. After an assault in Dune: Part One by the Harkonnen, the bad, bald enemies of the Atreides clan, son Paul (Timothée Chalamet) and his mother Jessica (Rebecca Ferguson) are taken in by the Fremen, the humans who make the planet Arrakis their home.

Paul, who has prophetic powers, wants vengeance on the Harkonnens but also wants to liberate the Fremen, especially after learning their way of life from the rugged Chani (Zendaya). Jessica, meanwhile, has motivations of her own, including mythologizing her son as a messianic figure, igniting a holy war, and carrying a sentient female fetus in her womb. The Harkonnens, so pale and aesthetically unpleasant, desire two things: spice, the expensive material that makes this universe go round; and brutality for everyone who stands in their way. Looming over this conflict are the superpowered sisterhood known as the Bene Gesserit, Florence Pugh’s Princess Irulan brooding over the political implications of these events, and, of course, some big, beautifully gross worms.