A few weeks before he died, President William G. Harding toured Yellowstone National Park. He said bluntly, “Commercialism will never be tolerated here as long as I have the power to prevent it.” The U.S. National Park system exists, in part, to protect some of our country’s most pristine wilderness from being destroyed by ventures like construction, mining, and logging.

While we’ve been able to create National Parks here in the U.S., nobody has the legal right to do that on the Moon. So what happens to the once-pristine Moon when the space miners show up?

The next decade may see the once-pristine lunar landscape dotted with bases and riddled with mines, all jostling for space (and bandwidth) with telescopes and other scientific exploration. But is the lunar environment worth preserving, for science or in its own right, and who gets to decide?

One of the most striking scenes of Dune: Part Two is the gladiator fight the psychopathic Feyd-Rautha (Austin Butler) participates in for his birthday. Giedi Prime is striking to look at: in addition to its monochromatic scheme, its towering, brutalist-meets-biomechanical architecture recalls the eerie designs of H.R. Giger, while its blinding white skies are filled with strange ink-blot explosions.

Those, according to Dune: Part Two cinematographer Greig Fraser, are what fireworks look like on Giedi Prime. In an interview with Inverse, Fraser and director Denis Villeneuve reveal why they chose to portray the Harkonnen home planet in black-and-white.