The third season of Dickinson captures the heart in a poignant closing verse featuring conflict, identity, and passion.
Over its three-season run, Apple TV+’s anachronistic dramedy Dickinson has mastered the art of fusing the mediums of poetry and televised media to form a vibrant and appeasing watch, whilst still providing insight into the life of esteemed poet Emily Dickinson (Hailee Steinfeld). Each 35-minute episode is captivating and made perfect through the unexpected contrast of 19th-century glamour, from corseted dresses to salons, and the inclusion of 21st-century slang and music. The idea of featuring at least one poem every episode allows for a more accessible discovery of Emily’s expansive literary portfolio, especially to a ‘Gen-Z’ audience by combining spoken word (delivered to perfection by Steinfeld) with beautiful visuals, through a coming-of-age lens.
From the opening of season three it is clear that the ten-episode journey heralds a focus that isn’t completely centred on the life of the Dickinsons but also on the impending conflict radiating from the Civil War. Confederates vs. Unionists; Austin (Adrian Blake Enscoe) vs Edward Dickinson (Toby Huss); the ever-complicated romance that divides Emily, Austin, and her sister-in-law, Sue (Ella Hunt). Dynamics are twisted this season and Emily vows to act as the provider of hope for all in this broken nation. Although to what extent can she achieve this, alongside the hindrance of being a woman in the 1860s and the struggle that arises from the journey of realising her potential and identity?
Since the very first episode of season one in 2019, Dickinson has strived to be an inclusive show focusing on the constraints of society: gender, sexuality, family, race etc. At the heart of the story is a complex and poetic representation of sapphic love that is marvellously executed by the duo of Hunt and Steinfeld. Ella Hunt shines, her character confident in her desire to show the world the extent to which she truly loves Emily, even if the latter is unsure on how to balance her attachment to her poetry and her affection for Sue. Amidst confessions and conflict, the duo’s chemistry blazes brightly with genuine, raw emotion poured into every word of every scene. Every aspect of a relationship is put on display, making their story feel more than just representation, and the penultimate episode is satisfying closure to three seasons’ worth of pining from afar.
Aside from the protagonist and her journey, the rest of the cast work their stockings off in providing viewers with exemplary performances this season. The youngest Dickinson, Lavinia ‘Vinnie’ (Anna Baryshnikov) continues delivering hilarious one-liners, dramatically declaring that “Civil War ruins everything”. Despite this dramatic flair, her sisterly bond with Emily is unbreakable this season, the two sharing a particularly endearing moment in episode eight. Though whilst Vinnie represents the best of the family, older brother Austin rapidly spirals into a dreadful state of rock bottom. Enscoe truly expresses his range as an actor as Austin distances himself from his family and marriage and delves into a perpetual state of intoxication.
Being foreshadowed from the very first episode of the show, the American Civil War has always been a crucial aspect of this era to bring to life, especially as Emily’s most recognised pieces originated from this period of dread and conflict. Men are being conscripted left, right, and centre. Telegrams are being received about dead ex-boyfriends (sorry Vinnie). In a town upended by chaos, we see our characters’ most genuine feelings, in ways other than physical intimacy as a result of stricter filming regulations due to COVID. Fortunately, this season, this character focus extends to two recurring Black characters: Henry, an abolitionist (Chinaza Uche), and his wife, Betty, a popular seamstress (Amanda Warren). Henry receives one of the most prominent roles, joining the war efforts in the South as part of the first authorised regiment of Black soldiers under the ‘command’ of Emily’s penpal and white abolitionist, Thomas Wentworth Higginson (Gabriel Ebert). It’s a battle of privilege versus injustice, as racism still engulfs the cohort.
Dickinson wouldn’t be Dickinson without the amazing creative mind of Alena Smith, who wrote and produced the series. Throughout the season, her imagination (and Emily’s beautiful artistry immersed in her poems) has created some of the most fun and enjoyable moments of the show. Who would picture Wiz Khalifa embodying death and riding a smoky carriage in a period show? Or a trip to the future that involves a meeting with Sylvia Plath and a vine reference? Or even a Dante’s Inferno-inspired episode that alters our entire perception of the family? The cinematography throughout the season is phenomenal: intricately detailed sets and beautiful panning shots and carefully selected lighting – all of which make the show come to life. Scenes set in Emily’s relative future are loud and harsh, while the past radiates warmth and comfort: every scene could be dissected in immense detail. Even the finale presents a fairly ambiguous conclusion, leaving it up to viewers to interpret the symbolism of the final moments themselves.
Possibly the most astounding thing to take from this show is that it is still very underrated; with Apple TV+ as its streaming service, it has gained less exposure than it perhaps would on a more heavily-subscribed platform. Ironically, this mirrors the popularity of Emily’s life herself. Leading a life of solitude in Amherst, the brilliance of her poetry wasn’t perceived until almost a century after her death, when it gained incredible popularity. While, hopefully, it won’t take a century, Dickinson still hasn’t gained its full potential, and in years to come I’m sure its brilliance and ingenuity as a series will be recognised even further. Emily Dickinson’s legacy shall live on- forevermore!
Words by Emilia Butcher-Marroqui
Dickinson is available now on Apple TV+.
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