Since its premiere on Apple TV+ in 2019, Hailee Steinfeld) but unlike most period dramas — or young adult-focused dramas — does so in a way that regularly challenges its source materials, its actual lived history, and its viewers' expectations.
After an incredibly strong first season, expectations were understandably high for how Dickinson would continue with the release of its second season. In some ways, the show more than delivered on the expectations, developing key characters and relationships in satisfying ways. But in other, more disappointing and out-of-character areas ways, it really struggled with the "sophomore slump."
Better: Sue's compelling emotional arc
Sue Gilbert has been an important character in the series from its beginning, but her journey in the second season is especially emotional and moving. After having a miscarriage, Sue begins to question what she wants for herself in her life and struggles to find meaning in her marriage.
She throws herself headlong into her social duties as a wife and socialite, begins an ill-advised affair with Sam Bowles, struggles to connect with Emily and Mary Bowles alike, and comes to a profoundly moving realization in the season finale: her life only has meaning with Emily by her side.
Worse: A dearth of Wiz Khalifa's death
One of the standout characters in the series' first season was the complete revelation of Wiz Khalifa in the role of the personification of Death. One of Emily Dickinson's most famous poems, of course, is "Because I could not stop for Death..." which finds her ing Death in his carriage on his nightly journey.
Throughout the first season, Emily reconnects with Death — with whom she even claims once to be in love — for many meaningful, albeit fraught conversations. Khalifa's Death only appears once in the second season, which is a real shame.
Better: Continued fun historical cameos
Dickinson is hardly a completely historically accurate series, and it has a little bit of an edge to it, too, in of its humor and politics. The show has a ton of fun with itself and its viewers through some excellent historical figure stunt casting.
Season 2 thankfully continues this trend, with Veep's Timothy Simons appearing as Frederick Law Olmstead, and the ubiquitous and always hilarious Nick Kroll appearing as the ghost of Edgar Allen Poe.
Worse: Lavinia and Shipley
Despite consistently being one of the series' most hilarious and refreshing characters, Lavinia is a character that Dickinson never seems to know what to do with. In season 2, this is more obvious than ever, as Lavinia and viewers alike are saddled with the loathsome Henry Shipley.
Ship is a character who returns to Amherst and makes his intention to marry Lavinia and turn her into a proper lady abundantly clear, even announcing their engagement despite her not accepting his proposal. Ship talks and acts over Lavinia's wants at every turn, which is deeply disappointing for a show with an otherwise strong feminist streak.
Better: Mrs. Dickinson finds her voice
Speaking of that same feminist streak, Dickinson makes great strides in developing Jane Krakowski's Mrs. Dickinson in its second season. Though still wonderfully eccentric and committed to her housewife duties in most conventional ways, Emily Norcross Dickinson has a lot more to say in season 2 and she's not afraid of who hears it.
Throughout the season, Mrs. Dickinson calls her husband out on his bad behavior, including his failings as a partner and a father. She bonds with her daughter, Emily, in a profoundly vulnerable and moving scene in the seventh episode. And most impressive of all, she tells off her husband and his fellow high society men in a meeting of political minds.
Worse: Austin is unsympathetic
Emily's brother, Austin, has never really been a highlight of the series in any way. Whiny and entitled, it's easy to make the case that Austin is actually the worst Dickinson. And in season 2, he becomes downright unbearable.
Austin regularly oversteps his role as a husband and head of household, routinely hurting Sue or outright ignoring her. Obsessed with his reputation and clinging childishly to the allure of his circle of college friends, Austin is an incredibly frustrating character who doesn't show much sign of improving.
Better: Henry's increased importance
As the world of Dickinson begins to approach the era of the American Civil War, the show finds an incredibly refreshing and exciting way to incorporate these rising tensions. Henry, a Black worker in the Dickinson household, begins to hold meetings of an abolitionist group and newspaper.
It allows for some incredibly compelling scenes of all Black characters voicing their pain and desire for political agency in an otherwise very white show. It also allows recurring player Chinaza Uche to shine more than ever as Henry becomes a major player in the abolitionist movement.
Worse: Emily and Sue take a backseat
Though Dickinson is unquestionably best friends and lovers Emily and Sue. In a truly disappointing move, season 2 rarely explores their relationship.
As Sue moves further into socialite society, and Emily explores her options of being published, the two are drawn further and further away from one another. Though they interact rarely throughout the season, each of their interactions stand out as some of the season's best moments. Thankfully, the finale rectifies this failing in a very big way, and hopefully, future seasons will continue to correct this mistake.
Better: Emily's journey as a writer
"I'm Nobody! Who are you">Emily's journey as a writer in the series' second season, too.
Emily wages a war within herself as to whether she wants to merely write for herself (and for Sue), or whether she craves the recognition of being a published author. Time and again, Emily resoundingly rejects the trappings of fame and embraces instead the life of being an unknown writer. Fame is not what Emily wants, in the end. As Sue tells her, Emily craves love, and love alone.
Worse: The Sam Bowles problem
From the very beginning, Dickinson establishes itself as a profoundly feminist show and a modern feminist retelling of Emily Dickinson's youth. That's what makes season 2's decision to foreground — and, frankly, waste so much time on — Finn Jones' utterly detestable Sam Bowles so completely baffling.
Sam is a character the series routinely tells its viewers has an aura of seduction and fame and power around him, but the much-hyped allure never translates on screen. Though Sam is introduced as a hero in "rescuing" Emily from being unknown, as the season ends, it is never more clear that Sam is the true villain of the piece and no more than a snake in the weeds.