Dickinson, too-are given room to be just as weird and prone to flights of supernatural fancy as Emily is. In Season 1, Emily was the melodramatic weirdo gumming up the Dickinsons’ Yankee domestic works in Season 2, all of the Dickinsons-Adrian Enscoe’s Austin and Anna Baryshnikov’s Lavinia, in particular, but Toby Huss and Jane Krakowski as Mr. Rye Rye) and the slangy bits of dialogue more natural (“I’m at all of the balls I’m a baller” could only ever work in the context of Dickinson), but the dimensions of the period-specific world as it exists beyond Emily’s brain have also deepened.
Not only have the musical drops become bolder (Sofi Tukker slotting in comfortably next to Volbeat, Monika Krause, and Cakes Da Killa feat. (“It makes unique sense for Dickinson to weave contemporary language, music, and mannerisms into what is otherwise a fairly accurate period piece,” I suggested, “making what might otherwise be foreign about the tensions native to Emily’s daily life unavoidably legible to a modern audience.”) But where the first three episodes of Season 1 made wildly ambitious tonal promises it wasn’t at all clear that the series, as a whole, could keep, the entire run of Season 2 finds every aspect of Emily’s untellable story thriving under Smith and Steinfeld’s vision. This, of course, was the thrust of Dickinson’s debut season, whose clever use of anachronism-as-translation I wrote about in my original review. That is to say, regardless of how much of what we see Hailee Steinfeld’s Emily get up to in Season 2 actually happened-obsessing over her entry to the baking contest at Amherst’s annual Cattle Fair? probably talking to a ghost from the future during a GOOP-y seance led by staff writer/scene stealer Ayo Edibiri? less likely, but not impossible-the emotions the real Emily poured onto paper during this same period are capital-T True enough to make such a question irrelevant. This caveat- cum-declaration of capital-T Truth will feel familiar to anyone who’s spent time with Showtime’s The Good Lord Bird, which brings its audience inside the tall-tale exploits of wildman abolitionist John Brown (Ethan Hawke) by way of a pair of title cards that kick each episode off and read simply, “ALL OF THIS IS TRUE” and “MOST OF IT HAPPENED.” Smith’s series-which, not at all incidentally, takes place in the same historical moment as The Good Lord Bird-limits its explicit caveat-making, by contrast, to the first minutes of each season’s first episode, but the very fact of Emily Dickinson as its main character makes for an effect that’s more or less the same.
What follows is complete conjecture, it promises its audience, and also, completely True. So begins the second season of Alena Smith’s lusciously weird Dickinson, which comes in hot with a trio of new episodes on January 8 before slowing back down to a one-a-week schedule every Friday thereafter. The truth, perhaps, is hidden in her poems.” Over the next few years, just a handful of letters survive.
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