Dickinson Review: Split the lark (Season 2 Episode 6)

I am generally not one to fawn but Dickinson Season 2 Episode 6 “Split the lark” is sublime on every level. It’s easily the best episode of the second season so far, and possibly one of the strongest Dickinson episodes ever. Yes, it really is that good.

It helps that all the stories play out over the course of one evening at the opera house; it gives the episode a strong, cohesive foundation on which to build upon, plus a perfect excuse for lush production design that Dickinson does so well.

We also get the opportunity to observe how a single piece of art can impact each of the Dickinsons in a different way. (This is, after all, a show about a famous poet, and it’s important to examine the transformative effect art and artists of all mediums can have on us).

Even the opera at the center of the episode, La Traviata, is laced in meeting. Not only is it another instance where Dickinson has done its homework (it would have been one of the “hot” new shows at the time) but it also draws a stunning parallels between the characters and Sue/Emily and Emily/Fame. (Opera 101: La Traviata focuses on romantic Alfredo’s love for courtesan Violetta and the societal expectations that shape our lives.) Hmmm. Interesting, no? 

To quote Lin Manuel Miranda, Dickinson is really playing “chess not checkers” this go-round.

But I’ve gotten ahead of myself.

“Split the Lark” builds on the narrative from previous episodes and starts to present Dickinson‘s theory for why Emily (Hailee Steinfeld) only became famous posthumously.

Hint: it’s not because she didn’t have the opportunity or the ambition. It was, in fact, a conscious choice she made as an artist.

In terms of driving story, “Split the Lark” accomplishes plenty in a short amount of time.

The Elder Dickinsons, who’ve been struggling with their marriage, have a breakthrough in their marriage; even though they ultimately hate the opera, their hatred (bordering on giddy) is mutual and their shared relief to escape the evening is the most connected we’ve seen them in some time. (Plus, Jane Krakowski bursting out laughing in the middle of the performance is the blink-and-you’ll-miss-it gem of the episode).

Not all the relationships are well. Counter the giddiness of the Elder Dickinsons with the relationships between Vinnie (Anna Baryshnikov)/Ship (Pico Alexander) and Sue (Ella Hunt)/Austin (Adrian Enscoe). There’s a lack of shared interests and passion and both partnerships are probably due for a reckoning by season’s end.

Given that we know Sue and Austin stayed together in real life, I am particularly curious as to how they’re going to address their hollow relationship on Dickinson. I haven’t quite been able to figure out the end-game there based on how they’ve characterized them thus far. 

Despite all of the rich character-driven drama on this episode, the biggest revelations belong to Emily, who gets clarity on her relationships with Sam, Sue, and Fame respectively (that she does this, realistically, and within a 30 minute runtime is also a marvel). 

All season, Emily has been courting Fame and by extension, Sam (Finn Jones). This has led to fantasies, insecurity, and as Sam puts it some “crazy shit” on her part.

Her allegiance to her patron has never quite felt like anything more than metaphorical to me, given that he’s the stand-in for Fame, but if there was any reason to be concerned about where her devotion really lies, that should be readily put to bed now. 

Sam is novel, and with him comes a rush of excitement, but it’s all fleeting. It’s clear — quite painfully so — when he rejects the poem she’s written for him, that there’s a lack of deep connection between Emily and him.

Watching Emily’s next fantasy play out — this time starring Sue — makes a few things abundantly clear. First, there are different types of love and passion. Sam can still be alluring, Emily can still desire him, but what Emily and Sue have is more enduring. The plot, the poems, Emily’s heart: they all eventually lead back to Sue.

Which, fortunately, leads to my second point: part of the reason that Emily and Sue’s love is deeper and more profound is because they connect through Emily’s poetry. Sue, for all her weaknesses this season, is genuinely moved and inspired by Emily’s work.

She understands it and she acknowledges how precious it is,

It’s no coincidence that she confesses Emily’s poems make her feel things and that Emily echoes this sentiment when sharing her appreciation for Adelaide’s (Kelli Barrett’s) vocals. 

We see another brilliant metaphor play out towards the end of the episode that underscores this further. As Emily stands on stage and imagines the rush of adoring fans, Sam as Fame, is tucked far away in an opera box, removed from Emily, but Sue (or as I’ll call her, Dream Sue) stands alongside Emily on the stage. Dream Sue reminds her, “you crave meaning, you crave beauty, you crave love.” 

To be seen is one thing but to be understood, awakened, or cherished is another, and therein lies the difference between Sam and Sue, who function both as characters themselves and as stand-ins for the paths Emily could take. 

Ultimately, even though she hasn’t fully admitted it to herself, Emily knows on a subconscious level that she’s happier writing for someone who appreciates her work and her, rather than for the masses. Her conversation with Adelaide only serves to bring those feelings closer to the surface.

The last scene between Adelaide and Emily is worth watching a few times over, both for Emily’s revelations about Sue, fame vs. anonymity, and the ongoing question of where the joy in creating art comes from: the end result of sharing it or the actual process of making it.

Truthfully, I’ve gotten something new out of it every time I’ve watched the scene; it’s incredibly layered; even if you’ve only casually watched Dickinson, I recommend you tune in and reflect on that scene. It can easily stand on its own, even without context of the full season.

Overall, “Split the lark” is a complete delight, both entertaining and cerebral. We’ve officially hit the midpoint of the season and if this episode is any indication, there are great things ahead.

Stray observations:

• Kelli Barrett, who plays fictional opera singer, Adelaide May, on this episode, is so reliably good in all of her TV appearances. (You may recognize her from her turn on Fosse/Verdon as Liza Minnelli or her guest appearances on Law and Order: SVU. Can we get her in more things? Please and thank you.
• Dang, Ella Hunt can SANG.

What did you think of this episode of Dickinson? Share your thoughts in the comments below!

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Dickinson is available to stream on Apple TV+. New episodes premiere on the service on Fridays. 

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