Dickinson Review: I Like a Look of Agony (Season 2 Episode 9)

Dickinson Season 2 Episode 9, “I Like a Look of Agony,” is a showcase for Adrian Enscoe’s Austin.

Austin’s had quite a journey over the course of Dickinson. He’s mostly an antagonistic — forgive me — douche in Season 1, but he’s had a dramatic turnaround in Season 2. While I’ve enjoyed seeing him work to live a more principled life, some of his development doesn’t feel totally earned.

While it’s heartening to see Emily comfort him towards the end of the episode, I’m not sure I understand fully how he went from being the brother who forbids his sister from coming to his wedding to the brother who is the most genuine with the largest heart?

After all, this is also the same character who tried to guilt Sue “that she owed him” her permission to adopt the family’s young charges.

I don’t want any of this criticism to take away from the very fine work Enscoe does this episode, and really, the strong work that he’s done over the entire season.

The writing hasn’t always supported the journey we’re told Austin is on, but Enscoe’s ability to build a layered character in spite of this should be applauded. His breakdown about his failing marriage and his feelings of worthlessness is genuinely painful to watch.

Speaking of Austin, his support and backing of the underground newspaper Henry (Chinaza Uche) runs is by far one of the most compelling plot lines this season and I’m disappointed to see it seemingly wrapped up so quickly.

The stakes Henry feels are high so his departure makes sense logically; he faces very real danger, far more than Austin ever will, but his absence will leave a noticeable gap in the narrative.

His observations that things will need to get worse before they get better and fear that “[the] country will have to be destroyed before it can be healed” feels just as relevant for Dickinson’s time as it does for today’s.

Sue’s (Ella Hunt) story very much feels like it’s laying groundwork for Dickinson‘s finale. Sue’s been deeply frustrating all season, and much like Elder Emily (Jane Krakowski), I can’t quite figure out how we got from the shy, unassuming Sue of Season 1 to well…whatever Sue is right now.

“I Like a Look of Agony” suggests Sue’s repressed grief over her miscarriage may be the key to some of her choices this season. While I still think that may be only a piece of the puzzle, I respect that the show circled back to this story after it felt unceremoniously dropped at the beginning of the season.

Issues with Sue aside, I still struggle with aspects of Ella Hunt’s performances. She’s always strongest in her scenes with Hailee Steinfeld — really, everyone is; she genuinely brings out the best in every one of her scene partners — but I don’t always find her performances convincing, particularly her dramatic scenes.

Her stilted uncomfortable conversation-turned-confession with Sam’s wife, Mary, is clearly supposed to be a turning point for her character. It’s the first time she’s come face-to-face (literally!) with some of the collateral damage of her affair and a moment of release as she shares her miscarriage with someone.

However, I don’t think Hunt is up to the task at hand. She simply doesn’t have the command of her craft necessary for some of these more nuanced scenes.

Lavinina (Anna Baryshnikov) once again gets short-shifted story wise. What exactly is it going to take for this show to give her a centerpiece episode or simply more screen time?

Baryshnikov milks her scene for her all its worth. Her dance is utterly ridiculous — I can only imagine how fun it must have been to film — but I am growing weary of her story feeling like an afterthought again and again.

Ship has also long outstayed his welcome. I don’t find the character, or his stupidity, particularly enjoyable anymore, and his reunion with Vinnie is only prolonging the obvious.

Ship loves an idealized version of Vinnie; honestly, he seems to want an age appropriate model of Elder Emily, complete with her preternatural memory of people’s tea orders. Vinnie, as her daughter, comes closest in his mind, but she’s a far cry from the pleasant homemaker Ship craves.

Overall, I wouldn’t say this episode is a total home-run. It does some important things though, including proving that it’s developed its supporting characters enough to sideline its main protagonist for the bulk of an episode and have the show still work.

However, it lacks some of the pathos or utter joy we’ve seen over the past few episodes. With that said, it does drop enough important seedlings for what’s likely to come on Dickinson‘s season finale.

There will most certainly be a confrontation with Sam (Finn Jones); the only question is whether it will only be between Sam/Emily or if there will also be a Sam/Austin stand-off.

Fall out from revelations about Sue’s miscarriage are likely to play out and while we may have seen the last of Henry, I highly doubt we’ve seen the last rumblings of war or the abolitionist movement.

Altogether, while I’m not overwhelmed by this episode, I am impressed by what Dickinson‘s accomplished this season and optimistic its finale will allow the show to end on a high note.

Stray observations:

• I usually enjoy the show’s modern references, but the podcast joke is too on the nose for me. Feels like it’s begging for head pats.
• I rather enjoyed not hating Mr. Dickinson this season. Sad to see he’s back to being a total jackass.
• While I feel rather proud that my prediction about Nobody’s (Will Pullen) identity seems to be correct, I am still so confused about the logic of the last episode. How did Emily see things that were really happening and things that were to come in the future? My brain hurts trying to figure it out.

 

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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