Dickinson Review: I’m a Nobody! Who are you? (Season 2 Episode 8)

Watching Dickinson Season 2 Episode 8, “I’m a Nobody! Who are you?” is a complete ride, full of metaphor and bringing back some of the supernatural elements that accented its first season.

To be honest, I found myself completely confounded when I finished watching the episode for the first time. I’m still a bit confounded. I watch WandaVision, y’all: I’m most certainly familiar with complex, layered storytelling, but Dickinson‘s dropping so many plot elements and hints that I don’t know if I can catch up.

So shall we try to wade through some of it together?

Admittedly, the supernatural element of Dickinson has never been my favorite aspect of the show. I love Wiz Kalifa but I haven’t missed his appearances as Death personified. The performance has never felt fully realized nor necessary and in my mind, was one of the weaker parts of Dickinson‘s freshman season.

I’d happily accept if his presence on this show was…nevermore. (Too much?) Alas though, he’s back, and this time, he’s brought friends.

Nick Kroll’s cameo as Edgar Allen Poe isn’t my favorite guest star appearance ever (that honor still goes to John Mulaney’s Thoreau last season) but it is one of the most effective guest stints this season, in large part because Kroll is so clearly enjoying chewing some scenery as horny Poe.

Poe’s inclusion here is also interesting given how often he and Dickinson are compared and his own complex relationship with fame. (Spoiler for those not up-to-date on their Poe history, fame didn’t exactly lead to a happy, fulfilled life for ole Poe).

The other mystical being on this episode, Nobody (Will Pullen) is back after several episodes’ worth of absences. This is actually a reappearance I’ve been anticipating, though I’m not sure I’ve fully grasped yet who — or what — he was? An eery visage from the future? (He does mention events that feel eerily like the war we know is coming and Austin has name dropped a friend who in real life, was a soldier in the Civil War).

An extension of Emily’s (Hailee Steinfeld) psyche? If you have thoughts, sound off in the comments! I’m genuinely curious about how others are interpreting this. 

Regardless of who he is, he’s still Emily’s companion on her bizarre ride this episode. The choice to make Emily invisible is an interesting one, and it’s certainly foreboding. While she’s finally been published, she’s lost all agency and personal connection to the people around her, forced to simply listen while she’s talked about. 

It’s as close to a nightmare as we’ve seen.

While I’ve enjoyed seeing so many scenes from Emily’s imagination play out this season, this feels particularly jarring this episode. I still don’t quite know if her invisibility is another of Emily’s delusions bubbling up or if we’re to supposed to take it at face value as a thing that’s actually happened.

While a curious plot development, the show uses her invisibility to interesting effect. After fleeting moments on so many of the preceding episodes, “I’m a Nobody! Who are you?” finally devotes more air time to the abolitionists. Henry’s speech about the power of writing — how it can influence and incite change — reads not only as an impassioned uttering of truth but also a direct telegraph to Emily.

Emily, my love, how many times and how many ways is the universe going to send you the same messages? But I digress.

As much as I loved this sequence, particularly the choreographed vogue dance, there is at least one issue. A glaring one, at that.

The barn dance sequence, choreographed by Hailee Steinfeld’s real-life tour choreographer, is completely joyful, but Emily’s presence feels inappropriate and unearned. Even though she’s invisible, she’s still a white woman trespassing a Black space, a precious commodity (both then and now). 

While I appreciate the contrast between that scene and the hollowness of Sue’s party, the scene could have worked differently if Emily had simply looked on from the sidelines rather than danced right at the center. As it stands, she’s done nothing to earn a place in their celebrations and it’s a bothersome misstep for Dickinson, which generally seems to purport its own wokeness.

If the show is going to dedicate time to the Black abolitionists, it needs to do a better job of it, and that means more time more depth, and less reliance on its leading lady.

She has a story to tell about the Civil War, but it’s a different one than they do. Inserting her in inorganic ways doesn’t serve anyone.

The other irksome aspect of this episode once again lies with Sue (Ella Hunt). I’m fairly tired of writing that, but Sue’s characterization has been numbingly awful this season, to the point where I’m struggling to understand how this is the person Emily so deeply loves.

While the show has dropped hints that Sue was not faithful in her marriage, the revelation that she’s been cavorting with Sam (Finn Jones) isn’t one I saw coming.

It calls into question so many things from the season. When did this start? Is Sue using her relationship with Sam as leverage to get Emily’s poems published? How can Sue continue to participate in this dalliance knowing Emily’s feelings both for Sam and for her?

It’s a love triangle of the most screwed up, devastating proportions. It’s hard to imagine something more complicated and painful to Emily than this discovery and it has me questioning how her relationship with Sue can possibly survive.

I’m also curious now whether a devolving relationship with Sue may have something to do with Emily’s retreat from the world. After all, when the one person you want to see you simply doesn’t, or won’t, where does that leave you? Why bother with the outside world at all?

Or, is keeping her poems private perhaps retribution on Sue, knowing that Sue loves her words?

Overall, I appreciate Dickinson‘s vision and ambition. I don’t necessarily love the character and narrative choices it makes this episode, but I respect that it’s bold enough to make them. With this episode, it’s clear that the stakes are even higher for the remainder of the season.

Truly, I’m not sure how Emily moves forward from here but I’m looking forward to finding out.

Stray observations:

• I’d really be fine if I never heard any iteration of “do the damn thing” ever again. Even on you, Dickinson.
• Vinnie (Anna Baryshnikov) once again has the best line of the episode: “I’m a twisty, creative, horny woman.” Feels like it belongs on a mood board somewhere.
• With that said, while so many highlights of this season belong to Vinnie, overall I’ve found her storyline rather wanting. She ends up feeling like a blip rather than a focal point. Can we change that? Both Dickinson sisters are equally interesting!
• No clue why Austin (Adrian Enscoe) is the only one who can see Emily. That feels significant though.
• Sue’s comment that as long as the painting looks real, what does it matter, is fairly telling. We get it, Sue, you’re all about appearances, and you’re the worst.
• Love the callback of Hattie wearing Sue’s gold dress.

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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