Dickinson

Season 1 – 80% – Hailee Steinfeld was born to play both cheeky and vulnerable roles at the same time. Thanks to her, I easily overcome the apparent eccentricity in the form of a modern and deliberately inappropriate soundtrack or contemporary language. Behind every smile, Emily hides genuine emotion, and the seemingly repetitive carousel of relationships ends up being addictively presented in a unique way. Maybe you can hear rustling of paper in the dialogue when it tries to combine poetry with slang, and maybe Jane Krakowski is surprisingly inaccurately cast as a period housewife, but this quirky and ultimately kind-hearted household has won me over so naturally that I will eagerly await the continuation more than I ever anticipated. Season 2 – 80% – At first, disappointment because it follows the same lines as before with inevitable letdowns and a firmly established mood from which Emily cannot deviate when adhering to historically documented facts. But what can I say, the perfect interplay of editing, where in the final seconds of intense scenes at the end of each episode, the least expected rhythm sounds and goosebumps appear on my skin, simply never gets old. It's just a shame that some characters are present out of obligation, and the central storyline with Samuel Bowles sometimes takes crucial turns from strange corners. Because of the visual or acting chemistry, both historical and contemporary series could learn a lesson from it. Season 3 – 70% – How to reach a happy ending when history cannot be overturned? Alena Smith and company try to proceed with caution, but it is no longer possible without incorporating completely different (and unfortunately sometimes quite incompatible) storylines. It is unprecedented how many specials one short season can absorb. However, it must also be said that all of them sooner or later cross the line (sanitarium, future, hell), and I can only see character development with a blind eye. However, the weakest season is not due to bold creative decisions, but rather Austin. From an unstable young man, he becomes an annoying egotist who literally ruins the mood not only for the family but also for me in every scene. The long-term storyline of the Dickinson family crisis is not what I want to watch when saying goodbye to the series, mainly because of him. But what can I say, the contrast between modernity and classicism works once again, and it is all thanks to one person. If anyone other than Hailee were to play the role of Emily, the rating would be significantly lower. However, for her, it is an acting tour de force where she can portray vulnerable, bold, or just honest moments with a single gesture or glance. Thanks to her, I will remember the poetic era with a smile on my face. (23.04.2020)