The 2019 SpoilerTV Advent Calendar Countdown *Updated 24th December 2019*
This year, for Christmas, the SpoilerTV team came together to share our wishes for the new year. Every day, two of us will share what we asked from Santa, please share your own wishes, and your thoughts in the comments below!
Dec 24 - Many thanks to all of you who followed this countdown to Christmas, and of course to all the SpoilerTV team members who participated. I wish you all the happiest of holidays!
December 24
Julia Krassnik - It was recently announced that The Devil Wears Prada is getting adapted into a musical which will open in 2021. This news made me remember that at some point there was talk about a TV show based on the film.
December 23
Abby Crofton - Hey Santa, how about better ratings for Single Parents? It’s a cute show that can be laugh out loud funny. Plus, its shown us that Leighton Meester is actually very good at comedy.
December 22
Thomas Cori - I wish for Criminal Minds to stop with the JJ/Reid nonsense. It is, in my opinion, proof that the writers just don't know what to do anymore. Even if I love this show, it is high time it came to an end.
December 21
Abby Crofton - There is such a rich mythology for the Avatar: The Last Airbender/Legend of Korra universe. I’ll watch the planned live action Airbender remake but I’d love another original animated series.
December 20
Abby Crofton - How about a reboot or continuation of ER? ER was so good at its peak. With its large rotating cast over the years there are still plenty of stories to tell about County General. It never even got a spinoff!
December 19
Pop Culture Guy - Sarah Michelle Gellar rose to fame in the late ‘90s as the titular character in “Buffy the Vampire Slayer,” but her recent television projects haven’t fared as well. The CW’s “Ringer” – which was sadly just getting so bonkers and fun when it was canceled – only lasted a season. Ditto her CBS sitcom “The Crazy Ones” with Robin Williams and James “Not great, Bob!” Wolk. And we were cruelly denied even one episode of the “Cruel Intentions” sequel series. Right now, she has two projects in contention at FOX. The first is “Sometimes I Lie,” a limited series based on the bestselling novel. The second is “Other People’s Houses,” a dramedy pilot that reunites her with the creators of “Ringer.” So my wish for 2020 is that one or both of these projects make it to air. Because I want my SMG TV!
December 18
Milo M-J - Sam Esmail’s reported Battlestar Galactica continuation (not a reboot, reportedly) is one of my most anticipated projects that’s coming soon and from the creator of Mr. Robot, I’m very much on board to see what he comes up with next as it feels like he’s a fan of the franchise. It feels like the series is going to be taking a new route, and hopefully bring a breath of fresh air in the genre. Bringing A-List talent on board like, for example – Tatiana Maslany - would give the series some star power to compete with the best, and I wouldn’t be averse to see the return of fan favourites, and a return of a certain Starbuck wouldn’t go amiss.
December 17
December 16
Abby Crofton - Original TV movies seem to have migrated to cable, but broadcast can still catch some eyeballs with made for TV movies, which historically had been very popular. The ratings for their live musicals are good - people are willing to watch fun stuff even if they are on a legacy network.
December 15
Thomas Cori - I would love for Star Trek Picard to include cameos or just to mention characters from TOS. It's something that Star Trek Next Generation did on a number of occasions, and I think it'd be a nice little nod to what's been done in the past.
December 14
Thomas Cori - I wish for MacGyver to bring back Jack, if only to give his story a proper ending.Despite his sudden departure from the show, I don’t think that the character deserves to join the long list of storylines this show has let fall into limbo over its short run (like Thornton, the Organization, Nikki, Cage, Walsh, etc).
December 13
Thomas Cori I wish that Roswell: New Mexico won't turn out like Riverdale. I watched the first season of Riverdale almost glued to my screen, and was understandably excited for the second season, but, sadly, it started to slowly become everything I hate about teen dramas. I can only hope that Roswell will not go down that road too.
December 12
Kath M - So many extremely talented actors and actresses completely own the television shows they’re on and then, once their character exits the screen, the actors seem to vanish. This worries me, particularly when the actors are women. Lately I’ve been turning my thoughts to two amazing performers: Tatiana Maslany and Emily Hampsire. I don’t want them to end up in the void, too. Maslany can be anyone, as evidenced by her multi-everything performance in Orphan Black. I’m not as worried about her: her next role is in the HBO mini-series Perry Mason as Sister Alice, a charismatic preacher in 1930’s Los Angeles. Sounds like a meaty role, And if you miss OB as much as I do, the story continues at Serial Box. There you’ll find a continuation of the story of our favorite seestras, with Tatiana narrating. So, I still have Emily to worry about. Much as I love Schitts Creek, I think Emily grossly underused. I realize that she isn’t one of the main characters, but aside from her “Cabaret” performance I see her as fairly one-dimensional. And now that the show is ending, I’m not sure where she’ll turn up next. Acting in a show with the Levy/O’Hara gang might get her parts in more of their productions, but you never know. Remember her in virtually every scene in 12 Monkeys? Her talent needs no further comment. Alternately funny, unbalanced, serious and child-like, I hope she doesn’t end up lost in the void where other actresses and actors can sometimes get sucked into, never to return. Give Emily, and the rest of us, a challenging script with that lets her shine.December 11
Naomi Anna - My wish for The Flash is that it finds the magic again. I know you can't recreate lightning in a bottle, but it is possible to find story telling footing. Good villains, good fun, and lots of heart have always been key to this series. I am looking for a reason to love season six! C'mon Santa!
December 10
Kath M -When the BBC created BBC America, it was great. I loved watching shows like The Avengers and accepted the necessity of comedies like Keeping up Appearances to keep viewers tuning in. Over time, though, we lost all of that programming and our options narrowed to episodes of the X-Files or episodes of the X-Files. There are so many shows that could bring in more interest and better ratings; you've already gone that way by airing shows like Killing Eve and Blue Planet. But there are so many shows you could air: QI, Hinterland, Have I Got News For You, Waking the Dead, and Cold Feed (classic and new) are some examples. Having someone from the UK in the cast/crew of a show should not be the sole criteria for appearing on BBC America, not where there is so much other content to chose from.
December 9
Abby Crofton - I desperately want for The Flash not to mess up Sue Dibny. For comics fans Ralph and Sue Dibney were one of the gold standard romantic relationships. That all got thrown down the dumpster with DC’s misguided Identity Crisis event, which treated Sue as horribly as any character in the history of comics. One instance where The Flash should stay far, far away from the source comics.
December 8
Thomas Cori - My wish would be for networks to finally acknowledge international live viewership and find a way to include these numbers into the ratings. I travel a lot and find myself not being able to support my shows the way I'd like to, and I'm sure that I'm not the only one watching American TV abroad.
December 7
Naomi Anna My wish for Power is that Ghost truly suffers for all the pain he has caused everyone around him. He has been the villain of the show all along and deserves the fate that is hopefully coming to him. Fingers crossed!
December 6
María Sol García - Disney+ available everywhere in the world in early 2020. I think it would be fair that more countries have the opportunity to get access to Disney+, cause in the meantime people that don’t live in the US, Canada, The Netherlands, Australia, New Zealand and Puerto Rico have to wait, in some cases, almost a year (or even more) to discover and enjoy the full catalogue of this new streaming service, and risking being spoiled by those that are already watching it.
December 5
Pop Culture Guy - "Dynasty’s” decision to bounce the character of Steven Carrington from the canvas has baffled me basically since the show did it in season two. In one episode, Steven not only finds out that Blake isn’t his biological father, but that he’s also not the father of the baby the woman he had a one-night stand with to keep Sam in the country is carrying, but by the end of the very next episode, he’s gone. And that might have been okay if the show hadn’t strung out his absence with off-screen phone calls and then wrapped it up by repeatedly victimizing him, first by having Steven have a mental breakdown, then by revealing he’d been gaslit by his half-brother, and finally by leaving him to rot in a Parisian mental hospital with barely a mention since. There’s so much untapped potential with this character and I’d like to see him return to the canvas in a real way. And while I thought James Mackay was fine and would be fine with him returning, basically since the reboot was announced, I’ve dream-cast Scott Evans in this role. The show actually did a good job recasting Cristal both times and made a smart choice for the Alexis recast. And anyone who watched him on daytime sudser “One Life to Live” knows Captain America’s brother can bring soap drama, comedy, and romance, and having an out actor playing this tentpole character would be a cool bonus. So yeah, Steven Carrington in 2020, preferably with Scott Evans’ face.December 4
When the term “May-September romance” is mentioned most people’s minds immediately imagine an older guy and a significantly younger woman who have entered a relationship with each other. Especially on TV shows and films, a woman over 50 being wooed by a younger man is an occurrence rarer than a total solar eclipse. Therefore, I would absolutely love to see a person significantly younger than Diane Lockhart to fall for the lawyer and try their very best to romance her. It does not necessarily have to go anywhere as Diane is happily married (though her husband had an affair with one of his former students!) but I sure would like to see her feeling flattered by the attention of a lovely young guy (or girl, I’m not picky).
Laura B - Disney+ has done Star Wars a solid with their first ever Star Wars live-action TV series, The Mandalorian. It gives me great hope for the future of the franchise. And while it's true, we don't yet know what the state of the galaxy is going to be by the end of The Rise of Skywalker, I am anxious to find out. So I wish for a TV series announcement for a live action series that takes place post TROS and see how Disney might step out of The Skywalker Saga's shadow for something more or less brand new.
December 3
Laura B - I would like for Starz to announce a Lord John Grey mini-series series staring David Berry.
December 2
Lisa Macklem - Please bring back Eric Kripke to write at least the final episode of Supernatural. Kripke's five years were the best the show has ever been, and it seems only fitting to have the creator of the show finish what he started - who would know better what the fate of the Winchester brothers and Castiel should be?!December 1
Kath M - How about more Sci-Fi on Syfy? There are literally hundreds of movies, TV shows and mini-series that could be taken out and dusted off. How about some Dead Like Me? The Martian Chronicles? The Thing from Another World? Even newer shows like BSG seem to air once and then vanish. Are the same movies they show every week really bringing in higher ratings than an afternoon of Defiance might? I want Sci-if diversity for the holidays!
Abby Crofton - Far too often movies and TV shows featuring lesbians are dramatic and dour. I’d enjoy a sitcom instead, with lesbian characters getting into zany situations rather than dying or being melodramatic. Bonus if there’s a slow burn romance that has a happy ending.
Two years removed from Rian Johnson's divisive The Last Jedi, director J.J. Abrams returns to the franchise to cap off this latest trilogy with Star Wars: The Rise of Skywalker. Despite complaints from a vocal minority of Star Wars fandom that Abrams' previous stint at the helm, 2015's The Force Awakens, hewed much too closely to the framework of A New Hope, his return to the franchise has been cause for celebration among fans who disliked Johnson's subversive middle chapter. And while Abrams tries to split the difference and land somewhere in between, The Rise of Skywalker swings the pendulum too far into the realm of convention, safety and fan service.
The film begins with perhaps the most exposition-laden opening crawl of the entire nine-film series, and wastes zero time getting into the action, as Kylo Ren (Adam Driver) -- the new Supreme Leader of the First Order --carves a path through a battalion of fighters in search of an artifact that will guide him to an uncharted planet once inhabited by the Sith. It's on this planet where a familiar figure offers Ren the power to crush the Resistance once and for all, provided that he fulfill one simple task: kill the girl.
That girl, of course, is Rey (Daisy Ridley), who trains endlessly in the ways of the Jedi but can't seem to fully command the Force. "Be with me," she pleads, levitating above the forest floor as BB-8 patrols nearby, but the knowledge and power of her predecessors remains frustratingly out of reach. When the Resistance learns of the First Order's powerful new army, Rey defies General Leia Organa (Carrie Fisher) and embarks on a quest to confront Ren, who she still believes can be turned back to the Light -- but after murdering his own father, is the former Ben Solo already lost to the Dark Side?
Fan service abounds in The Rise of Skywalker, with beloved favorites like Lando Calrissian (Billy Dee Williams) returning for one last adventure alongside the likes of Poe Dameron (Oscar Isaac) and Finn (John Boyega), and diehards will marvel at the wealth of references, homages and Easter eggs littered throughout the film. Abrams also pays tribute to Fisher, utilizing leftover footage from the previous films to ensure Leia remains a pivotal figure in the saga -- it's surprisingly organic and never feels like a gimmick, and seeing the Princess onscreen for the final time is sure to evoke a flood of emotions from the Star Wars faithful.
There's no denying that Abrams has made a gorgeous film, with lush environments and incredible attention to detail, and the director's affection for practical creature effects is once again on full display (newcomer Babu Frick is delightful). The action sequences, from large-scale space skirmishes to multiple close-quarter lightsaber clashes to an infantry assault on the deck of an Imperial warship, are among the best of the entire series. Particularly stunning is a pitched battle at sea, with Rey and Kylo Ren trading blows atop floating bits of wreckage as towering waves crash all around -- this entire sequence is instantly iconic, with major ramifications on the rest of the film and the arcs of its two central characters.
One of the most important themes of The Last Jedi was the idea of moving beyond the past and no longer remaining beholden to what came before: both Kylo Ren and Luke Skywalker (Mark Hamill) espouse this belief at different points, and Johnson clearly meant this to serve as a metaphor for the Star Wars franchise as a whole. The refusal of the films to follow cues from the novels, comic books and videogames that encompassed the now-defunct Expanded Universe and move beyond the same group of characters and events was already growing stale, but rather than embrace The Last Jedi's approach, The Rise of Skywalker regrettably seems to thumb its nose at its predecessor's philosophy.
Rather than continue to forge a new path, Abrams leans heavily into nostalgia, and although this film doesn't quite follow in the footsteps of The Force Awakens by mirroring the same beats of an episode from the original trilogy, there are nevertheless a number of similarities between The Rise of Skywalker and Return of the Jedi. From the young Jedi harnessing the teachings of a deceased master to face down impossible odds and hopefully save the galaxy, to the powerful Sith apprentice trying to lure the Jedi to the Dark Side with an offer to rule the galaxy together, to the final desperate battle where victory hinges on a single heroic act, much of this feels like we've seen it before.
That's not to say Johnson's ideas have been completely discarded. Some of them, like the telepathic link between Rey and Kylo Ren, are further explored and expanded upon in interesting ways, and both Ridley and Driver are phenomenal in their scenes together. Meanwhile, other plot points are clumsily retconned, effectively undoing many of The Last Jedi's choices. This necessitates an incredibly frenetic pace during the first half of the film, with the screenplay from Abrams and Chris Terrio attempting to explain away previously established canon and new information coming so frequently that we scarcely have time to absorb it all, let alone make sense of how it affects or alters the narrative.
For the most part, these changes are an unnecessary divergence from the path laid out by the previous film, likely designed to appease a particular segment of the fandom that felt Johnson's approach was too radical. And while the instinct to course-correct is a natural response to the kind of vitriol that cropped up in the wake of The Last Jedi, it's ultimately a detriment that only serves to make The Rise of Skywalker less congruent, less original and less interesting. The film certainly isn't lacking in thrills, surprises or plot twists, and is unquestionably enjoyable in the heat of the moment -- but there are so many missed opportunities and storytelling miscalculations that it all begins to crumble under the slightest scrutiny. The Rise of Skywalker is far from the worst Star Wars film, but as the final chapter in this saga, it should have been much better.
This World is not Conclusion.
A Species stands beyond -
Invisible, as Music -
But positive, as Sound -
It beckons, and it baffles -
Philosophy, don't know -
And through a Riddle, at the last -
Sagacity, must go -
-IRL Emily Dickinson
This review contains actual spoilers. Also, Dickinson is not a teen show.
Any Resemblance to Actual Events or Persons, Living or Dead, is not Purely Coincidental
Episode 1: Because I could not stop for death
Best Scene: It’s a tie between Emily’s scenes with her two loves. There’s such delicious chills from her meeting with Death when he tells her that she’ll be the only Dickinson talked about in 2,000 years. The orchard scene with Sue is just wonderful too.
Best Vinnie Moment: Anna Baryshnikov frequently steals scenes like the Pink Panther steals diamonds as Emily’s sister Lavinia. The highlights will be tracked here.
Biggest What the Dickins Moment: This is the only time I will compare the events of Dickinson to the actual people who inspired the show. Sue is an immensely watered down shell of character who has little agency; it is agony to watch her be tossed about at the whims of others, and it doesn’t get better over the season. Ella Hunt is phenomenal in the role though, and one hopes the second season will give her more to do.
Outfit I Would Be Buried In: Emily’s Death flirtation dress which is the exact shade of a drop of fresh blood. Dramatic AF.
Jane Krakowski’s Most Wonderful Line Delivery: Her wistful matter-of-fact “You are useless girl. Useless.”
Creepiest Thing Emily’s Dad Does: Comes to her bedroom drunk, asks her to promise he’ll never lose her, and falls asleep on her bed.
Death: Emily is obsessed with Death (Wiz Khalifa), and he lurks on the fringes of her existence. Sue’s entire family is dead. Vinnie plucks the feathers from a plainly dead bird. The Dickinson attend the funeral of Sue’s last family member, and Emily whispers “I love you” to Sue from the other side of the grave, which is….dare I say….poetic in its own way. After enduring some terrible verbal abuse from her father, Emily flees to Death’s carriage.
Quote Most Likely to Inspire Future Poets: “Tragically I am a woman.”
Shot of the Episode: RAIN KISS. Bonus points for the show actually filming in New England, an area I have not seen very much of on TV.
Episode 2: I have never seen ‘Volcanoes’
Best Scene: Emily and Sue’s dance party set to Lizzo’s “Boys” is all the fun in the world.
Best Vinnie Moment: “Have I been knitting all day?”
Biggest What the Dickins Moment: That narc screaming "GIRLS!" in the lecture hall. No, actually, the whole volcanic hot-and-bothered metaphor.
Outfit I Would Be Buried In: Emily wears a blue dress with a bronze pattern on it that is library wallpaper if I’ve ever seen it, and it is the coziest thing.
Jane Krakowski’s Most Wonderful Line Delivery: Equally sincere and indignant “I’ve tried sitting down. It didn’t agree with me.” And also her pleading reference to “cooking meals that ranged from adequate to downright appetizing.” But we also can’t forget her seething indignation when she says that unlike Emily she is “not in the habit of constantly expressing herself.”
Creepiest Thing Emily’s Dad Does: He wants Emily to read an essay he wrote on the “proper place of women.” The joke is on him, because Emily uses the precious piece of paper to write rebellious poetry on.
Death: Sue and Emily attend the lecture in a dead man’s clothes that they were previously supposed to be packing up to help his widow. Furthermore, they frolic around in the dead man’s clothes prior to the lecture. Emily is enthralled with the imagery of the victims of Pompeii frozen in time and ash, drawing parallels to her own feelings of disconnection and immobility.
Quote Most Likely to Inspire Future Poets: “Let’s just run all the way to the edge of the Earth and fall off.”
Shot of the Episode: Vinnie’s knitting realization.
Episode 3: Wild Nights
Summary: When Mama and Papa Dickinson leave town for the night, the youngsters throw a way cool house party that introduces a gaggle of charismatic supporting characters. The episode marks a point where the show finds its wings, and we are blessed with the electric camaraderie of the Dickinson siblings as each one takes center stage. Painful revelations, a very big bee (with a male voice which seems odd since I thought pollinating bees were actually female), and so many dance moves all contribute to the episode’s many delights. Dickinson friends Jane, Abby, Abiah, Tokiashi, and Joseph are memorably introduced. Steinfeld gets to bring out the MOST SASSY version of Emily yet.
Best Scene: It can take me a minute or two to truly love a performance. I loved Steinfeld’s the moment Emily let out a guttural howl at realizing her period had started; afterwards, she dragged herself across the floor in faux death throes. Recognition!
Best Vinnie Moment: Every Vinnie moment really, although her speedy “I like to think it plays me” brought of tears of glee to my eyes.
Biggest What the Dickins Moment: Austin picks up on the vibes between Emily and Sue, gets jealous, and announces his and Sue’s engagement as the whole party is swaying in an opium daze. Later, he stumbles upon Emily’s passionate poem for Sue and then stumbles upon Emily and Sue MAKING OUT. Sue is turned off by the hissing sibling fight that follows and runs away to work as a nanny in the city.
Outfit I Would Be Buried In: Take your pick. Austin’s lavender cravat, Emily’s royal blue party frock, the ivory metallic horizontal ribbon on Vinnie’s gown, any one of the Jane Humphrey Posse's outfits, etc
Jane Krakowski’s Most Wonderful Line Delivery: “While I’m gone, clean constantly.”
Creepiest Thing Emily’s Dad Does: Zero creepy dad moments in this episode. Yay. However, Vinnie’s crush Joseph keeps a wallet of hair locks from all the girls he’s dated like he’s Sense and Sensibility scoundrel Willoughby or something. He tells Vinnie later she’s “hella ripe.” It’s hilarious in a twisted way.
Death: In a moment of dramatic metaphorical foreshadowing, Emily dreams that she and Sue are on a ship during a storm at sea. Sue falls or jumps overboard. George brings Emily white lilies, the symbol of death, which Emily LOVES. His picking out the flowers is a mere coincidence though, so if you haven’t clued in their love story isn’t happening before this point, now you know. Other references to death include every time Sue looks at Austin like she’s dying inside.
Quote Most Likely to Inspire Future Poets: “Parties are like shipwrecks. You should emerge from them soaking wet, out of breath, and hopelessly disoriented.”
Shot of the Episode: Emily slow dancing with Bee.
Episode 4: Alone, I Cannot Be
Summary: The most idyllic of all the Dickinson season one episodes. Emily both rides a train and sits under a grand old tree. It’s also the last episode that George is cute in before we find out he’s the worst. Going back to the important stuff, Emily’s tree is threatened by the 19th century’s second most awful villain: the railroad. She hopes to save it through the influence of her current favorite author: Henry David Thoreau (John Mulaney). Her expectation that Thoreau is a kindred spirit gets promptly shattered in a miserably funny scene. All that aside, Hailee Steinfeld gives a performance that I adore every second of. It’s the rare Dickinson episode that is nearly free of romantic angst or cuteness, which allows Steinfeld to chisel away at who her character is as an individual. Emily examining a pumpkin while waiting on the store porch. The red hot angry sadness when her father mistreats her. Steinfeld is immersed completely in her character’s mind and skin. The result is that we are tangibly connected to Emily, and everything no matter how small or great affects us as it affects her. Best Scene: The most enjoyable is Thoreau gradually revealing himself as a self-centered bore who greatly exaggerated his solitude. He talks down to his mother who came to collect his laundry, and he snaps at his sister who makes the trek later to bring him cookies. It wouldn’t be hilarious if it weren’t for the brattiness Mulaney brings to the role. And the insane hair. And the self-righteous declaration “I hope you’re not hungry, because all I have is beans” before aforementioned sister arrives laden witih baked goods.
Best Vinnie Moment: Wearing a Native American headdress because she hopes to be kidnapped by a chief who will have a handsome son for her to marry. Also every moment she lurks on the edge of a frame wearing said headdress. Anna Baryshnikov possesses that rare art of being able to insert heartbreaking vulnerability into the most hysterically comical scenes.
Biggest What the Dickins Moment: Mrs. Dickinson walking in on Austin “getting it on” to Sue’s photograph on the living room sofa.
Outfit I Would Be Buried In: Emily’s faded-leaf-brown jacket with the blue and white flowers embroidered up the front. Also Emily’s teal shawl she wears at the end, also with embroidered flowers on it. Coincidentally, both items are 100% something Frozen’s Anna would wear. Emily herself is an Elsa though.
Creepiest Thing Emily’s Dad Does: Refers to Emily as acting like a “mad heathen” after she pleads with him to spare her tree. Then there’s how he tells Austin to write a poem for the groundbreaking ceremony. Never have I ever wanted to shake a TV character until their collarbone was sprained. He does change his mind and spare the tree in a lovely gesture of appreciation and apology that I refused to be too moved by.
Jane Krakowski’s Most Wonderful Line Delivery: Her apologetic explanation “I held my legs together a bit too long” after Austin’s poetry reading crashes and burns.
Death: Emily fights against Death indirectly in her quest to save the tree. See also that glare she shoots her father in the end after Austin’s public fiasco.
Quote Most Likely to Inspire Future Poets: “I’m trying to be alone.” Or “People hurt each other all the time. Just by proximity.” And Emily’s annoyance at George disturbing aforementioned peace and quiet under the tree is perfect. We’re kindred spirits forever, Emily!
Shot of the Episode: Emily under her tree.
Episode 5: I am afraid to own a body
Best Scene: Two choices here. Henry kindly calling Emily out for her sympathetic racism.
Austin impressing Emily by choosing to play Desdemona by noting that “A character, to me, is a soul. And the soul of Desdemona is one that I relate to deeply. Her love for Othello is so so pure, so true, just like my love for Sue.” (Cue Jane’s epic eyeroll).
Best Vinnie Moment: Vinnie spends the episode casting immense side eye at everyone. Can’t pick just one moment, but each is perfectly timed.
Biggest What the Dickins Moment: George suggesting that he and Austin should go through Othello and mark out the naughty parts.
Outfit I Would Be Buried In: Vinnie’s blue floral gown. Henry’s corduroy coat.
Jane Krakowski’s Most Wonderful Line Delivery: “You let him go.” Mournful and distressed followed by a majestically depressed walk away from her daughter.
Death: Emily kisses a skull.
Perfect Musical Moment: Famous by KAYJEZ playing over the Shakespeare Club montage
Shot of the Episode: Went back and forth on this one, but Sue gently, reverently touching Emily’s letter as if it’s the most precious thing on Earth won out. Throughout season one, there is a dreamy spell cast over their relationship. It isn’t a mature love story yet, but the sparkle of romance makes it irresistible.
Next in the Dickinson Season One Part B Review:
The two best episodes, a showdown with Death, something very silly, and a Little Women orgasm. Please do share your favorite parts of the first five episodes in the comments.
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