| Summary: | In its meticulous, freewheeling adaptation of the life and work of celebrated poet Emily Dickinson, the television series <i>Dickinson</i> (Apple TV+, 2019–2021) manifests a twenty-first-century disruption of high and low culture afforded by digital media, including streaming video and music platforms. This article argues that the fanciful series models a mixed-media, multimodal aesthetic form that invites a diverse range of viewers to find pleasure in Dickinson’s poetry itself and in the foibles of its author, regardless of their familiarity with the literary or cultural histories of the US American 19th century. <i>Dickinson</i> showcases creator Alena Smith’s well-researched knowledge of the poet and her work, while simultaneously mocking popular (mis)conceptions about her life and that of other literary figures such as Walt Whitman and Sylvia Plath, all set to a contemporary soundtrack. This analysis of <i>Dickinson</i> proposes to bring into conversation shifting boundaries of high and low culture across generations and engage with critical debates about the utility of the popular (and of studies of the popular) in literary and cultural studies in particular.
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