Lena Dunham’s first television series in seven years surprises with its delightful and genuinely heartfelt romantic comedy approach. Drawing inspiration from classic films with episode titles like “Enough, Already” and “One Wedding and a Sex Pest,” Dunham’s love for the genre shines through, albeit with a subtle twist.
In the opening moments, Dunham’s character, Nora South, ponders Alan Rickman’s charm while watching Sense and Sensibility, making a hilariously bold statement to her family about her desires.
Unlike her role in Girls, where she explored the complexities of twenty-something life in 2010s Brooklyn, Dunham shares co-creator duties with her husband, British musician Luis Felber, and has penned or co-penned all ten episodes while directing eight.
While Too Much is certainly enjoyable, it doesn’t carry the same conversational weight that Girls did, which tackled themes of race, privilege, body image, and millennial challenges during its run on HBO from 2012 to 2017.
The series follows Nora’s sister, Jessica (played by Megan Stalter from Hacks), a TV ad producer who trades New York for London after her ex, Zev (Michael Zegen), leaves her for influencer Wendy Jones (Emily Ratajkowski). This storyline hints at a comedic goldmine, but Dunham doesn’t delve deeply into influencer culture, leaving the portrayal of Wendy’s awkward social media presence feeling lackluster rather than satirical.
Fortunately, the heart of the story—the blossoming romance between Jessica and laid-back indie musician Felix (Will Sharpe)—feels authentic. Their meet-cute in a grimy pub bathroom leads to humorous observations about cultural differences as they walk home to East London, culminating in a quirky moment where Jessica accidentally sets herself on fire with a candle.
However, this comedic twist feels reminiscent of a classic sitcom, and it’s not the only instance of tonal inconsistency. While Richard E. Grant’s exaggerated portrayal of Jessica’s icy boss Jonno adds a distinct flavor, it contrasts sharply with the show’s overall vibe. The uneven tone sometimes shifts between grittiness and lightheartedness, as seen with the inclusion of graphic burn victim imagery that feels misplaced in an otherwise breezy half-hour format.
Supporting characters, such as the sex-positive boss (Leo Reich) and the confident Kim (Janicza Bravo), also come off as flat and outdated, detracting from the main plot. Still, the unpretentious chemistry between Sharpe and Stalter brings a spark of excitement. Jessica’s adorably clueless moment, asking if “naturist” refers to someone like David Attenborough, with her amusing mispronunciation, adds a charming touch.
Overall, while Too Much might feel charming, it suffers from inconsistencies and a lack of focus. A tighter narrative and trimming of certain characters could have made the series more impactful instead of just likable.
‘Too Much’ is now available to stream on Netflix.
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