Lena Dunham’s Too Much Falls Flat Without the Edge of Girls

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In a particular episode of Netflix’s Too Much, Nora (Lena Dunham) expresses that it might not be ideal for individuals over 40 to reside in communal spaces in Bushwick. She compares this living arrangement to a promiscuous salad bar.

In a nod to the iconic, trend-setting HBO show Girls, specifically ‘The Crackcident’ episode, this statement highlights the contrast between the two programs.

Or, more casually:
This line takes us back to the legendary days of Girls (yes, the episode with ‘The Crackcident’), and it shows how different these two shows are.

Too many girls isn’t a thing, let me clarify. Lena Dunham’s TV comeback signals a growth from the sweaty dance parties of Bushwick, transitioning the storyline to Europe for a cheerful romantic comedy.

In the movie, the director gives Megan Stalter center stage as Jessica, a New Yorker seeking change after her ex-partner Zev (Michael Zegen) starts dating Instagram sensation Wendy Jones (Emily Ratajkowski), who is often called by both her first and last names.

The move was motivated by Dunham’s personal experience of moving overseas following a breakup, and later meeting her current partner, musician Luis Felber, in this new location.

As a passionate cinephile, I took great care alongside my partner to craft our film, “Too Much.” To ensure an authentic portrayal of British culture, I meticulously incorporated all the nuances and peculiarities that make Britain unique, aiming to steer clear of the overly romanticized stereotypes often seen in productions like Emily in Paris.

Although Too Much may accurately depict some less appealing facets of British culture, it still leans towards the realm of fantasy, not much different from a heartwarming Hallmark film. If these scenarios were transposed from a picturesque Vermont village to an East London housing estate instead, that would be the case.

On her initial day in the city, Jess finds herself entangled in a rapid-paced romance with troubled British independent artist Felix (played by Will Sharpe). Throughout the course of the 10 episodes, we see Jess grapple with mental health challenges and personal insecurities that Felix grapples with. The show’s creators cleverly incorporate puns based on popular romantic movie titles into each episode title.

In the blossoming whirlwind romance between Jess and Felix, the story tackles themes such as loneliness, addiction, sorrow, past trauma, and various untreated mental health issues. However, it subtly dances around these topics, much like Lily Allen in her music video for LDN.

The show “Girls” often presented a grim outlook, seldom inciting laughter without prompting an unsettling self-examination. Remarkably, it skillfully intertwined comedy and drama. Furthermore, it took a less straightforward approach towards portraying toxic relationships, which appears to be the central theme of “Too Much” as well.

The turbulent, intermittent romantic entanglement between Hannah and Adam was identified as harmful, despite the fact that he never fully realized or changed his pattern of abusive behavior.

Regarding Hannah and Jessa, their friendship remained irreparably damaged following the severe breach of trust – they secretly dated while Adam was still involved with his former partner, eventually returning to her.

It took some effort for the trio of friends to accept that Adam, who was unreliable, indecisive, and annoying, was the one causing problems among them, as he consistently acted against their interests.

It’s pleasant to observe that Jess and Wendy are finding resolution regarding Zev, but the show’s persistent emphasis on upbeat, positive tones might dilute the grit that characterized Girls.

In a unique instance of sincerity, the conversation between Jess and Wendy without coffee stands out, resulting in a profoundly moving conclusion that surpasses the typical romantic-comedy resolution for Jess.

Yet, there seems to be minimal authenticity in other instances, particularly during Zev’s candid therapy session, which appears more like an unexpected revelation forced into the narrative without any preceding or subsequent context.

In a chilling self-disclosure reminiscent of a serial killer’s confession, Zev reveals his harmful relationship habits. His words seem to echo a suppressed part of his desire for change.

Despite some excess, the film “Too Much” boasts an impressive ensemble cast including Rita Wilson, Richard E. Grant, Naomi Watts, Andrew Scott, and Adèle Exarchopoulos, among others, all delivering strong performances throughout.

In the show “Hacks,” Stalter skillfully blends her online persona with an exaggerated role, delivering a heartfelt performance as Jess. Comfortable in both the humorous and serious scenes, she manages to add depth to the character, moving beyond being just a stand-in for Dunham’s portrayal.

However, through the rosy lens of Jess’s perspective, Too Much seems overly dramatic as it pushes an optimistic resolution onto its viewers.

In a new twist, the program continues to intermittently display Dunham’s unique artistic touch and knack for creating complex characters that are challenging to support, albeit with a more cheerful atmosphere compared to the sharp edge of “Girls.

In my perspective, I deliberately aimed to craft a show that would be unifying, filled with love, and ultimately hopeful – as I shared during a Tribeca panel discussion. This was the intention behind my work, according to me.

Moreover, she indeed fulfilled the optimistic aspect quite well, as Too Much seemed more focused on tying up loose ends rather than creating something genuine.

Instead of the raw and recognizable “yikes” associated with Lena Dunham’s work that many viewers anticipate, especially those still navigating their twenties, this show deliberately embraces a warm, comfortable atmosphere reminiscent of Richard Curtis’s style, distancing itself from the chaos typically found in his productions.

Going against the norm is crucial for creating revolutionary art, however, regrettably, Too Much’s work doesn’t stray from the ordinary.

Instead of meticulously rectifying the alleged flaws that gave Girls its unique charm and notoriety, the writing regrettably appears overly focused on peddling a flawed, stereotypical fairy tale, bearing more resemblance to a romantic comedy it aims to mock than it realizes.

In “Girls,” a modern, authentic reinterpretation of Sex and the City, they rarely deviated from embellishing truth, taking second-hand cringe and sweet-yet-bitter moments to unprecedented levels that would become eternally memorable as internet memes.

Despite its divisive nature, it remains one of the top shows in the Messy Millennial TV series, rivaling Broad City in terms of humor, sexuality, and an authentic portrayal of messy femininity.

In Dunham’s newest work, “Too Much” shows promise for being included in year-end lists, yet viewers of “Girls” may find themselves unenthusiastic about its glossy exterior and conventional conclusion.

For a healthy dose of awkwardness and a touch of delight from others’ misfortune, you might discover that having too much isn’t actually sufficient.

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2025-07-11 13:38