Lena Dunham’s ‘Too Much’ Is Both Brilliant and Annoying—Here’s Why You’ll Love or Hate It

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A star rating of 3 out of 5.

Regardless of one’s opinions on Lena Dunham, she has an impressive understanding of British culture, ranging from traditional foods like baked beans to popular BBC television shows.

Jessica, the main character of Too Much, exhibits an ardent love for English culture, stemming partly from Lena Dunham’s genuine interest, which played a role in her decision to move to London a few years back.

Initially, the early installments of Too Much delve into the humorous contrast between Jess, an American, and her British partner Felix (portrayed by Will Sharpe). This is largely due to Felix exposing Jess to aspects of UK life that extend beyond the traditional literature, period dramas, and detective series she was accustomed to.

Jess and Felix are two individuals who contrast greatly in their personalities: one is a dynamic, rapid-fire marketing executive, while the other is a laid-back, somewhat dreamy musician. However, Stalter and Sharpe somehow develop an unconventional yet captivating rapport.

In the third episode of the 10-part series titled Ignore Sunrise, we witness the charming duo from the honeymoon phase engaging in an all-night marathon of their favorite movies and TV shows. There’s also a mix of deep and lighthearted conversations that keep things interesting.

In this setting, their relationship feels authentic, effortless, and captivating since it steers clear of relying on witty dialogues or eccentric actions for scene progression. Instead, it allows the characters to dwell freely in their unfiltered emotions and introspections.

In other instances, however, Dunham explores humor in wider, more outrageous territories, often driven by Stalter’s character who screams and rambles about a fire incident, online frenzy, and an excessive amount of ketamine.

It’s clear, as the title implies, that Jessica’s unique blend of high-maintenance characteristics and puzzling behavior can be both amusing and endearing at times, yet frustrating during less tolerant periods.

While the character might not exhibit the same level of quirky humor as Kayla from Stalter’s Hacks role, there are traces of similar unconventional behavior. However, when this eccentricity is constantly present in a series lead, it can become repetitive and potentially wear thin over time, unlike when used more sparingly in a supporting character.

Since the tender relationship between Jessica and Felix is central to the entire series, it can be challenging to remain fully engaged when either character starts to elicit less empathy, admiration, or curiosity from the viewer.

The pair, as noted by Dunham and distinctly different from herself and her spouse Luis Felber (no implication intended), can sometimes be unappealing. However, the individuals they interact with far surpass them in terms of likeability by astronomical units.

Many spectators might recognize the struggle with challenging coworkers, but Jessica’s marketing team members, including Jonno (Richard E Grant), Boss (Leo Reich), Kim (Janicza Bravo), and Josie (Daisy Bevan), are more than just difficult; they exhibit narcissistic behaviors that can be downright intolerable.

Absolutely, it’s not a requirement for fictional characters to be likable in order to merit screen time, but characters that provoke thought or offer deeper insights, like those found in shows such as Succession and Search Party, often do so by presenting complex personalities that are either challenged or scrutinized.

For this group, their conversations often revolve around trivial matters under the guise of humor, yet they frequently fall short and reinforce harmful stereotypes associated with Londoners (although not all are accurate).

It seems unlikely that was the intended portrayal by Dunham, yet it’s challenging to understand the intended reception of these characters; acclaimed actor Grant and esteemed director Bravo (known for The Listeners and The Bear) might have found more rewarding projects elsewhere.

Well, it could be they were just looking for some amusement. After all, Too Much is a less intense and more playful journey compared to HBO’s Girls. As the creator herself has mentioned, its main purpose is to bring happiness – something she admits wasn’t a priority concern for her in her 20s.

In essence, I can confidently affirm that she has achieved her goals. While Too Much provides plenty of laughs and touching instances, fully appreciating it demands a strong connection to Lena Dunham’s style and a good deal of patience for the absurd.

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2025-07-10 11:04