‘Too Much’ revels in heart and humor

A romantic comedy series created by Lena Dunham and Luis Felber, “Too Much” is newly released on Netflix. The series follows a bereft New Yorker who moves to London seeking a fresh start. The story has shades of “Jane Eyre,” Charlotte Brontë’s 19th-century novel about a young woman who overcomes hardship to find love and independence, but with contemporary sass.
For many viewers, the biggest draw is London’s stunning visuals, making the city one of the stars of the show. Jessica (Megan Stalter) arrives expecting the romanticized England of films and books, only to crash into the brick wall of reality. Her “Oh my God, I’m in hell” comment nails that grass-is-greener letdown with sharp comedic flair.

“Too Much” is also praiseworthy in that it has vague echoes of “Girls,” Dunham’s previous hit show. But unlike “Girls,” this show features a predominantly queer workplace and a rich array of LGBT characters, including trans supporting roles and a number of openly queer actors like Stalter.

Plus, Megan Stalter has been praised for infusing her character Jessica with nuance and sexual ambiguity, even though she is written as a straight Dunham-esque character. Dunham says it best: “Everything is better with queer people.”

Truly, the entire cast shines as every actor seems perfectly cast, with fun cameos from Jessica Alba and Naomi Watts adding significantly to the mix.

Rom-com or tox-com?
Megan Stalter and Will Sharpe (“The White Lotus”) spark wild chemistry on-screen as Jessica and Felix, a lower-class British drummer with a “cursed” vibe, enflame their passions. No doubt Dunham’s razor-sharp writing captures the essence of cross-cultural romance, helping Jessica muster the courage to love again, no matter how ill-advised.

The series at times veers off into “tox-com” territory, flirting with the troubling dynamics of their relationship. Felix’s personal struggles and socioeconomic background create a fraught, often toxic interplay. With unresolved issues like narcissism and emotional unavailability, Felix stands in stark contrast to Jessica’s American can-do stability, highlighting the deep divide between them.

For the most part, the series keeps up a delightful momentum. But the excellent pacing serves to make it more noticeable when the series occasionally indulges in subplots that feel diversionary, like the part about Oliver’s estranged family, especially in the middle episodes. 

Gritty reality
The show is at its best when it dives head first into long-held American misconceptions and illusions about England, and the discovery that the reality falls far short of the fantasy.

Dunham, who moved to London herself in 2021, draws from her own experiences, having herself ultimately found love in the U.K. with musician Luis Felber, who co-writes and curates the show’s eclectic soundtrack.

Real body positivity is another standout aspect of “Too Much,” continuing Dunham's legacy of challenging Hollywood’s narrow beauty standards. Candid scenes of Megan Stalter’s plus-size physique engaging in all sorts of activities including intimacy and self-expression without judgment really celebrate her body, promoting a message of self-acceptance that resonates deeply with many viewers.

Surprisingly, or maybe not in today’s world, “Too Much” has been criticized for relying on Jewish stereotypes and rom-com tropes. (Dunham’s mother is Jewish, her father is Protestant.) But there’s nothing objectionable here on any level, and yet people are giving it a thumbs-down based purely on this over-sensitivity.

The other funny thing is that most people, maybe women especially, absolutely love Megan Stalter’s animated performance, instinctively picking up on her humorous hyperbole. A vocal minority, however, seemingly mostly guys, find her performance annoying, not comedy gold. C’est la vie!

In my view, “Too Much” is a fun watch and is literally “too much” in the British sense of the phrase, meaning truly terrific.

Lena Dunham’s “Too Much” is now streaming on Netflix.
https://www.netflix.com/title/81671844