Too MuchFalls Too Flat: A Romcom That Promised Depth but Drowns in Cliché
I just watched Too Much , Lena Dunham’s long-awaited return to television, and I have to be honest—this one hurts. I really wanted it to work. After all, Dunham is the creative force behind Girls , a show that redefined what raw, funny, and awkward could look like on screen. Girls was brutally real, darkly hilarious, and somehow made the lives of four self-absorbed, often unlikeable twenty-somethings into must-watch TV. So naturally, expectations for Too Much were sky high.
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But here’s the thing: when you name your show Too Much , you set a tone. You signal emotional overload, chaos, intensity. Unfortunately, what we get here is less “too much” and more “not enough.” Not enough innovation, not enough honesty, and certainly not enough of the edge that made Dunham such a standout voice in her twenties.
The plot? Jessica, played by Megan Stalter, moves from Brooklyn to London after a breakup. She’s a chaotic, emotional mess still pining for her ex, and soon falls into a new romance with a gentle indie musician, Felix. Sounds promising, right? And sure, Stalter brings energy and sincerity to the role. But the show never lets her fly—it keeps clipping her wings with overdone tropes and stale dialogue. Felix, meanwhile, is kind but hollow. Will Sharpe does his best, but the writing gives him little to work with. He’s not a character so much as an idea of a “safe boyfriend.”
There are a few chuckles and some nice lines. There’s a scene about watching messy reality shows to self-soothe that feels truthful. And a joke about Jaffa Cakes lands well for anyone familiar with British snack debates. But for every moment that feels alive, there are five that fall flat. One laboured gag about a council flat versus a period drama mansion sets the tone early—and it’s downhill from there.
The sex scenes try to channel the realism Dunham is known for, but without the grit or emotional truth of Girls , they just feel... awkward. The entire tone is disjointed, like the show can’t decide if it wants to be edgy, romantic, satirical, or sincere. And in trying to be all those things, it ends up being none of them.
I get what Dunham was going for. She’s drawing on her move to London, her health battles, her growth, and the vulnerability of feeling like you're “too much” for someone. That idea—that a woman’s intensity can be seen as a flaw instead of a strength—is rich territory. But the series doesn’t explore it with the insight or originality it deserves.
It’s especially disappointing because we’ve seen what Dunham can do when she’s in her element. Too Much feels like it was written with good intentions but little clarity. It wants to be autobiographical without being personal, romantic without being cliché, funny without being hollow. But it stumbles in every direction.
Bottom line? From a creator like Lena Dunham, this isn’t just a misstep—it’s a major letdown. For a show called Too Much , this one gave us way, way too little.
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