Why “Too Much” Is the Bold, Brilliant Show We Didn’t Know We Needed
There’s something quietly revolutionary happening on Netflix right now, and its name is Too Much . If you’ve scrolled past it, go back. Seriously—rewind your evening plans, because Lena Dunham has returned with a show that hits harder than you’d expect. Written with emotional clarity and directed with refreshing boldness, Too Much might just be one of the best things on TV right now.
It’s been a while since a show made me both laugh out loud and tear up within the same episode. These days, comedy often feels forced, and heartfelt moments can veer into cliché. But not here. Dunham, who already made her mark with Girls , brings something entirely new—yet equally resonant—with Too Much . This time, it’s not about defining a generation. It’s about reflecting the messy, contradictory, and painfully relatable emotional realities of the present.
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The story follows Jess, a New Yorker fresh off a brutal breakup, who relocates to London to hit reset. Megan Stalter plays her with such raw vulnerability and oddball charm that it’s impossible to look away. Her whirlwind romance with Felix, a soft-spoken indie musician, is tender and tangled in all the right ways. Every episode manages to balance the quirky with the profound, the funny with the melancholic. It’s a show that isn’t afraid to sit in discomfort—and that’s where its magic lies.
But what makes Too Much really stand out is what it represents. It doesn’t just tell a story—it challenges norms. Jess isn’t your typical screen heroine. She’s anxious, obsessive, deeply imperfect. She doesn’t try to be liked, and the show doesn’t demand you like her. That alone feels radical. Lena Dunham, once criticized for her unapologetic self-expression in Girls , returns here even bolder—more defiant. She’s not asking for acceptance; she’s claiming space.
And she’s protecting it, too. On her press tour, Dunham made it clear she won’t tolerate the same vitriol directed at Stalter that she endured. It’s a powerful reminder of how rare it still is to see women on screen who aren’t filtered through the lens of male comfort or mainstream beauty standards.
We live in a time where media swings wildly between sanitized algorithms and nostalgia-heavy reboots. Too Much dares to be something else. It’s awkward and emotional. It’s messy and beautiful. It speaks to a post-pandemic generation grappling with identity, isolation, and self-worth—without ever being preachy.
So no, it won’t replace Girls in the cultural canon. It doesn’t need to. What women—and honestly, what all of us—need right now isn’t another blueprint from the past. We need something honest and current. That’s exactly what Too Much delivers.
And frankly, it’s not just enough. It’s exactly right.
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