Lena Dunham, of “Girls” fame, along with her husband Luis Felber, has created a romantic comedy, “Too Much,” premiering Thursday on Netflix. It’s lighter in tone than that earlier present however nonetheless comes with loads of dysfunction, self-sabotage and intercourse. (Medicine too, although it doesn’t make a case for them.) The titles of the episodes set up a unfavourable relation to the style: “Terms of Resentment,” “Enough, Actually,” “Notting Kill,” “Nonsense and Sensibility,” “Pity Woman,” “Ignore Sunrise,” “To Doubt a Boy.” However in the long run, it needs what they’re having.
Dunham, who wrote or co-wrote all 10 episodes and directed a number of, has elected to not star, however has introduced in Megan Stalter, from “Hacks” as her stand-in, Jessica. (Dunham performs Nora, Jessica’s depressed older sister, largely from a mattress.) Like Jessica, Dunham is an American residing in England, in a relationship with a musician, so we could credit score not less than some particulars to the authority of their shared expertise.
Jessica as soon as needed to direct movies, to “say something about the female experience,” however she has been working for 15 years as a line producer for an advert company, a job at which she is evidently good, however which suggests little to her. When her New York agency merges with a British firm, she’s despatched to London for 3 months to assist make a Christmas industrial, starring Rita Ora. Having been left six months earlier than by her longtime boyfriend, Zev (Michael Zegen) for willowy knitting influencer Wendy Jones (Emily Ratajkowski), to whom he’s grow to be engaged, she is able to go — all of the extra so as a result of her comfortable place is “love stories set in pastoral England.”
On her first evening on the town, Jessica discovers that the “estate” she thought she was renting just isn’t Pemberley however public housing; she takes a taxi to a random pub, the place Felix (Will Sharpe), the boy on this 30-something love story, is performing a tragic tune to some patrons. They meet-cute within the lavatory. He walks her house. They discuss. He lends her his coat. (There may be, curiously, no try to persuade us that Felix is a significant expertise; certainly, the suggestion is that such profession as he had is on a downward slope.)
Individuals fall out of affection on tv nearly as typically as they fall into it, typically as a prelude to falling again into it, or falling for another person, and fewer typically deciding that they’re in reality happier on their very own. From the wealth of self-help books, recommendation columns, therapists, nation songs and, sure, romantic comedies that fill our tradition, I reckon the messier parts of “Too Much” will really feel acquainted to many. There may be loads of chaos on this comedy, however its greatest moments are available in passages of relative calm. (They’re one thing of a reduction from the dominant emotional mishigas.) An extended, wordless scene consisting of a single overhead shot of Felix and Jess on a mattress, as she listens to a mixture he made her, is remarkably transferring, not least as a result of the actors are doing a lot whereas doing so little.
“Too Much” on Netflix first look.
(Netflix)
At the same time as she turns into concerned with Felix, Jessica continues her apply of recording personal movies on her cellphone, on TikTok, as a kind of therapeutic diary, ranting about Zev; many are addressed on to Wendy Jones. In the meantime, she offers with Andrew Scott as a pretentious director (“We’ve got to make this feel like it’s Ken Loach doing a Christmas film”) and mucks in with new boss Jonno (Richard E. Grant) and colleagues Josie (Daisy Bevan), Kim (Janicza Bravo), who’s curious about Josie, and chatterbox Boss (Leo Reich), who has revealed an “experimental PDF novel, to much acclaim” and broke up with somebody as a result of “he did not have the emotional intelligence necessary to deal with someone whose love language is being a b— in a fun way.” She confounds them along with her loud, childlike American vitality, filling empty areas with phrases, making jokes that don’t come off. (“Just kidding” is a factor she says quite a bit.)
Just lately sober, Felix has his personal complement of bandmates, mates and pleasant ex-girlfriends, together with three ladies named Polly — Adèle Exarchopoulos performs the vital one — whose historical past with Felix makes Jess nervous. (Jennifer Saunders is a little bit of a shock.) Sharpe, final seen on TV within the second season of “The White Lotus,” performs him quietly, a little bit melancholy, maybe, however not unduly moody; even in a tough state of affairs — he’s carrying simply as a lot baggage as Jessica — his vitality stays low-key and comparatively grounded, although he shall be known as upon to do some panicked working.
If the collection has a fault, it’s that there’s presumably an excessive amount of “Too Much.” Within the films, the enterprise of “boy meets girl, boy loses girl, boy gets girl” (substitute your most well-liked genders), has historically been settled in below two hours. The streaming economic system, nonetheless, has stretched the narrative timeline, elongated the arc, padding out a predetermined variety of episodes with extraneous digressions, giving minor characters issues to try this don’t essentially contribute to the story, whereas not growing into a lot on their very own. There are transient cutaways to Jonno’s house life, which not less than has the advantage of giving us extra Grant, plus Naomi Watts as his spouse, Ann; scenes again in New York likewise give us unrelated time with Rita Wilson as Jessica’s mom, Lois; Rhea Perlman her mouthy grandmother, Dottie; Dunham’s Nora and Andrew Rannells as her ex-husband, Jameson, who left her in favor of “exploring non-monogamy with a couple both named Cody.”
Extra problematic, an exasperating character like Jessica, lived with at such size, can grow to be exhausting, and she or he does. Dunham mitigates this, and the curler coaster of Jessica and Felix’s relationship, by using an episodic construction, setting entire or almost entire episodes in opposition to totally different backdrops: a marriage, a piece journey, a cocktail party, Felix at house together with his mother and father (Stephen Fry and Kaori Momoi), Jess and Felix up all evening (having intercourse, watching “Paddington”) when she needs to be recent for work within the morning, and a flashback to Jess’ historical past with Zev (he’s been made a “writer,” shorthand for pathetic). Taken individually, as discrete tales, they’re simpler to digest. The writing is sharp, the performances spot-on.
Stalter, who’s in her fourth season stealing scenes on “Hacks,” performs a personality midway all over the world from her character there. The place her Kayla is brash, entitled and self-confident to a fault, Jess is needy, filled with second ideas and self-doubts, whilst she tasks a type of frantic cheerfulness. (“I’m a chill girl, I’m normal,” she tells herself, doubtfully.) Dunham typically shoots Stalter straight on, filling the display along with her face, which pays advantages; she has nice presence. (And sings very sweetly too, higher than her boyfriend.)
The endgame, once we get to it, couldn’t be any extra standard — which, I think about, is the concept. One would possibly suppose it parodic if it hadn’t been established that that is the dream during which Jessica lives; something much less can be unkind.
I see I’ve uncared for to say the canine. There’s a little canine too, who performs an vital half.
