“Too much” remixed the ROM-COM

Starting from a reason in New York is a cliché; This is how it starts by leaving it behind. Lena Dunham, who recently became “Girls” during the course of her first series “Girls”, recently in her first series “Girls”, for a certain type of Brooklyn Millennial. Now she has returned to television with “Too”, a romantic comedy about rediscovery by saying goodbye to all of this. The protagonist of the show, Jess (Megan Stalter), has little reason to stick to it. Her lively friend Zev (Michael Zegen) left her. Her passion for her job as a producer of TV commercials is also long gone. She does not live and acts and acts with her sister (Dunham), her mother (Rita Wilson) and her grandmother (Rhea Perlman) in the Long Island Home – a situation that Jess describes as “a transient gray gardens of hell of individual women and a hairless dog”. Jess is obsessed with the animal-one creature called Astrid, which she brings in forever, but she is even more obsessed with Wendy Jones (Emily Ratajkowski), an influencer who has engaged to her ex. Jess transfers to her company's London office in search of a do-over. Even once in her Hackney sub -rental company, she sits in bed and watched a video from Zev's suggestion to Wendy. Wendy screams in the clip. Jess, three thousand miles away, considers a nightgown astride to be comfort and screams Lauter.

The luggage that Jess brings to England is of central importance for “too much”, which traces her wonderfully unlikely romance with Felix (Will Sharpe), a bar singer who meets her on her first night in London. Dunham-Der created the semi-autobiographical Netflix series with her musician husband Luis Felber, the new life turns on to Rome-Com by examining how both thirty years were damaged by previous relationships and their different family dynamics. While her earlier projects, namely “girl” and the film “Tiny Furniture”, lived on discomfort and discomfort, offers “too much” a softer and more hopeful side, even if Dunham keeps her satirical bite. The result is nothing less than one of the best shows of the year.

Jess could be a cousin of Kayla Schaefer, Stalter's breakout character in the HBO Max series “Hacks”, with which she shares a tendency towards hyperbolic explanations and off-kilter humor. Jess does with Felix early on by, Mid-Hookup, says that it is her first time the kind of wit, with whom you immediately know whether someone shares your sense of humor. Fortunately, he does it. But she has arrived in London and has not been able to trust her instincts, especially when it comes to men. Her employees (Janicza Bravo and Leo Reich) insist that Felix is nothing special: As the one says: The fact that he is more convincing is that he lacks both a day job and a permanent address, and he wants to move in within weeks after the meeting. The red flags come again and again: he has a misspelled tattoo on his butt. He gets into a physical fight with Jess' boss (Richard E. Grant) at a dinner party. And although he has been clean for almost three years, it is pretty much everything that is difficult to know whether his sobriety will hold on.

Nevertheless, the season with moments of beautifully relaxed intimacy is scattered. Fittingly for a series whose leading man is in a band, many of them revolve around music. Felix spends a day to make Jess a mixtape, and he simply enjoys in bed with her that night while she listens to his headphones. The sequence takes almost two minutes without a word that is spoken by both: only Jess breathes deep, his eyes closed, the face was shredded when Felix stares at the ceiling, then on her before they finally returned. When she tries more actively to overcome her ex, he encourages her to sing, which leads to a shaky and emotional reproduction of Keshas. Her conversations are effortlessly switched between seriousness and stupid. A make-out session is interrupted by a whispered discussion about what you imagine in your minds when you kiss. Both characters hesitate for their own reasons to say “I love you” – as Jess Felix starts: “I don't want to tell you anything that I have said before. Dunham strives to find new ways to express the emotions, to disarm and influence tabloos through disarming dialogue. The right amount and a little more. “

The tenderness of the combination of the couple – and the effortless chemistry between Stalter and Sharpe – makes darker plot lines even harder over their respective past. The episode in which Jess has got used to protecting himself is brutally in its banality and extends into Brooklyn for years of her life, while Zev is gradually getting colder and then means that she is in need because it longs for the loss of loss. (The subplot certainly raises questions about the possible analogue of the character.) An installment in which Felix is visited by his dysfunctional parents and with poor childhood memories-reminded how well Dunham writes the decades of aftermath of family instability.

Rome-Coms tend to not pay much attention to their protagonists' life phases, unless they are imposed on an artificial period for marriage. In contrast, Jess and Felix find themselves at an age at which they start to feel the urge to take care of someone else, even if they are not particularly clever in taking care of themselves. The series' Naturalism is supported by a faded palette and also by the circumstances of the characters. Felix 'appearances as unless rockers are reasonable Grudel, including one at a local fair where there seems to be more farm animals than people in the audience. This targetless milieu was largely missing and very missing television, since shows like “Girls” and “Broad City” went out of the air and made the millennial self-parody of the escapist of young adults. The latest FX comedy “Adults's” took up the baton and tried to grasp today how it is to be young today, and Dunham's eye is sharper, feel her references. Jess and Felix exist in rooms in which the draining of a voiceemail is classified as “violent”.

With his interest in the unglamorous “too much”, the imagination of the American Expat expats is also happening. Jess is a fan of Austen Adaptions – the first episode, “Nonsense and Sensitivity” – and sees her admiring Hugh Grants Edward Ferrars – and is happy to visit Noble districts with houses that look like they belong to Richard Curtis films. When she fell in love with Felix, who comes out of money, she introduces herself that he has it in the robe of a regional gentleman -not without reason that his floppy hair and a strong jaw are reminiscent of a young grant. But Felix 'half-in-half-out posture among his former peers on the Internet makes the class component difficult, which inherent their preferred romances. A wedding in a Saltburn -like estate underlines that such real estate tends to accommodate “Saltburn” Squee, with a panoply of personality disorders.

During her mishaps, Jess can't help but address Wendy in voice-over-and in daily video rants on an Instagram account that is privately set but is inevitably published. (Name it Czechows Finsta.) Jess knows that Wendy is not the right goal for her anger, and Dunham manages to avoid the usual things against influencers: As our heroine states, “I can't even hate them because she has pulled out of care care through the boat traps and a really unique, fantastic style.” Fantastic style. “Fantastic. Jess' parasocial fixation culminates in some feminist revelations by Pat, which at the same time appeared dutiful and a little to appear online. But“ too much ”finds other ways to surprise themselves when it develops. With his quicksilver shifts and the creeping sweetness, experience feels very much like in love. ♦