Lena Dunham’s latest Netflix series, Too Much, has sparked a lively debate among critics and viewers alike, blending a classic romantic comedy formula with a heavy dose of Jewish cultural tropes and a painfully modern take on flawed love. Starring Meg Stalter as Jessica and Will Sharpe as Felix, the show follows a messy, neurotic heroine navigating heartbreak and romance in London, but it’s the portrayal of Jewish identity and the chemistry between the leads that have drawn the sharpest scrutiny.
At its core, Too Much is a rom-com with a twist. Jessica, recently dumped by her Jewish ex-boyfriend Zev (played by Michael Zegen, familiar to fans of The Marvelous Mrs. Maisel), moves to London seeking a fresh start and a fairy-tale romance. The show leans into the genre’s familiar beats: bad breakup, new love interest, misadventures, and eventual emotional growth. Yet, as noted by the Forward, the series heavily leans on some well-worn Jewish stereotypes — the nebbishy Nice Jewish Boy, the overbearing Jewish mother (Rita Wilson), and the boundary-pushing bubbe (Rhea Perlman) — all encapsulated in a family dinner scene that sets the tone early on.
Jessica’s Jewishness is front and center at the beginning, with her family’s conversations steeped in cultural clichés, including the grandmother’s lament about the family marrying Christian men and an obsession with “boring goyische pictures.” But beyond this opening, Judaism fades into the background, surfacing primarily in moments of dysfunction or neuroticism. The show never explores Jessica’s Jewish identity in any nuanced or positive way, leaving critics to wonder why it was highlighted at all. As the Forward’s writer put it, “Couldn’t they all be kind of cuckoo without having to be Jewish?”
Jessica’s character is described as “too much” — a trait familiar to fans of Dunham’s previous work, particularly Girls. Unlike typical rom-com heroines whose flaws are charming or socially acceptable, Jessica’s behavior crosses into unhinged territory. She invades Zev’s home in a dramatic outburst and obsessively films social media videos directed at Zev’s new girlfriend, played by Emily Ratajkowski. The show suggests that despite her instability, Jessica is lovable and deserving of happiness, a departure from the usual narrative where love “fixes” the flawed woman. Her new love interest, Felix, is far from perfect himself — a small-time musician with a cocaine habit — yet their romance endures.
However, the chemistry between Jessica and Felix has been a sticking point for many critics. The Hollywood Reporter called the series plagued by “intimacy issues,” noting plenty of sex scenes and confessional conversations but a lack of “lingering gazes” or emotional connection. The Atlantic went further, describing the romance as “awfully dispassionate” and claiming the leads have “almost negative chemistry.” Reddit users echoed these sentiments, with one commenter saying the scene where Jessica confesses her love during a protest “fell totally flat.”
Such critiques raise an intriguing question: is the perceived lack of chemistry a failure of the actors, the writing, or something more culturally ingrained? The Arts Fuse called Jessica “an infuriating heroine who is very difficult to root for” and found the sex scenes “cringeworthy,” yet the same article acknowledges that Jessica and Felix are “hapless, chaotic people” whose connection is “inconvenient and illogical,” mirroring real-life relationships that defy neat storytelling.
This tension isn’t unique to Too Much. Similar criticisms have surfaced around other Netflix romances featuring unconventional leads, such as One Day and Bridgerton season three. In each case, critics questioned the romantic chemistry, often in ways that seem intertwined with the leads’ divergence from traditional beauty or casting norms. Ambika Mod, star of One Day, reflected on this phenomenon, noting that audiences often struggle to accept diverse portrayals of romance and that female leads in rom-coms rarely receive the same respect or recognition as their male counterparts.
Behind the scenes, Too Much is deeply autobiographical. The plot closely mirrors Dunham’s own life events, including her breakup with musician Jack Antonoff and subsequent marriage to British songwriter Luis Felber, who also co-created the series. This personal connection perhaps explains the show’s raw, sometimes uncomfortable portrayal of love and mental health. Yet, as Derek Robertson of Politico observes, the series falters in capturing the authentic voice that made Girls resonate so deeply. While Dunham’s 2022 film Sharp Stick showcased her sharp dramatic chops, Too Much often feels like a mushy, insincere rom-com, with Meg Stalter’s performance failing to match Dunham’s own protean energy. Critics lament that Stalter’s portrayal toggles awkwardly between manic comedy and forced seriousness, ultimately sinking the series.
Jessica’s character contrasts starkly with Dunham’s previous heroines. Where Hannah Horvath from Girls was self-assured and culturally savvy, Jessica is apologetic and retreating, clinging to outdated pop culture references like Ke$ha and Vanderpump Rules. Her romantic entanglements lack the emotional complexity of Dunham’s earlier work, feeling more like a CW drama from a decade ago. This shift has led some to speculate whether Netflix’s data-driven demands or Dunham’s creative choices aimed for a more accessible, feel-good Y2K-era rom-com, but at the cost of depth and authenticity.
Despite these criticisms, Too Much isn’t without its merits. The ensemble cast, including Andrew Rannells and Richard Grant, provides moments of genuine humor and sharp social commentary. Scenes like a chaotic brawl involving a “coked-to-the-gills” Richard Grant offer real laughs, and the show’s dialogue retains some of Dunham’s signature wit.
Still, many viewers and critics are left hoping that Too Much will be remembered as a curious detour rather than a creative decline for Dunham. The series embodies the challenges of representing complex, neurotic, and diverse characters on screen, especially within the rom-com genre’s traditional expectations. It also highlights the ongoing struggle for broader acceptance of unconventional leads and stories in mainstream media.
Ultimately, Too Much serves as a mirror reflecting not only Dunham’s personal journey but also society’s evolving, sometimes fraught relationship with love, identity, and representation. Whether audiences embrace or reject its flawed charm, the show undeniably sparks conversation about the boundaries of romantic storytelling in contemporary culture.
