Too Much Series-Premiere Recap: New Girl in Town

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As a movie enthusiast, I’ve always found myself drawn to period dramas that depict the romance between an ordinary woman and a nobleman. In Lena Dunham’s new series Too Much, Jessica, the protagonist, seems to have modeled her character on this timeless narrative. The storyline typically unfolds like this: A young, unsophisticated heroine finds herself in an aristocratic setting and, quite unexpectedly, falls for a refined gentleman who overlooks her humble background and embraces her flaws. This tale often takes place on a grand estate, filled with nooks and crannies perfect for accidental encounters with one’s potential paramour. Think of Elizabeth Bennet and Mr. Darcy, or Jane Eyre and Mr. Rochester – their stories have stood the test of time because they embody a dream we all share: that our unique essence, our irresistible charm, can conquer societal norms, conventions, and even personal insecurities. What makes Elizabeth Bennet so captivating is that Mr. Darcy initially resists her allure.

In this rephrased version, let’s call it Version A:
Jessica, a devotee of Jane Austen literature and quirky at times, finds herself in a new setting, ready to embrace love despite her eccentricities. Having just come out of a relationship, she is wary of being labeled an ingenue but remains unabashedly sincere, much like Megan Stalter’s character. As “Nonsense & Sensibility” begins, Jessica wanders around London, contemplating the myriad roles that movies, TV shows, and books offer her in this new world. She confides to Wendy Jones, her ex-boyfriend’s fiancée and the intended recipient of her narration, that a woman in England can be anything – from a resilient police sergeant who solves gruesome crimes using her past traumas, to a compassionate sex worker with a golden heart, or even a carefree party girl with an exciting future ahead. It quickly becomes apparent that Jessica’s journey will teach her the timeless truth: You bring yourself wherever you go.

Jessica, a Jane Austen enthusiast and a bit peculiar, ventures into a new setting with an open heart to love. Having recently ended a relationship, she steers clear of the ingenue label but maintains her sincerity, like Megan Stalter’s character. In “Nonsense & Sensibility,” Jessica roams London, contemplating the diverse roles movies, TV shows, and books present for her. She tells Wendy Jones, her ex-boyfriend’s fiancée, that a woman in England can be anything – from a tough police sergeant to a kind sex worker or a free-spirited party girl. The show, created by Lena Dunham, makes it clear early on that Jessica will learn the universal lesson: You take yourself wherever you go.

Dunham now resides in London, where she married after a public breakup with musician and producer Jack Antonoff, who is now married to actress Margaret Qualley. However, this is typical of pilot episodes, especially those running for 30 minutes, as they often pack a lot of information into a pace that can sometimes feel rushed and overwhelming.

In an effort to emphasize their distinct qualities, I’ll try to steer clear of direct comparisons, but it’s worth noting that the captivating premiere of “Girls,” Lena Dunham’s television gem from the mid-2010s, was brimming with rich character development. In contrast to Netflix’s polished aesthetic, there was a raw, gritty feel to that initial episode that has been softened by their signature smoothness. Since “Girls” was such an original creation, and its inspirations were centered more around characters rather than plots (think “Sex and the City,” Woody Allen’s films, Claudia Weill’s 1978 film “Girlfriends,” and Nicole Holofcener’s 1996 film “Walking and Talking”), it allowed for the story to be primarily character-driven. Megan Stalter’s task here is to bring more of her unique self to the forefront instead of emulating Lena Dunham’s Hannah Horvath in London.

In essence, we’re wondering how Jessica ended up in London amidst the turmoil of her split with “Zev Jeremiah Goldstein,” who chose Wendy Jones, a social media sensation represented by Emily Ratajkowski, over being ready for marriage and parenthood. A short while before she departs for London, an intoxicated Jessica forces entry into Zev’s apartment (which he had rekeyed) by smashing a window with a garden gnome, and storms in to confront them about their actions towards her. “I understand your feelings need addressing… but it seems rather irrational,” Wendy diplomatically remarks, while Zev becomes agitated.

After their separation, Jessica has returned to Long Island and is now living with her mother Rita Wilson, grandmother Rhea Perlman, divorced sister Nora (Dunham), and nephew, whose peculiar humor seems like an extension of the women’s personalities. Jessica refers to her family home as a “Grey Gardens-like sanctuary of single women,” even though their relationships are filled with warmth and charm, with a good dose of wit but lacking in the original’s tragic elements. These are distinctively funny women, the kind you’d enjoy sharing a glass of wine with, yet they all find themselves alone at the end of the night. Despite Jessica’s initial dreams of becoming a renowned film director with a powerful message about female experiences, she found herself in a producer role instead, where she has been for more than 15 years.

In the commercial production for her own company, Jessica Alba (portraying herself) desires to have control during the shoot rather than the dismissive male director who disregards her suggestions. However, when she suggests taking charge, Jessica becomes apprehensive – struggling with the idea of someone influential acknowledging her competence. It’s in the hallways that her superior, Nora’s former spouse (Andrew Rannells), approaches her. He advises Jessica that she hasn’t been herself since the separation and proposes a job opportunity to shoot a Christmas commercial for three months in London, where she might discover herself anew or even transform into someone different. Moreover, he reminds her of her affinity for England, “You adore films featuring ladies fainting from consumption,” he says.

Upon her arrival, this is what Jess anticipates – a Merchant Ivory-style setting with an elegant estate, where she could leisurely fan herself amidst a charming group of neighbors and staff. Contrarily, she discovers herself residing at Hoxton Grove Estate, a rather noisy apartment building, sharing walls with colorful and explicit residents. Her only source of assistance is Gaz, a peculiar yet kind neighbor. When Jess finds herself sinking into self-pity after glancing through Wendy’s Instagram, revealing Zev’s proposal to her via a lizard-worn ring, she gathers all her resilience. Courageously, she dresses up and ventures out to the local pub on her own.

At this point, Jessica’s fortunes begin to shift. The band “Felix and the Feelers,” fronted by the charismatic Felix (portrayed brilliantly by Will Sharpe), performs a melancholic, grungy song before their encounter in the restroom. In the bathroom, Jessica throws him some toilet paper (known as ‘bog roll’ in the UK) over the partition, just before a disgruntled woman storms out of the stall next to him at the bar. Later, they cross paths again outside, where she’s trying to hail an Uber (in an English-speaking nation, using an app set up for English speakers). Felix kindly offers to escort her home, and an immediate connection forms between them. With his witty British humor and open personality, Felix prompts Jess to confide in him about her recent breakup.

However, upon reaching her apartment and receiving a kiss from Jess, Felix doesn’t reciprocate – he’s currently involved with someone else, and this time around, he wants to change things up, subtly suggesting a plot twist for the audience to keep an eye on. Jess, perceptive as ever, senses his hesitation, feeling embarrassed by her advances. She escorts him to the door without exchanging contact details. Meanwhile, Felix is captivated by Jess; she mentioned that Fiona Apple’s album “Tidal” was her first CD, so he plays “Slow Like Honey” during their walk home and reconsiders his decision. On the other hand, Jess creates a video for Wendy using the front-facing camera, expressing her unquenchable passion with a candle beneath her chin. As she gets increasingly immersed in her performance, she accidentally knocks over the candle, causing her Elizabethan-style nightgown to catch fire and leading to an emergency situation.

Jessica contacts the emergency services, and the paramedics cool her burn by showering her with cold water. Meanwhile, Gaz tries to help but isn’t needed when Felix arrives. Jessica describes his return as if he were Mr. Darcy or Rochester from a novel. However, unlike these characters, Felix doesn’t have their wealth or haughty personalities. But the comparison implies that Felix will harbor secrets and the story will involve unexpected disclosures. When discussing her dissatisfaction with Hoxton Grove Estate, Jessica mentions she’s “revising her hopes.” The most engaging romantic comedies create tension because such revision goes against the growth of a relationship. The actors Stalter and Sharpe have great chemistry; Sharpe balances her quirkiness with a grounded realism and her vulnerability with confidence. I can already tell that I’ll be rooting for them, which means my heart will likely be hurt at some point in the story.

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2025-07-10 10:54