Too Much Recap: Complex Female Character

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In period novels, a common trait of heroines is their captivating, rebellious nature – think Jo March, Elizabeth Bennet, Emma Woodhouse, and countless other women in corsets. In modern romantic comedies, this impertinent spirit often drives the quest for change. For instance, Bridget Jones, who can be seen as a modern take on Jessica from Too Much and a contemporary version of Elizabeth Bennet, embarks on a personal transformation journey. She decides to quit smoking, lose weight, and organize her life in an attempt to prove Mark Darcy wrong. This path leads her to self-discovery, ultimately revealing her true identity. True, deep romantic connections, however, surpass such superficial changes, as they are rooted in the authentic self, not the persona one thinks they should project.

The story of ‘Girl on Her Own’ revolves around the theme of self-discovery: Upon arriving at her new job in London, Jessica finds herself grappling with the choice between staying true to herself or adapting to fit in. Similarly, Felix stands at a fork in the road; his pattern of quick and intense attachments has hindered him from forging lasting relationships. When confronted by the raw authenticity of life, he often retreats, finding that his dreams of being a folk singer, corset designer, or influential Ukrainian refugee are merely illusions. If he truly believes that Jessica is different, then he must face the challenging and uncomfortable truth: to truly understand her and reveal himself to her.

Following their enjoyable night together, Jess and Felix engage in some witty banter, which I find particularly engaging so far. After tending to her injury with cold water, the paramedics take Jess to the hospital where she’s unable to receive strong painkillers. Felix, accompanied by Astrid, then helps Jess escape the hospital, driving her home in his car. These extended conversations between Felix and Jess are my favorite moments from the first two episodes. Megan Stalter skillfully infuses her character with a sense of humor distinct from Lena Dunham’s style – for instance, “You want a scone, guv’nor?”. Her genuine laugh and playful dialogue with Felix add depth to their characters. However, Stalter’s performance sometimes veers towards acting for comedic effect, which is less common in Netflix productions. The longer scenes provide an excellent platform for her to refine her unique delivery style.

After a long wait, Felix and Jess finally consummated their relationship when she revealed herself to him in her “pioneer outfit” and admitted that if she possessed a superpower, it would be to dissolve barriers. Felix, known for his humor, respect, and concern over Jess’s injuries, had to be told by her to tone down his chatter. The following morning, they decided to meet again, with Jess leaving him in her bed. Upon reaching her London workplace, she discovered that Felix did not share the same open-armed acceptance of her eccentricities as he had earlier.

In the meeting, Richard E. Grant, their new boss, is attempting to create a “genuine” and “popular” atmosphere for the upcoming Christmas commercial featuring Rita Ora in a Santa bikini designed by Stella McCartney. Unfortunately, Jess didn’t get to present her prepared introduction as Mr. Grant left beforehand. Kim, the American art director portrayed by Janicza Bravo, seems unfamiliar with Jess, who previously collaborated with her on an Avril Lavigne Converse campaign. The assistant in this company is a Gen-Z individual sporting pink hair, named Boss, and there’s also Josie, who appears detached from the office’s interactions.

It’s possible that Kim and Boss grow fond of Jess due to her openness, which can make one vulnerable to judgment. She confides in them about dating a “trendy indie musician” she met at a bar, someone who she thinks is much more sophisticated than her previous partner, who constantly criticized her taste in music. A quick flashback shows Zev being condescending towards Jess as she sings Miley Cyrus. He claims the music is too ordinary and brushes off her arguments that Miley’s work is insightful commentary on the manufactured pop star, especially since her Disney days. This kind of belittling can cause self-doubt, which is what happens to Jess when Kim and Boss advise her not to rely too heavily on Felix, whom she has only known for a couple of days. “Be cautious,” Boss suggests, then invites her to join them for International Fashion Day Outing.

In a more straightforward and conversational tone: Despite the advice making her uncomfortable, Jess decides to go along. She thinks to herself, “When I listen to my gut, things usually get messy… Everyone seems to know better than me.” This might seem obvious for an insecure character like hers, but there’s an interesting tension with Felix who’s also unsure of himself. Instead of following her instincts as usual, Jess is trying to steer clear of chaos; meanwhile, Felix is embracing uncertainty by actually doing what he thinks.

Up until now, I’ve found myself drawn to Felix, but I’m starting to suspect he might be afflicted by the Nice Guy Syndrome, a condition that affects men who believe they are superior due to their kindness alone. We find Felix in his personal abode, lounging in bed and enjoying some tunes. In the kitchen, his elder roommate, who has a collective of young environmental activists residing with him (perhaps pot-smoking hippies in hopes of attracting 20-year-old Belinda), complains that Felix often claims he’s met someone new, and this time it will be unique. Later at a soccer match, he mentions if this time things are genuinely different, then he knows his course of action.

I like Felix, but I think he might have the “Nice Guy” problem. He lives with an older roommate who hosts environmental activists in hopes of impressing a 20-year-old named Belinda. He often claims to have met someone new, and at a soccer game, he hints that if this time things are different, he knows what he needs to do.

Meanwhile, as Felix chooses to act on his feelings and visit Linnea’s home for a breakup – the captivating yet temperamental woman who stormed off from the pub at the start of the series – Jess allows her colleagues to help her with her attire. They seat her next to Pawel, a “footballer” known for his fascination with intelligent women in the intellectual realm. Jess employs sarcasm when Pawel discusses his “pet project,” a denim line, and Manager monitors her behavior – even though he’s athletic, he’s not foolish. An uneasy atmosphere settles over the table, so Jess retreats to the restroom to create additional videos in response to Wendy’s suggestive Instagram posts.

When listening to Kim, it becomes clear that Jess maintains her personal videos on a private account, serving as a journal-like space for her, bringing her closer to and creating distance from Wendy. In most stories, if a diary is introduced, it will eventually be revealed, so I’ll keep an eye out for Jess’s secret Instagram from now on. Just like any object of fascination, Wendy seems less like a person and more like an abstract concept that Jess uses to define herself. However, despite this, it’s hard not to feel sympathetic towards Wendy-the-person, as Jess explains, not only because she overcame foster care on her own but because she is so authentic, a stunning woman with a truly unique and impressive style. Kim acknowledges that Jess manages to maintain a very private life in public given the nature of what she does privately. “I’m such a fucking mess,” Jess sighs. “You’re not a mess,” Kim replies. “You’re a work in progress. You just need to listen to yourself, you know?

This advice is both painfully clear yet profoundly impactful, on par with “Don’t worry about it.” Kim’s encouragement empowers Jess to assert herself when Pawel criticizes her as messy during dinner. With genuine enthusiasm and the flair of the 2000s, she passionately discusses the gender bias that labels women as messy while allowing men like Pawel, with a wife and family, to be seen as players. “In truth, I’m a work in progress because I know who I am, I know what I want, and I’m listening to myself,” she says, attempting to reassure herself.

In Linnea’s apartment, Felix is restrained and covered, being subjected to spitting. She rushed him inside before he could explain his purpose, but eventually he managed to express that he no longer wishes to see her. Linnea acknowledges his kindness, but advises that if he finds himself in a similar situation in the future, he should simply break things off instead of lingering. This behavior, often seen in “Nice Guys,” is particularly irritating. It’s when a man believes a woman will be devastated by his departure, so he continues to string her along, thinking he’s doing her a favor.

However, Felix offers an apology, and Linnea dozes off, clutching her thumb against him. Later, Jess messages him to join her at the estate, and upon arrival, he presents a custom mix on a Walkman. Earlier in the episode, we find him listening to this very mix in bed. Jessica expresses her dislike for music, just as she does with her colleagues, but Felix urges her to relax and listen. The scene focuses on Jess and Felix as a Cate Le Bon tune begins to play. Alone, Jess listens to the song while Felix remains silent beside her.

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2025-07-10 12:54