Page 129 - Metropolis Megazine No.120 International

and the connection between them
happens without euphoria. There
is no manufactured chemistry or
long-term promises. There are dou-
bts and interruptions. There are
instances of affection and miscom-
munication. The series allows this
romance to develop slowly, without
any urgency to define what they
mean to each other. And in this
waiting period, it builds something
rare: an intimacy that does not de-
pend on certainties but on presen-
ce—even if imperfect.

Instead of following the typical
romantic comedy script—the one
that points to an emotionally sa-
tisfying ending— «Too Much»
embraces chaos. Like its protago-
nist, the narrative progresses at
irregular intervals. Lena Dunham
rejects the idea that everything
has to make sense, having already
questioned conventional ways of
telling women's stories in «Girls».
Some moments bear a resemblance
to «Fleabag» due to their rawness
and discomfort, while others bear
a closer resemblance to "Love" due
to the interplay between humour
ROMANCE IN TIMES OF EMOTIONAL and fragility. However, «Too Much»
INSTABILITY has its rhythm—slow, erratic, and
very human. Instead of wanting
NETFLIX to redefine the genre, it seems to

just want to give it space. This sty-
shone in «Hacks» as a chaotic and as soon as things become real. Jes- le allows for narratives devoid of
fragile supporting character, takes sica is a person who often breaks morals, characters in the midst of
centre stage here with a surprising down in other people's bathrooms, their journey, and conclusions that
performance: restrained, uncom- sends messages at inappropriate might not be definitive.
fortable, and deeply true. Jessica times, and attempts to establish
is someone who doesn't quite know a routine characterised by cold The supporting cast reinforces
how to be happy—and she's not coffee and awkward silences. Her this open-world feel, where no one
ashamed to show it. Or if she is, she relationship with London is made seems entirely sure of what they're
shows that too. up of small failures, dull moments, doing—and where that's not a pro-
and insignificant gestures—and blem. Emily Ratajkowski, Michael
She's easy to identify. Not because that's what makes it all so real. Zegen, Rita Wilson, Dean-Charles
she's a mirror image of those who Chapman, Richard E. Grant, Rhea
see her, but because she conveys so- In «Too Much», romance is not the Perlman, Andrew Rannells, and
mething common: the constant he- ultimate objective, but rather an Lena Dunham herself appear in
sitation between wanting to be au- uncertain realm where space for roles that are sometimes brief but
thentic and being afraid of looking two is not always available. Jessica always meaningful. They are peo-
ridiculous, between the desire for meets Felix (Will Sharpe), a sensi- ple passing through, failing, and
closeness and the automatic escape tive but reserved English musician, trying, just like Jessica.

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