Critic Reviews

With Too Much she’s done it again. .... Gleeful silliness can be found in each one of the 10 episodes. But the real marvel here is the performances.

A testament to Dunham’s strength as a creative and someone who understands the tropes she’s engaging in and, to some extent, challenging. That the series manages to be as funny as it is while also reveling in sincerity and folly is what makes it so engaging.

It’s hard not to say that Netflix has another Nobody Wants This, albeit a quirkier and more unconventional one, on their hands. Thanks to Stalter and Dunham, Too Much is a winning comedy that will remind you to adjust your expectations for finding a match, but keep your heart open.

Audiences should enjoy Dunham's worthy and hard-won return to the small screen.

Stalter and Sharpe are an on-screen match made in heaven, and the delicate nature of their characters’ relationship couldn’t be safer in anyone else’s hands. Alongside them is an ensemble of actors who consistently steal the show every time they appear on screen.

Yes, it threatens to go overboard, and sometimes does, but keeping it afloat are its two terrific leads. They anchor this warts-and-all romance.

Funnier and more of a rom-com, “Too Much” largely isn’t too much in the way “Girls” was, thanks to Dunham leaning into a lighter tone and the likability of star Megan Stalter. ... Stalter is a riveting performer.

It’s a rom-com with bite, noir and pin-sharp observations that show that Dunham’s writing still sparkles. Yes, ten episodes might be two too many and the final episode does become a bit “Four Weddings/Love Actually”. But it is never in a cloying, saccharine way.

This charming, idiosyncratic show preserves Dunham’s gift for effortlessly distinct, joke-laden dialogue while evolving the “Girls” ethos for a new phase of life.

She excels at short-form storytelling. The smaller the unit, the sparklier her writing gets. Her episodes are plays. Taken scene by scene, her writing is even better: rangy and unexpected, and filled with the surprise pleasures her creative anarchy — the more detached it is from the pressures of plot — makes possible. That remains true here, even when her longer arcs deliver more predictable (or conventional, or simply less satisfying) fare.