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    Review: ‘Too Much’ Is Not Nervy Enough

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    This new Netflix comedy by Lena Dunham is the surprisingly mild tale of a young woman fleeing New York after a catastrophic breakup.In a scene from the new Netflix comedy “Too Much,” Jessica (Megan Stalter), a frustrated line producer, vents to her colleagues about her resentments. A co-worker snips: “You’re realizing that middling white women feel terrible wherever they go.” Well, with frenemies like this …Created by Lena Dunham and her husband, Luis Felber, a British musician, “Too Much” follows our heroine Jessica as she flees New York after a catastrophic breakup. She moves to London for the romance of it all — the Jane Austen, the Bridget Jones, the BritBox. The distance from her grandmother (Rhea Perlman), mother (Rita Wilson) and sister (Dunham) is a perk, too, though oceans and time zones are no match for matriarchs who want to impart wisdom on vaginal health.Jessica is a pajama girlie, seen often in granny nighties, frilly tap shorts and teddies. By day, she wears baby-doll dresses and voluminous sailor-neck shifts, big bows in her hair, space buns and a pale blue manicure. She puts her gremlin dog in sweaters and gowns, and she stomps her feet when she’s angry.She also can’t stop looking at her ex’s new girlfriend’s social media. How can the knitting influencer and lizard rescuer Wendy (Emily Ratajkowski) be so happy with Zev (Michael Zegen), when she, Jessica, was supposed to be celebrating her seventh anniversary with him at this very moment? Jessica scrolls obsessively, and she records her own private video diaries addressed to Wendy, videos that bubble with post-breakup rage and confusion.But maybe all that insecurity and despair is more of the New York Jessica, because the London Jessica meets a brooding singer-songwriter, Felix (Will Sharpe), on her very first night in town. They hit it off immediately and speed-run the traditional relationship markers: the I-love-yous, the dinner with the boss, the awkward introduction to friends, the strained plus-one-at-the-wedding mishegoss, the disclosure of family baggage.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How the Women of ‘Too Much’ Made Lena Dunham’s Rom-Com Just Right

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      When Lena Dunham moved to London in 2021, she had given up on love. “The rest of my life is just going to be about my family and my animals and my job,” she remembered telling herself.If you have seen Dunham’s previous work, which often skews anti-romantic, this will make a special kind of sense. In the six-season HBO series “Girls,” a generation-defining traumedy, Dunham, a writer, director and occasional actor, viewed love with a conjunctival eye — itchy, gritty, irritated.But love had not given up on Dunham. Just after her move, she met the musician Luis Felber. She didn’t anticipate anything serious. “I was seeing it as fleeting — it’s fun to hang out with a boy during the pandemic,” Dunham said on a stupidly beautiful June morning in New York. She was wrong. By the fall of that year, they were married.Soon, there were reports that Dunham and Felber were developing a show based on their relationship. That 10-episode show, “Too Much,” arrives on Netflix on July 10.“Too Much,” with Will Sharpe and Megan Stalter, was inspired by Lena Dunham’s own story of meeting her husband, Luis Felber.NetflixIs “Too Much” a romantic comedy? Yes. Is it inspired by Lena’s own story? Sure. But “Too Much” wants more — inclusivity, expansiveness, a reconsideration of the love stories we tell and about whom we tell them.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      Julia Fox and Others Try Nearly Nude Looks at Oscars and Vanity Fair

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      Julia Fox followed up Bianca Censori’s much-discussed Grammys moment with a sheer dress at Vanity Fair’s party. Others joined her in the less-is-more approach.About a month after Bianca Censori caused a commotion for posing on the red carpet at the Grammy Awards in a completely sheer minidress, another woman with ties to Ye arrived in a similarly nearly naked look to Vanity Fair’s Oscars after-party on Sunday. This time, it was Julia Fox, who previously dated the rapper and designer formerly known as Kanye West.Ms. Fox’s sheer garment of choice, by the Turkish designer Dilara Findikoglu, was a maxi dress that involved some ruching to give it a bit more shape. Strands of Ms. Fox’s wavy hair extensions were strategically placed underneath the dress, covering the necessary areas.It was a look that drew a great deal of attention and one that invited numerous comparisons to Ms. Censori, whose outfit reveal at the Grammys was bold enough that some falsely said it had led to her and Ye, her husband, being asked to leave.On Sunday night, Ms. Fox was not the only one at the Vanity Fair party in a provocative look.Among the provocative looks at Vanity Fair’s Oscars party were, clockwise from top left, Zoë Kravitz in Saint Laurent, Olivia Wilde in Chloé, Emily Ratajkowski in Ludovic de Saint Sernin and Kendall Jenner in vintage Mugler.Clockwise from top left, Amy Sussman/Getty Images; Danny Moloshok/Reuters; Neilson Barnard/Getty Images; Amy Sussman/Getty ImagesHistorically, Vanity Fair’s annual event has allowed celebrities the freedom to be a little more risqué and experimental in their fashion choices after the comparatively conservative red carpet at the Oscars. In 2023, Emily Ratajkowski wore a long-sleeved, see-through chain mail gown by Feben. Hunter Schafer’s Ann Demeulemeester look from 2023 consisted of a single leather feather for a bandeau top and a silky slip skirt. In 2024, Vanessa Hudgens revealed her baby bump in a sheer black Alberta Ferretti dress with a cape.This year, though, naked dressing seemed to particularly thrive at the event.Zoë Kravitz wore a satin long-sleeved gown by Saint Laurent that exposed her bottom through a bead-embellished mesh cutout on the back of the dress.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Venice Film Festival Looks: Angelina Jolie, Brad Pitt And More

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      No amount of star power can truly outshine the beauty of La Serenissima, the ancient republic better known as the city of Venice. But the Venice Film Festival, with its parade of A-listers arriving for movie premieres in water taxis, comes close.Typically held not long after the fall couture shows in Paris, the Venice Film Festival benefits, in pure fashion terms, from being a showcase of the newest garments from some designers. How these elaborate, often form-fitting, confections are transferred so rapidly from Parisian runways to Venetian red carpets hardly matters to looky-loos with their eyes perennially pressed to the glass of fashion.This year’s festival, running from Aug. 28 until Saturday, has not just been an exhibition for new designs, but also of vintage pieces. Some looked as fresh as ever. Garments old and new are among these 15 looks, which will be hard to forget for reasons good and bad (but mostly good).Taylor Russell: Most Modern Retro!Louisa Gouliamaki/ReutersThe actress radiated an icy elegance in a Loewe gown reminiscent of the creations of Jean Louis, a designer who had the lock on high glamour during the golden age of Hollywood studios.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More