There’s the shared cast (Dunham, show-stealer Andrew Rannells, Rita Wilson, and beloved character actor Richard Grant all make reappearances); the rapid-fire, zeitgeisty dialogue (Dunham wrote or co-wrote every episode); the messy, socially dysfunctional, yet ultimately lovable heroine at the center of it all (Meg Stalter, the social-media comedic phenom and Dunham’s on-screen avatar and somewhat eerie doppelganger).
As Dunham’s return to episodic confessional mythmaking, Too Much falters first and foremost when it comes to her usually preternatural ability to speak for, as she once famously said, “a generation,” emphasis on the nondefinite article. Dunham’s genius, and what made Girls a legitimate cultural event, was to meld heartfelt James L. Brooks-style melodrama with brutally honest reportage about millennial mores, desires, and deficits.
She still has the
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