Throughout the entire season, paralleling the uncertainty of Jess and Felix's romantic fate, was Jess's profound journey of self-discovery and growth. When we are first introduced to her, Jess is a whirlwind of uncontained emotions, bursting into Zev’s apartment and feeling compelled to confront him through Wendy and her own phone. Despite her physical distance from the source of her turmoil, she remains mentally tethered to it, unaware of her own potential for freedom. It isn’t until her diary is publicly exposed that she awakens to the realization that she can transcend the self-imposed constraints that have defined her. By the season’s climactic episode, she further understands that she can embrace love and be loved in spite of her imperfections; she learns to be authentically herself without the incessant need to stand out.
Megan Stalter delivers a mesmerizing transformation, beginning the series with self-conscious hesitancy and culminating in a portrayal so relaxed and natural that it feels effortless. My initial skepticism melted away as the show progressed, revealing Stalter’s remarkable ability to strike a captivating balance between her comedic persona and the depth of her character. Jess is entertainingly Megan Stalter-esque, yet she is far from a cartoonish exaggeration. Her frustrating and often selfish tendencies make her a complex character, yet she is undeniably endearing.
In my recap of episode two, I highlighted the rom-com’s emphasis on self-determination: alongside the ups and downs of romantic entanglements lies the critical decision to embrace a version of oneself capable of loving and being loved despite the discomfort it may entail. Doing what is right is seldom easy, and it takes considerable effort for Jess to rise above her moments of self-doubt, just as it challenges Felix to resist the allure of his vices. Moreover, this quest for self-determination is not limited to our main romantic leads. The finale brings a heartwarming reunion between Nora and Jameson, who have ultimately acknowledged their love for each other, surpassing Jameson’s previous attachments to the Codies and his communal lifestyle in Bushwick. It also witnesses Kim embracing her queer identity and Boss acknowledging the human being behind his public persona.
However, as is often the case in romantic comedies, things must descend into chaos before they can ascend to triumph, and this is particularly evident in the final stretch of the season. As "The Idea of Glue" opens, the office atmosphere is thick with gloom, each character grappling with their individual crises: Jess and Felix are estranged, Kim and Josie’s tension is so palpable that Josie cannot bear to share the same space with her, and Raven discovers a video of Boss, a.k.a. Gary, in his past life as a straight man, rapping about seducing women. Boss, Kim, and Jess find humor in the video, but their laughter is interrupted by Jonno, amidst his own personal turmoil after being abandoned by Ann with their untrained Irish wolfhound, Diane, checking in on them. In this moment, it is clear that none of them is faring well.
Least of all, Felix, who is meticulously gathering his belongings from Jess's apartment, leaves behind half of a photo-booth strip as a token. Hardly has he stepped outside when Astrid's breathing grows strangely erratic. In a rush, he conveys her to the vet, but it proves too little, too late: Astrid passes away on the vet's cold examination table. The scene is heart-wrenching. Astrid, a shining star, had been a soothing balm for Jess's troubled soul, and an undeniable testament to Jess's capacity for selflessness—she alone held a place in Jess's heart akin to, or perhaps even above, her own.
Astrid's demise strikes Felix deeply, their playful banter now but a haunting echo. He repeatedly apologizes to her memory, his guilt palpable. For Jess, this is an overwhelming blow. By the time she arrives at the vet's, Astrid has already departed, prompting an emotional outbreak directed at Felix. She rails at him, accusing him of selfishness and deceit, while he implores her for a moment to gather himself. Her relentless barrage of accusations overwhelms him to the point of self-flagellation, slapping his own face in despair, yet Jess remains unmoved, convinced that her pain surpasses anyone else's.
Felix counters that grief cuts deep for all involved, acknowledging his own flaws but challenging Jess to do the same—or at least to recognize her potential for them. Jess, however, refuses to acknowledge any wrongdoing, listing all she has done for Felix as proof of her worth. "I'm good! I'm no bitch! I'm good! I'm special, I'm bright, and you don't care!" she cries, striving to convince herself.
On one hand, her behavior stems from the lingering fear of exposure following her tumultuous relationship with Zev. On the other, her conditional love—demanding admiration and acknowledgment of her uniqueness in exchange for her affection and care—is exasperating. Jess embodies the archetypal Lena Dunham character: obnoxious, self-centered, and frustrating, as she voices emotions that many of us, striving to be good, special, and bright like her, keep hidden. Her feelings, far from unique, escape her recognition.
Over the phone, Jameson urges her to return home, promising to represent her in advertisements, a stepping stone for her directing career. Meanwhile, at the bar, Felix croons a melancholic tune about shattered love, his rendition imbued with raw emotion. Will Sharpe's performance is nothing short of mesmerizing. Risking corniness, I must say that 'Too Much'—alongside Stalter and Dunham—evokes an intense emotional response. Sharpe's portrayal seemed genuine, as if singing from the depths of a shattered heart. It reminds me of Jeremy Strong's interview on Marc Maron's 'WTF' podcast, where he cited Al Pacino's wisdom: great acting is about finding the authenticity to truly 'mean' what you say. Throughout 'Too Much,' Sharpe's delivery felt sincerely heartfelt.
Amidst the financial clout of Netflix and the camaraderie woven with Lena Dunham, a Taylor Swift melody gently inserts itself into the scene as Jess peruses through Astrid's vintage nightgowns. Her phone buzzes, revealing a text from Wendy, now in London for professional endeavors and yearning for a chat. This marks Wendy's first genuine appearance in Jess's world post-break-in, transcending the realm of mere mental projections. When they converge at a cozy café, Jess confesses that she has conjured countless scenarios for this reunion, ranging from fantastical dreams of winning an Oscar for being the "coolest ex-girlfriend" to poignant whispers of liberation to Wendy at Zev's funeral. Yet, none of her imaginative narratives encompassed Wendy as a multifaceted individual, possessed of her own thoughts and emotions. Emily Ratajkowski portrays Wendy with an enchanting blend of kindness, serenity, and humor, making her a delightful presence.
Prior to their meet-up, Jess envisions herself strolling through her apartment with Zev, exiting the space in tranquil resolution rather than amidst the shambles left by the break-in. Wendy reveals that she has been piecing together the puzzle and uncovering Zev's myriad lies, such as the six-month "separation" between him and Jess before they commenced their relationship. She warns Jess that Zev is drawn to strong women solely to tear them down, a pattern he will likely continue with others, "but not us," she asserts, kindly extending a hand of solidarity by placing herself and Jess on an equal footing of experience. Jess suggests they unite against him, à la "John Tucker Must Die," but Wendy, determined to let go as best she can, opts to move forward.
It's a sagacious decision, one that Jess too could embrace. Fortunately, we are spared a clichéd conclusion where Jess and Wendy become inseparable best friends; instead, they part on amicable terms. Wendy, wishing Jess the best in finding a partner who suits her perfectly, imparts some wisdom: "I've always believed that forgiveness is possible for anyone willing to say 'sorry' and speak the truth." This advice propels Jess to join Felix at a protest he's attending with Auggie. She enlists Gaz for a ride, and during the journey, they share an "Almost Famous"-esque moment of intense vulnerability when Gaz confesses his love for her, though they ultimately conclude that his feelings are not genuine – she simply doesn't scream insults at him like his mother, the source of the profanities that once kept Jess awake.
At the protest, Felix, Auggie, and their comrades have glued themselves to the pavement to decry high emissions, with Jess boldly joining them right in front of Felix. They confess to undermining their promising relationship, and Jess declares her reluctance to leave London without conveying how crucial he is to her. Finally, Jess appreciates Felix in his entirety, flaws and all – "You're wonderful, not in spite of your baggage but because of it," she tells herself – and more crucially, she acknowledges her own role in their downfall. She learns that staying true to doesn't preclude others' imperfections; she can grant forgiveness to others as readily as she does to herself. Furthermore, she realizes she doesn't need to bear such burdens anymore. "I want to feel light," she asserts with conviction.
Felix beams with delight upon seeing Jess, eagerly embracing the opportunity to confess his own role in their shared saga, his enthusiasm palpable. Yet, just as their conversation inches towards conclusion, the police descend upon the scene, apprehended Jess while Felix escapes unscathed, literally sprinting into freedom. As she's escorted to the patrol car, he pops the question, asking her to be his wife amidst the chaos.
Elsewhere, Lois indulges in a hair-washing session with her rekindled lover; Dottie lists their Long Island abode for sale; Nora and Jameson waltz sweetly in the cozy living room; the girls from Hoxton Grove Estate reconcile with heartfelt hugs; Raven clasps Boss's hand as he inks "Gary" onto his chest in a tattoo; Ann and Jonno train Diane in unison; Kim immerses herself in a book exploring queer themes. Rita Ora's festive commercial plays prominently on storefront windows, casting a festive glow.
And then, the big day arrives: Felix and Jess's wedding. The gathering is a who's who of their loved ones, even the Three Pollys, whose barbed remarks betray Polly One's shattered heart. Josie seeks forgiveness from Kim, while Simon imparts a lesson on the origins of the word "matrimony." Jess, adorned in a magnificent tulle bow and an ironically graphic Nixon T-shirt, steals the show. The season concludes with Wendy's diary entry to Jess, returning the borrowed shirt with gratitude.
"Too Much" wraps up with Lena Dunham calling "cut" on the wedding scene, transitioning seamlessly into behind-the-scenes Super8 footage. The haunting melody Felix crooned at the bar echoes once more, this time performed by Attawalpa, the band of Dunham's husband and co-creator Luis Felber, who have composed much of the show's soundscape. This moment resonates deeply, shattering the illusion once and for all—a fracture that, as we know, marks the genesis of genuine love.
