In the realm of romantic comedies, a tumultuous downturn often precedes a heartwarming upturn. Jess's unanticipated declaration of affection for Felix was an uncomfortable yet not inherently dire moment. Navigating such territory demands a leap of faith, believing in the potential for a happy resolution. Felix's subsequent arrival at Jess's apartment, laden with his belongings, signals his readiness to embark on this uncertain journey together. Granted, his motives are tinged with self-interest; he desperately needs a roof over his head. Yet, given Felix's extensive social circle, particularly his close friend Polly, whose home he eventually stays overnight, his choice isn't devoid of intention.
As "To Doubt a Boy" unfolds, Jess is on the phone, venting frustrations to her mother about her lack of a "strong male role model." "You ruined my perception of men... I have no natural instincts!" she laments. The episode's narrative backbone is woven through the absence of Jess's late father, whose loss has shaped the Salmon siblings' views on romance. Nora, her sister, reels from a painful divorce, barely mustering the energy to leave her bed, while their mother Lois seeks to rekindle romance with men from her past. Following yet another disappointing encounter, Jess reaches out to Nora, and they weep together, reminiscing about their father. This shared vulnerability, albeit fleeting and imperfect, offers solace from their despair of ever finding an unconditional lover.
The lingering question revolves around Felix's capacity to fulfill this void for Jess. We reconnect with him after another unsatisfactory gig, fuming at his bandmates' lack of commitment. Auggie, his roommate, reminisces fondly about the days when Felix was lighthearted, revealing that his generosity in allowing Felix to stay rent-free stemmed from their joyful camaraderie. Now, Auggie feels more like a host to his "grandmother" than a friend. Felix is wounded by Auggie's perception of his sobriety as a burden, prompting him to pack up and head to Jess's.
She anticipates his arrival, donning an outfit that blurs the lines between French maid and something straight out of "The Traitors," rehearsing seductive lines in front of the mirror. But Felix enters in a diametrically opposed mood; he seeks solace from a tough day and asks if he can stay for a spell. While Felix froze when Jess confessed her love, now the tables are turned. Where he had the presence of mind to reject her immediately, she flees to the bathroom, recording a video voicing her suspicions about Felix's intentions: "Stay for a few nights? Sure, and next thing I know, my credit card's being used to buy porn!" Believing Felix is out walking Astrid, she's unaware he's in the living room, overhearing her every word. When she emerges, he wisely observes, "Sometimes it feels like you're arguing with a ghost," encapsulating her frustration with absent figures—her deceased father, Zev, her mother Wendy, and Polly.
Not that Felix qualifies as any sort of paragon of virtue either. It scarcely seems equitable for him to arrive, suitcase in hand, ready to nestle into his semi-girlfriend's abode after responding to her heartfelt "I love you" with a dismissive "I can't say it back." Regardless, some much-needed breathing room opens up between Felix and Jess—even the most tempestuous of romances requires a lull to avoid complete annihilation—as she embarks on a work expedition to scout locations for the Christmas advertisement. Sweet Gaz, meanwhile, remains with Astrid, armed with meticulous instructions on her feeding regimen.
With Jess away on her journey, "To Doubt a Boy" intertwines various contrasting couples and narratives, trailing individuals who strive, with all their might, to remain authentic to their true selves and yearnings. There's Jess and Felix, veering off course in their explorations alongside Jim, the director of the Christmas commercial, and Polly; Kim and Josie, who at last venture on a date; Boss, experiencing a genuine moment of connection with Raven, another producer at the company. Even Jonno curtails his work trip to attend to Ann, Lois embarks on dates, and Nora succumbs to her longing for her mother's affection.
"Too Much" presents us with an unapologetic, obnoxious, and narcissistic protagonist who, nonetheless, overflows with warmth, empathy, and humanity by juxtaposing Jess's dramatic escapades against those of the other characters. Dunham alienates Jess from them through her eccentric antics, such as purchasing bunny ears at a gas station, the jokes she attempts to land in the van en route to the countryside, or by revealing her ostracism at Hoxton Grove Estate. Yet, these other characters' own tales, boundaries, and missteps forge a bond with her. Jess may be eccentric, but she is far from alone in her struggles. A forgotten adage surfaces with poignant clarity: Everyone is grappling with their own demons, and everyone is doing their utmost to cope. None possess all the answers, not even those who may seem to, like Jim with his success or Polly with her self-assurance.
In the opulent ambiance of her Parisian-inspired abode, Polly critiques Felix's omelet-craftsmanship while still warmly welcoming him in. Their playful spat concludes in a light-hearted wrestling match. Curious about Felix's past with Jess, Polly probes, but Felix deflects her questions. Eventually, he admits, "I just like her." Polly, saddened, reflects on how she stood by Felix through the darkest days of his addiction, seeing the potential for goodness within him. Yet, now, he directs all his kindness elsewhere. She attempts to reconnect, inquiring if he ever envisioned a family with her, and ends up kissing him. However, Felix cannot return her affections. When Polly asks if he loves Jess, he remains silent. I am eager to uncover the truth behind Felix and his reluctance to utter those three words. He is so expressive in all other aspects of his life!
Meanwhile, Jess regains Jim's favor after he caught her in the bunny ears fiasco. Andrew Scott portrays Jim flawlessly—a sullen, arrogant figure who harbors a deep wound. In a hilarious scene, Jim rejects the location Raven and Jess scouted as too "cloyingly" fake, filled with artificial English charm. He envisions their commercial as akin to "Ken Loach directing a Christmas film," a stark contrast to what they actually have in mind.
As the day progresses, Jim transforms from a cartoonish archetype of arrogant masculinity to a strangely relatable picture of pathos, fueled by spite towards his ex-wife Anita. Jess tries to reach Felix and Lois before dinner but only reaches their voicemail—Felix is perpetually unreachable, and Lois is engrossed in preparing for a date with an old flame, while simultaneously attempting to wake Nora. Jonno cancels dinner due to an urgent trip back to the city to deal with Ann and the dog, leaving the rest of the team to pair off—Kim with Josie, Boss with Raven. Jess and Jim, the odd couple, find solace in each other's company.
At the pub, they bond over their shared experiences with exes and the feeling of abandonment. The conversation leads to a nightcap at Jim's place, where he imposes bizarre conditions for intimacy: he wants her to beg him for oral sex, praise his films, and pretend to be his ex-wife Anita. When he mistakenly identifies Jess as Anita, the encounter crosses into uncomfortable territory. Mortified by his error, Jess leaves him to grapple with his embarrassment alone, her departure marked by kindness.
If anything, Jess's fleeting and unsuccessful romance with Jim serves as a wake-up call, illuminating the beauty of her existing bond with Felix. During the journey back home in the car, memories of her father with Nora resurface, prompted by her own query about whether allowing Jim to "inspect, yet not touch, her vagina" could be considered infidelity. Upon her return to London, Jess heads straight to Polly's place, where she vociferously shouts for Felix and implores him to move in with her. He agrees, contingent upon her engaging in meaningful conversations with him, rather than burying herself in her phone. This fleeting exchange underscores a fundamental distinction between Felix and Zev. Jess playfully asserts that her commitment to communicating with Felix will be so profound that she might not even require her phone. Felix, ever the understanding soul, counters with a touch of humor, "Your life would crumble without a phone, as would everyone else's, not just yours." Unlike Zev, who might exploit Jess's phone addiction to undermine her, Felix grants her the empathy to view her quirks as neutral aspects of humanity, shared by all.
At their abode, Jess keeps her promise and confides in Felix about her fear of unleashing repressed anger upon him. He gently encourages her to channel her emotions through music, and together, they belt out a song that empowers her, making her feel unstoppable ("Praying" by Kesha, an apt and amusing choice). As their voices blend in harmony, we catch glimpses of the other characters: Ann and Jonno nurturing their connection; Josie and Kim sharing tender kisses; Boss and Raven forging a deeper bond; and Lois embracing her daughter Nora. They truly become our cherished characters—a delightful ensemble, each bringing their A-game to a script that adores them despite their imperfections.
