Movies

Megan Stalter’s Hilarious, Awkward Rise as the Rom-Com Queen You Didn’t See Coming

BBG News

As a passionate film enthusiast, I can’t help but share the enchanting tale of my journey starring in “Too Much,” a captivating romantic comedy series on Netflix, penned by none other than the talented Lena Dunham. Reminiscent of many modern love stories, our connection began in the digital realm, when this stranger—who later became my soulmate—sent me a message on Instagram. “She has a project for you,” she wrote, leaving me astonished and thrilled. Little did I know that the script was tailored specifically for someone like me, which is nothing short of extraordinary to hear from the woman who holds the top spot on my list of admired creators. Lena Dunham, you are my No. 1!

The fantasy persisted in the UK, as she starred as a New Yorker with a broken operatic heart who encounters a charmingly gentle London lad (Will Sharpe from “The White Lotus”). Despite gaining a dedicated fanbase on social media through videos of eccentric characters and making waves on Max’s “Hacks,” Stalter may have felt apprehensive about spearheading such a high-profile production. However, her quick bond with Sharpe, who she was delighted to find shared her quirky, humorous sensibilities, along with Lena Dunham, her co-creator husband Luis Felber, put her at ease. In the premiere, there’s an awkward moment where Stalter’s character, Jessica, plants a passionate kiss on Sharpe’s Felix, and he responds only with an embarrassed smirk. This was their first scene together, but as she recalls, “we had such an easy time ad-libbing many of those lines.” Their working relationship flourished, marked by what might be the worst kiss on record.

It’s possible that Stalter found it fortunate to collaborate with individuals who share similar feelings, but after our conversation in June, I have reason to believe she can get along with most people. She uses the phrase “we clicked” four times when talking about her initial encounters with different partners. She expresses deep appreciation for the people in her life; relatives receive the same enthusiasm as idols who have become friends, such as Dunham. Stalter excels at portraying characters who are overly confident in their questionable abilities. When she discusses herself or her work, she speaks sincerely without a hint of self-doubt. This sincerity, combined with warmth and gratitude that is free of doubt, makes her an ideal candidate for a romantic comedy newcomer.

Ever since I can recall, I’ve been captivated by the glamour and drama of beauty pageants, particularly their Cinderella contestants. The protagonist of my 2020 summer-pandemic release, “Little Miss Ohio“, is a once-reigning beauty queen grappling with filming this year’s pageant promo, now struggling to regain her crown. Last June, I was honored at an LGBTQ-focused Critics Choice Association event for my portrayal of Kayla in “Hacks“, the self-assured newcomer talent manager, who donned a tiara and sash with my flowing gown as I accepted the award. Although Kayla identifies as straight, I, in real life, am in a long-term relationship with a woman, Maddie Allen, and often refer to myself as “almost lesbian.” Addressing an audience that has embraced my quirky style for years, I proudly declared: “I can’t believe a small-town brunette like me made it to Hollywood, and now I’m accepting the award for the Best Gay Actor of All Time!

In truth, Stalter’s affection for bold female characters was cultivated during her modest upbringing in Ohio: “It’s amusing to me when a character thinks, ‘I should win, I’m the best actor, I’m the most talented politician, or the most beautiful girl in the room,’ because there’s an overconfidence, yet a hidden vulnerability.” A pageant girl’s self-assurance is equaled only by her craving for external approval. As a child, Stalter personally grappled with this duality while preparing rigorously with her mother for a local poetry recitation competition. She enjoyed performing, creating videos with her siblings and cousins, and held faith in her own talents. However, she admitted, “I didn’t get the role I desired in high school, despite my efforts.

The negative encounter served as a catalyst for her to generate her own content. As she explains, “I find joy in comedy and self-expression through writing and stand-up because I get to set the guidelines.” She elaborates, “There’s no one holding me back, waiting for approval from someone else.” However, her journey wasn’t straightforward; she considered alternative careers such as nursing or teaching before eventually settling in Chicago, the comedy hotspot. Here, she honed her improv skills and broke into the stand-up scene. The moment she embarked on this path, she felt a sense of success, almost as if her dream was already materializing. “It wasn’t a matter of ‘When will my dream come true?’,” she reminisces, “It felt like my dream was becoming a reality the minute I decided to pursue it. Every improv class, every first show, even just open mics were exhilarating experiences for me.

In the summer of 2019, Stalter relocated to New York. However, it was during the pandemic that she resided in Ohio, which ultimately propelled her to fame. As people sought entertainment and laughter at home, they stumbled upon lo-fi videos featuring Stalter portraying characters like “your boss when her tube top falls off on a Zoom meeting.” Her performances were so authentic that some viewers didn’t realize they were watching satire. Yet, being misinterpreted has never deterred her. “I don’t mind making someone feel slightly uncomfortable or pushing them beyond their comfort zone,” she admits, finding the work of Nathan Fielder, who blurs the line between personality and persona, captivating. After all, those puzzled reactions provide material for the private jokes she exchanges with fans who comprehend her humor.

In the second group were the makers of “Hacks”, which include Lucia Aniello, Paul W. Downs, and Jen Statsky. They found Stalter online despite a less than perfect self-taped audition and cast her as Kayla. During the time when the pandemic was at its peak, Stalter relocated to L.A. to film the dramedy, starring Jean Smart and Hannah Einbinder as two comedians grappling for success in a Hollywood dominated by sexism and ageism. Initially portrayed as a broad, nepotistic character contrasting Downs’ submissive manager character, Jimmy, Kayla developed from an incompetent assistant to a cunning show business tactician. In Season 4, which aired this spring, she grappled with the decision of betraying Jimmy by accepting a lucrative offer at her father’s company. She attributes the transformation of her character to the writers’ openness to improvisation and their well-crafted scripts: “They allowed me to improvise, but it was really them who decided that Kayla would be such an integral part.” This backing enabled Stalter to showcase a range of acting skills that likely contributed to her promotion as a multi-dimensional romantic lead.

As a die-hard rom-com enthusiast and someone who often questions whether my life is too good to be true, landing the role in “Too Much” felt like a blessing sent down from above. In fact, I couldn’t help but think, “This has got to be divine intervention!” – Stalter, who has always been a firm believer.

In a tale mirroring Stalter’s past relationship with Dunham’s British partner, Jessica from the show has been struggling since her boyfriend, Zev (formerly of The Marvelous Mrs. Maisel), left her for an Instagram-famous knitwear influencer, Wendy (Emily Ratajkowski). Following a public breakdown, Jessica decides to take a job in London to escape her close-knit circle of single women in Great Neck, with Rhea Perlman, Rita Wilson, and Dunham portraying her grandmother, mother, and sister. This all-female family reminds Stalter of her own upbringing: “I was brought up by women with big, forceful personalities.” Upon arrival, she discovers that her council-flat accommodation in London is far from the picturesque countryside estate she imagined. Her boss (Richard E. Grant) is unimpressed by her disorganized American persona. Moreover, Jessica’s preoccupation with her ex and his new fiancée remains so intense that she accidentally sets her nightgown on fire while making a resentful video intended for Wendy.

In a unique blend reminiscent of a young Robert Smith’s indie rock style, Felix presents a soothing balance against Jess’ excesses. However, this reformed party-goer also carries his own load of past experiences. The series, Too Much, delves into their prior romantic relationships and family backgrounds, demonstrating that each new romance is the sum total of every significant relationship we’ve had before. As Stalter points out, “When you’re dating, you’re essentially bringing along everything that has ever happened to you.” Furthermore, he notes that if one is genuinely falling in love, they are revealing less desirable aspects of themselves.

Stalter found a refreshing take on romance in this series that humorously critiques typical romantic comedies, as hinted by the episode titles like “Enough, Actually”. Growing up on the escapist charm of Bridget Jones and Julia Roberts’ movies, she appreciates Dunham’s unconventional yet relatable portrayal of romance as “twisted, unexpected, and exactly my kind of humor”, but also deeply rooted in “authentic, real-life, dramatic scenes”. There are love scenes that are just as candid as those from Girls, although this time the sexual encounters are usually enjoyable.

In the scenes where Stalter portrayed intimate moments, there was no trace of any remaining apprehension or unease. Her portrayal exudes a blend of Bridget’s disorientation and intelligence, along with the intriguing mix of innocence and worldliness that made Vivian from “Pretty Woman” so captivating. There are hints of Elle Woods from “Legally Blonde” and Cher Horowitz from “Clueless,” characters who might inspire Jess, in her wardrobe filled with vibrant colors, skirt suits, and whimsy. The similarities between these women aren’t about their hair color, body shape, or occupation; it’s their effervescence – a lively, carefree spirit that has characterized screwball It Girls for over a century and seems to almost bubble out of Stalter herself.

In more recent times, even though LGBTQ representations have become more common in mainstream media, it’s still unusual to find openly queer actors leading straight romantic roles. However, Stalter, who is openly bisexual and currently identifies herself as unable to imagine being with a man, seems at ease in heterosexual roles. While she has plenty of personal experience with men to fall back on, her deep involvement in the queer community, particularly through camp-influenced social media platforms where her flamboyant characters often interact with unseen husbands, has also given her a unique perspective on straight relationships. “Queer individuals,” she observes, “often show curiosity towards straight culture, just as straight people are curious about queer cultures.

Simultaneously, she appreciates being given the chance to portray women involved in relationships with other women, much like her character in the 2023 independent film “Cora Bora,” where she plays an adrift musician trying to keep hold of a long-distance girlfriend. She expresses that it holds deep emotional and symbolic significance for her to play LGBTQ+ characters due to its importance in representation. Consequently, she has been working on a comedy series titled “Church Girls” with A24 and Max over the past few years. This show is based on her personal experiences and features Stalter as a young Christian woman from Ohio who grapples with accepting that she is a lesbian.

In a divided society where embracing God and the concept of love being universal sometimes appears contradictory, Stalter feels strongly driven to prove otherwise. She questions, “I’ve never grasped why one couldn’t be gay and a devout believer,” she says, highlighting that the Bible provides minimal criticism of homosexuality as compared to, for instance, eating shellfish. It pains her to imagine that someone might feel excluded from a spiritual connection due to their sexual orientation.

Stalter’s passion project, titled “Church Girls,” is something she prioritizes amidst her busy schedule involving TV roles, live comedy performances, and online video sharing. Despite this, she hasn’t neglected her personal life: “You always find time for what matters most to you.” Her circle includes friends, family, a dog, and two cats whom she considers divine messengers. On-screen or off-, Stalter seems to crave meaningful relationships. This pursuit of deep connections, similar to a modern-day woman rekindling love in the settings of “Wuthering Heights” and “Notting Hill,” stirs support from her fans.

Read More

2025-07-10 18:06

Previous post 3 Defenders Disney+ Projects in the Works: Daredevil, Punisher, and Jessica Jones Revivals Revealed
Next post Aubrey O’Day Skips Diddy’s Trial—Chooses Boba Tea and “Inner Peace” Over Testifying