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Too Much’s Enchanting Tribute to Before Sunrise Is the Best Episode of the Series

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Based on the clock by Jessica’s bedside, it’s past 9:07 PM on a weeknight. At this hour, Jessica (played by Megan Stalter) informs Felix that she can’t stay up late tonight. This is because she has an essential meeting scheduled for 8:30 AM the next day. The couple, whose relationship is documented in the Netflix series Too Much, have developed a habit of spending extended hours together, which has not gone unnoticed by her boss (Richard E. Grant). However, the initial stage of their love seems to be quite influential. In the third and, in my opinion, finest episode of the season, we observe this love overpowering Jessica’s more cautious instincts.

In the vein of Emily Henry and Nora Ephron’s romantic comedies, “Too Much,” created by Lena Dunham and Luis Felber, delves into a genre-aware, self-reflective romantic comedy realm. The show explores Jess’ imaginative Wuthering Heights fantasies, including a scene where her family discusses Alan Rickman’s charm in Sense and Sensibility. Each episode title is a clever twist on famous silver-screen romance names. For instance, the sixth episode, titled “Ignore Sunrise,” pays homage to Richard Linklater’s Before Sunrise, indicating that this part of Jess and Felix’s (Will Sharpe) love story offers something unique and captivating.

The initial film of a trilogy spanning over two decades, “Before Sunrise,” introduces two alluring strangers in their twenties: Ethan Hawke as Jesse and Julie Delpy as Céline. They meet on a train, have an electrifying first conversation, and decide to step off the train in Vienna instead. He’s a directionless American with idealistic leanings, while she is a more cynical Frenchwoman studying at the Sorbonne. Jesse has an early morning flight but lacks funds for a hotel room, so they explore Vienna’s cobblestone streets and frequent cafes, growing increasingly enamored as day turns to night and finally sunrise. Their relationship is consummated, yet it’s their engaging dialogue that fosters their love. With open sincerity, they share thoughts on philosophy, art, and recollections, weaving their perspectives through personal stories as their bond deepens with each probing exchange. As they part ways, less than 24 hours after meeting and with only the vaguest plans for a reunion, it remains uncertain whether these two soulmates, who appear so ideally suited, will cross paths again.

Despite being set within a broader romantic narrative, “Ignore Sunrise” takes a moment to savor an unplanned night of connection, mirroring Richard Linklater’s film style. This episode is reminiscent of the memorable “One Man’s Trash” from Girls, where Hannah (Dunham) embarks on a weekend fling with an older man (Patrick Wilson). The digital clock intermittently ticks by, marking the progression of time – 11:02, 1:11, 2:36, 4:03, 5:07 – as Jess and Felix traverse her run-down sublet, cooking pho in the kitchen, kissing on the floor, watching Paddington in the living room, and making love on the couch. Their lighthearted banter fills the bedroom, with Felix questioning her preference for true crime documentaries before bedtime (“Murder is relaxing to you?” he wonders). Even in the bathroom, they can’t resist each other while she brushes her teeth. The episode concludes as Jess gulps down cold pho at 6:45 a.m., readying herself for another tiring workday after an exhausted night.

Similar to Jesse and Celine, Jess and Felix are individuals hailing from different continents yet sharing similar souls. It’s possible that the name ‘Jess’ is a nod to Hawke’s character, but it might just be coincidental. Their dialogues unveil their inner thoughts. “Doesn’t growing up simply mean doing things we don’t want to but have to?” Jess ponders as she scrutinizes a financial report, putting in extra hours to demonstrate her value at work. “I don’t agree,” says Felix, who grapples with earning a living as a session musician and has just returned from a disheartening trip to the job center. “I believe it’s about making sure you can do the things you truly desire.” When he queries if what she’s working on is her lifelong dream, she hesitates: “It’s somewhat related to what I really aspired to do.” It’s evident that she could benefit from his creative optimism, while he could learn a thing or two about work ethic from her.

They explore their past experiences. There are moments when we glimpse Jess’s cherished childhood with a father she deeply admired, who tragically passed away at a young age due to an aggressive Parkinson’s disease. Now three years clean, Felix shares his personal rock-bottom moment and the revelation that the drug use intertwined with his rock ‘n’ roll lifestyle was actually hindering his ability to create quality music. His perceptions about Jess can be awe-inspiring. He compares Jess, who ventured to London with a heart heavy from heartbreak, to Paddington Bear, a foundling wandering the city with an unseen label that reads: “Take care of this girl.” He notes, “You’re not always kind to yourself,” pointing out her tendency to undervalue her own well-being.

In contrast to ‘Before Sunrise,’ ‘Ignore Sunrise’ departs significantly from the original in aspects that appear vital for Dunham and Felber’s aim of crafting an authentic, self-aware romance as portrayed in ‘Too Much.’ While Jesse and Céline are portrayed as picture-perfect lovers with a poetic sheen, resembling grunge-era fashion models, and speaking candidly, Jess and Felix are realistic, funny, messy, and flawed individuals. For instance, when discussing their failed sexual encounter, Jess admits, “I’ve always actually felt really hot,” but quickly adds, “Except for when I haven’t” – a sentiment many women can relate to in a society that often devalues those who don’t fit the supermodel mold. Moreover, they are open about their bodies, with Jess mentioning the need to use the bathroom after sex due to avoiding urinary tract infections, and their love language includes grossing each other out. Felix even jokes about a past incident involving him having sexual relations with his sister’s friend.

In this episode written and directed by Dunham, the creator skillfully infuses the conversations between characters with elements of distraction, evasion, and partial truths, reflecting two individuals carrying baggage who aren’t yet ready to fully expose their souls. Jess, the main character, continues to be preoccupied with her ex, Zev (Michael Zegen), and his new partner, Wendy (Emily Ratajkowski). Caught in moments of secretive glances at their social media accounts and vivid flashbacks to intimate nights with Zev, Jess’s mind remains trapped in the past. A sequence of fantasy portrays a bonding experience between Jess and Wendy during a sleepover reminiscent of ‘Grease,’ followed by an erotic thriller scene where they become attracted to each other under red lights. Despite being in the midst of a peaceful night with her new boyfriend, Felix, Jess’s past love continues to hinder her from being fully present. The series, titled ‘Too Much,’ is primarily told from Jess’s point of view, so it might take viewers some time to uncover all the factors vying for Felix’s attention, although a subtle hint is given when she inquires about his family, and he gracefully steers the conversation away.

In a twist of irony, “Ignore Sunrise” also carries a message. Felix is astute enough to recognize that Jess tends to undervalue her own comfort needs. However, he himself appears oblivious, indulging in daytime sleep as an underemployed individual while she rises to ready for her meeting, indicating once more his self-sacrificing nature. This pattern, though delightful in the moment, is a reflection of a tendency that perhaps Felix should acknowledge and be cautious about not reinforcing. There’s a delicate balance between empathy and codependency – showing understanding for another’s flaws versus enabling them. The tense ending of the episode hints at the various hurdles, behaviors, and idiosyncrasies the couple will need to overcome in their quest for long-term contentment – a challenge that Linklater’s film never explores (though its subsequent masterpieces delve into these issues deeply).

If Before Sunrise reimagined the heightened romance of fairy tales for the ’90s bohemian, then Too Much is rooted in genuine relationships, complete with UTIs, family turmoil, and lingering thoughts of past heartbreaks. Despite these disruptive elements, the film’s impact on the series is evident in the common theme they both embrace – the belief that striving to bridge the vast gap between individual consciousnesses is the most profound expression of love. As Céline, the realist, suggests to Jesse, “If there’s any magic in this world, it must be in the attempt of understanding someone sharing something.” This sentiment could easily resonate with Jess and Felix as they ponder alone together in the fragile stillness before sunrise.

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2025-07-10 20:06

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