Lena Dunham is making a notable return with her Netflix series Too Much, marking her first major television project since the HBO hit Girls. As she prepares for the July 10 launch, Dunham balances life in New York City, where she is directing the Netflix rom-com Good Sex starring Natalie Portman, while also developing the 10 Things I Hate About You Broadway musical with Carly Rae Jepsen. The series and Dunham’s current endeavors reflect her ongoing creative resurgence and her commitment to confronting themes of body shaming and women’s experiences through her unique artistic lens.
At 39, the New York native has spent the last five years mainly living in London with her husband, British musician Luis Felber, and their large collection of pets. This period of expatriation has been a time of both personal growth and creative exploration, helping her find clarity and happiness after turbulent earlier decades.
From ‘Girls’ to Global Recognition: Dunham’s Career Journey
Dunham first gained attention at 23 with her indie film Tiny Furniture, a semi-autobiographical story about a young screenwriter navigating a breakup in Manhattan. This success led to a mentorship with Judd Apatow and a first-look deal with HBO, resulting in the creation of Girls, her groundbreaking show chronicling the lives of millennial women in New York City. As creator, writer, and star, Dunham crafted a series that, unlike Sex and the City, was told from a raw, unapologetic female perspective. The show gained both praise and criticism for its candid exploration of sex, privilege, and identity.
Amid social media scrutiny, Dunham continuously engaged with controversies surrounding her statements on abortion, race, and sexuality. Still, by the time the series concluded after six seasons, she had firmly established herself as a memoirist, director, and a generational voice captured in the persona of Hannah Horvath, her embodiment on screen.
The Enduring Impact and Resurgence of ‘Girls’ Among Younger Audiences
More than ten years after its debut, Girls is experiencing renewed popularity, especially with Gen Z audiences. The show inspires countless TikTok edits set to popular music, memes emphasizing iconic moments such as Hannah’s first tweet or Adam’s “good soup” comment, and its own fan podcast, Girls Rewatch, which Dunham has enjoyed thanks to her friend Emily Ratajkowski. The series continues to resonate deeply for those navigating young adulthood, as it captures moments of vulnerability, growth, and self-discovery that remain timeless.
Lena Dunham on Resilience and Self-Discovery
Reflecting on her own experiences, Dunham offers words of encouragement about overcoming hardships.
You can handle so much more than you think you can,
she says.
And it’s an amazing moment when you realize that a lot has happened and you are still yourself — you still wake up every day, you still engage with life!
Her playful and candid personality shines through during a photo shoot and interview, where she shares insights about her tattoos, pop culture interests like The Real Housewives of Salt Lake City, and her surrounding world. Despite a busy schedule, including a dinner with actor Elliot Page, Dunham speaks openly about how her journey has shaped her.
Embracing Change: The Move to London and New Beginnings
After directing HBO’s pilot for Industry in Wales and Amazon’s Catherine Called Birdy in London, Dunham relocated overseas following a difficult breakup and the closure of her production company with Girls co-showrunner Jenni Konner. While the transition was isolating at first, marked by loneliness and missing close relationships, Dunham eventually found comfort and reinvention abroad.
There’s something very magical — even when it’s lonely — about discovering who you are in a different place,
she explains. The distance from her family and familiar support systems created space for growth, despite moments of doubt and homesickness.
Finding Love in Unexpected Places
Returning to London in 2021 to complete Catherine Called Birdy, Dunham was introduced to Luis Felber through a blind date arranged by friends. Neither expected a deep connection—Felber had never watched Girls—but their instant chemistry led to a quick progression, culminating in an intimate wedding in Soho eight months later.
I didn’t know much of Lena,
Felber admits.
The moment we met, it was that sort of cheesy, beautiful thing of automatic connection. Neither of us were expecting that.
This relationship not only brought personal happiness but sparked a creative renaissance for Dunham, igniting inspiration for her forthcoming projects.
Creating ‘Too Much’: A Fresh Romantic Comedy with Realism and Humor
Inspired by classic romantic comedies like Notting Hill and Bridget Jones’s Diary, Dunham aimed to capture the complexities of modern relationships without glossing over their challenges. She explains,
You have to try — you don’t just fall into each other’s arms. Once you’ve gotten together, the biggest challenge to get past is yourself. And I had certainly found that in my case.
The show’s title, Too Much, reflects the cultural differences Dunham encountered with Felber, who used the phrase affectionately to describe her vibrant personality. The term means
“just enough and a little bit more,”
demonstrating how opposites can connect creatively and personally.
Dunham co-created the series with Felber, who also contributes original music. The story follows Jess, played by Megan Stalter, who moves to London following a painful breakup, and Felix, portrayed by Will Sharpe, a struggling musician grappling with addiction and commitment issues. Through ten episodes, their tumultuous relationship unfolds with honesty, humor, and emotional depth.
Casting and Bringing Characters to Life
Dunham chose to take a smaller role this time, playing Nora, Jess’ sister, allowing Megan Stalter to shine as Jess. Dunham admires Stalter’s innocence and manners, qualities she felt were lacking in herself. She says,
Meg just has this quality where no matter what she’s doing, no matter what she’s saying, you believe her.
Stalter, initially in disbelief at being cast by the Girls creator, now regards Dunham as a mentor and friend.
We feel like two kids that are telling secrets and laughing, and just able to be our childlike selves together,
she shares. This connection greatly enriched the directing and acting experience.
Casting Felix proved more challenging until Dunham connected with Will Sharpe, whose Emmy-nominated performance in The White Lotus impressed her. Sharpe’s insights into his character deepened the narrative. Dunham recalls,
I just thought, I need this person’s insight in my orbit.
Sharpe praised Dunham’s clear vision and ability to create meaningful, human moments on set.
Exploring Complex Themes Through New Characters
Jessica’s ex, Zev, portrayed by Michael Zegen, symbolizes a recognizable archetype: a pretentious writer who belittles Jess’s tastes while embodying familiar toxic traits. Dunham clarifies that Zev is not based on one person but rather an amalgamation of several past partners.
You want to be reasonable about people’s curiosity while also saying, there’s nothing to see here,
she remarks. She jokes that many men believed they were the model for Adam from Girls, but the real inspiration likely remains unaware.
Shifting Perspectives on Fame, Privacy, and Growth
Reflecting on her rapid ascent after Girls premiered, Dunham admits she was unprepared for fame and struggled to distinguish between journalists and friends, and what should be kept private.
There was so much that I didn’t get,
she confesses. Over time, she has become more protective of her privacy and mental health by limiting her social media activity, including the use of intermediaries for Instagram engagement and maintaining a mostly private TikTok account.
Personal Challenges and Advocacy on Body Image
Dunham has confronted public scrutiny of her body for years and remains vocal about Hollywood’s harsh standards. Speaking about protecting actress Megan Stalter, she says,
I probably wasn’t protective enough of myself.
She has experienced body changes related to illness, aging, and menopause and acknowledges the relentless nature of body shaming.
When asked if attitudes toward body diversity in media have improved since the era of Girls, Dunham answers frankly:
No, I wish I could say yes, but I really don’t. I think we had this moment: Body positivity was here, and then it was gone.
She emphasizes the complexities surrounding body image trends without judgment but calls out the influence of aesthetic standards.
Addressing Women’s Rights and Sensitive Storylines in ‘Too Much’
Continuing her outspoken stance on women’s issues, Dunham includes an abortion storyline in Too Much that treats the subject without stigma. She explains,
It felt right for the story; it felt true. And I thought, there’s a way to talk about this and make it emotional and honest, but also not make it something that she needs to regret or feel shame about.
Following the overturning of Roe v. Wade, Dunham found it important to highlight this topic, noting the alarm and fear she has witnessed. She collaborated with Planned Parenthood to portray the storyline accurately and sensitively.
She’s not having a hard time because of the abortion,
Dunham says.
And the abortion is a choice she can make for herself to choose herself and to choose her life.
Focusing on Behind-the-Camera Roles and Supporting New Talent
Though Dunham is not retiring from acting entirely, her current passion lies in writing and directing. Her production company, Good Thing Going, led alongside Michael P. Cohen, supports projects uniquely reflective of her voice. Dunham is also fostering emerging creators through her partnership with Netflix, intending to mentor new writers and showrunners much like Judd Apatow did for her.
Similar to the way Judd helped shepherd her into the industry, she’s looking to do that now with a newer generation of writers,
Cohen states.
She walks the walk and talks the talk.
Upcoming Projects and the Rom-Com Renaissance
Joy is the central theme of Dunham’s current and forthcoming work, with romantic comedies featuring prominently. After Too Much, she is pursuing the 10 Things I Hate About You musical and Netflix’s Good Sex, which commenced production recently. The film boasts a strong ensemble including Meg Ryan, Mark Ruffalo, Rashida Jones, and newcomer Tucker Pillsbury in his acting debut.
Dunham successfully pitched the movie to Ryan at Taylor Swift’s Eras Tour in London.
I decided, it’s now or never, and I’m going to shoot my shot. She couldn’t be a lovelier person,
Dunham recalls, crediting Swift for bringing together creative talents. Pillsbury, discovered via TikTok, impressed Dunham with his humor and presence, which she likened to early Brad Pitt roles.
Despite the challenges faced by romantic comedies in theaters or streaming, Dunham remains confident.
I know that there’s an audience for it because I am the audience for it,
she affirms. Netflix’s $55 million acquisition of Good Sex at the European Film Market underscores this belief.
Balancing Expectations and Embracing Creative Risks
Dunham hopes for a second season of Too Much, though she crafted the first season’s finale to stand independently, acknowledging the often uncontrollable nature of television outcomes.
When I was younger, I thought nothing worse could happen to you than to make something that a) people didn’t like or b) didn’t work well,
she reflects.
But failing is not the worst thing.
Though she has yet to rewatch Girls, its renewed cultural presence has taught her that public perception of art evolves over time and is separate from the artist’s personal identity.
Whatever the immediate response is feels so big and all-consuming, [but] it will change and grow and shift over time — and that part isn’t about you,
she observes.
The Future of ‘Girls’ Characters and Dunham’s Legacy
Dunham remains open to revisiting the world of Girls if a meaningful story emerges, such as exploring millennial women’s transitions into motherhood or retirement. She has imagined new lives for the characters: Shoshanna as a divorced startup entrepreneur, Marnie coping with her third marriage, Jessa living off the grid, and Adam as a cult theater actor in Berlin.
Her own character, Hannah Horvath, she envisions as an educator raising a son with a chef girlfriend, less concerned with fame. These reflections show how deeply the characters remain part of her creative identity, even though she now divides her attention among new projects.
Committed to Authenticity and Joy in Her Artistic Work
As Dunham focuses on her revival, she embraces the joy of expressing herself fully through her work, despite challenges linked to health and being an “oddball” in the industry.
I never thought I would say something this mortifying, but I wake up every day really excited,
she says with laughter.
I really don’t take for granted getting to do something for my job that allows me — as an oddball, chronically ill, weirdo woman — to put all of myself into something. And I just feel so lucky that I’m still getting to do it.
