'%20x='0'%20y='0'%20height='100%25'%20width='100%25'%20%0A%20%20%20%20%20%20%20%20%20%20xlink%3Ahref='data:image/jpg;base64,/9j/2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj/2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj/wAARCAAGAAoDASIAAhEBAxEB/8QAFgABAQEAAAAAAAAAAAAAAAAAAAUH/8QAHRAAAgMAAgMAAAAAAAAAAAAAAgMAAREEQQUSIf/EABUBAQEAAAAAAAAAAAAAAAAAAAUG/8QAHREAAgIBBQAAAAAAAAAAAAAAAQIAEQMEQWFxsf/aAAwDAQACEQMRAD8A05zXreJGz1tS9YIfRKsLcG++pFN/kmGRgPBoSvaq6LciIM4BeuJQafGqlqG/fs//2Q=='%3E%3C/image%3E%3C/svg%3E)
Too Much didn’t come in loud. It slipped in quietly, almost like a passing thought. The kind of show that doesn’t force anything but somehow stays with you. At first glance, it looks like another messy romance set against a busy city. But there’s something else there. Something slower, more deliberate. And a lot of it comes from the music.
There’s a texture to the soundtrack that doesn’t feel decorative. It carries emotion, timing, and space. Not all shows allow music to do that. In Too Much, the sound doesn’t just fill the silence. It reshapes it. That choice, the subtle tension between what’s said and what’s heard, came straight from Luis Felber.
The creator behind the emotional tone
Luis Felber, who co-created the series with Lena Dunham, isn’t from the typical TV world. He’s a musician first. He’s performed under the name Attawalpa and has a catalog of emotionally raw songs. That background shifted everything. His creative input didn’t just help shape characters or plot. It rewired the emotional architecture of the show.
Instead of music being something added later, it’s embedded into the story’s foundation. It’s present in how the characters talk, how they pause, even how they fall apart. The way Too Much uses silence says almost as much as its dialogue.
A relationship built on sound
In an interview with Variety, Felber revealed a small but defining detail:
“There were moments when we weren’t together — you know, life gets in the way for mid-30-year-olds — so we’d make each other playlists, and that became a really big part of the sort of flesh and bones of this TV show.”
That’s how he and Dunham stayed connected during long-distance moments in their relationship. No big declarations, no polished exchanges. Just carefully chosen songs passed back and forth.
These playlists weren’t just about taste. They became a kind of language. A way to say things that didn’t quite fit into words. That idea made its way into the show and shaped its emotional rhythm. Not in obvious ways, but in how scenes breathe, how tension lingers, how characters seem to feel more than they explain.
A musician who writes in sound
Felber isn’t just a co-creator behind the scenes. His voice is in the show, sometimes literally. Some of the songs featured were taken from his Attawalpa project. Others were written with Will Sharpe, who plays Felix. The music is unpolished on purpose. It feels lived-in, imperfect and emotionally exposed.
Felix, the character, doesn’t just sing. He processes through music. And the way those moments are filmed allows the audience to enter that same space. There’s no slick production trying to make it cinematic. It feels like it’s happening right there, unrehearsed.
When the music takes up space
Too Much doesn’t use music as background. It gives it room. There are scenes where the score says more than the script, where a song does the heavy lifting emotionally. That’s not an accident. Felber treated the music like another character. Not loud or demanding, just present. Always listening.
It’s rare to find a series where the soundtrack feels this personal. Not curated to sound cool, but selected to sound true. There’s vulnerability in that. And a lot of trust in the audience’s ability to hear it.
The rhythm of Too Much: How the series was received
The critical response to Too Much was quiet but solid. Reviews noted its soft pacing and emotional honesty. Viewers didn’t binge it so much as drift through it, letting episodes unfold without expectation. It’s not a series built on plot twists or cliffhangers. It leans into uncertainty.
Audience reactions have been mixed in a good way. Some called it slow. Others called it subtle. But for many, something about it felt familiar, even comforting. The kind of show that reflects back what people don’t always say out loud.
What’s next for the series
The first season is already available, with the full soundtrack released across streaming platforms. Some tracks are new, while others were pulled from Felber’s earlier work. As for a second season, there’s no official announcement yet. Conversations are happening, and the door isn’t closed.
If the series continues, the same musical approach is likely to stay. Nothing flashy. Just more of that quiet, specific emotional world that the first season built so carefully.
Trending
A quiet echo that stays
Too Much doesn’t resolve in a neat way. It leaves pieces scattered. The music keeps playing after the last scene, like something unfinished on purpose. Maybe that’s the whole point. Not to close anything, but to hold a moment still for a little longer. Like the last song on a playlist someone made and never explained. Just left it there, waiting to be heard.
Reply
