Photo: Netflix The most shocking aspect of Lena Dunham’s Netflix series, Too Much , is that it looks, well, like a Netflix series. You know the aesthetic, even if you can’t quite name it: brightly lit interiors, dialogue filmed in rapid-cut close-ups, color grading that emphasizes jewel tones and makes your eyes slide off the screen like water on a Teflon pan. These are, perhaps, the specs that Netflix asks from its creators for ease of international distribution, but it’s jarring to see