A Hulu comedy that ran from 2019 to 2022, Dollface follows Kat Dennings as Jules, a woman freshly dumped and suddenly unsure how to find her way back to her female friends. Simple premise on the surface, but it hits a nerve.
On paper, it is almost disarmingly straightforward. Years spent orbiting a relationship, friendships quietly neglected, and then the breakup lands; suddenly, being around women feels unfamiliar. Jules realizes she has to relearn it, which sounds small and is not.
What Made It Different
To map the noise in Jules’s head, the show leans into surreal, dreamlike set pieces. They could have been quirky for their own sake, yet most of the time they translate her anxiety into something you can see.
Take the courtroom bit: when Jules tries to reconnect, she literally stands trial for being a bad friend. Odd, sure, and it mostly works.
The cast rounds it out: Brenda Song as Madison, Shay Mitchell as Stella, Esther Povitsky as Izzy. Distinct personalities, actual problems of their own, and stories that do not just orbit Jules.
The Real Story
Underneath, this is a series about female friendship. Keeping close ties while deep in a relationship can get messy, and the show seems to understand that. Plenty of people may recognize the pattern; romance gets priority, friends get leftovers.
It does not scold Jules. Instead, it watches her learn, awkwardly, to be a better friend. Meanwhile, her friends decide if rebuilding is worth the effort, which feels honest.
Why It Resonated
Female friendship on TV often gets flattened. It is either constant drama and competition, or frictionless perfection. Dollface sits in the twitchy middle.
They argue, they disappoint one another, they make up. They also show up for job stress, family static, and dates that go sideways. The dialogue sounds like people talking, not a conveyor belt of punchlines, and when someone messes up, the consequences tend to linger.
The End Came Too Soon
Two seasons, then a cancellation in May 2022. In 2023 it was removed from Disney+, reportedly part of cost-cutting.
Fans who had connected with the characters were understandably frustrated. The second season felt steadier and was nudging into bigger ideas about growing up and how friendships shift over time. Its quick disappearance underlines a familiar streaming reality; loyal audiences do not always outweigh the spreadsheet.
What It Left Behind
Dollface made a decent case that stories about female friendship can be more than surface jokes and still draw viewers. It treated those relationships as layered, sometimes contradictory, and worth the time.
Its take on mental health also stands out. Jules is not only making friends again; she is learning how to live with anxiety and self-doubt without being defined by them.
Even gone, it seems to suggest that people want grounded stories about women supporting each other. Maybe that sounds a bit rosy, but the response points that way.
The show held a 7.3 out of 10 on IMDb and built a dedicated fanbase in a short window. For those who watched, Dollface landed as comedy that could be silly and still feel real, which is rarer than it should be.
