I finally gave in. After weeks of my Instagram algorithm aggressively serving me slow-mo reels of side profiles, slip dresses, and wind machines, I decided to watch the much-awaited Love Story: John F. Kennedy Jr. & Carolyn BessetteâFXâs latest from Ryan Murphy. Now, small logistical hiccup: itâs not officially streaming in India. But if you know a way, you know a way. Letâs just say my laptop and I spent an evening in a committed relationship with multiple browsers and a suspicious number of pop-ups.
Style-wise, the show mostly understands its assignment. Sarah Pidgeonâs Carolyn is a masterclass in slip dresses, camel pencil skirts, and that eternal Calvin Klein minimalism. The costume team reportedly sourced vintage pieces and even tweaked details after internet blowback, which feels fitting for a woman whose legacy now lives in Pinterest boards and fashion TikTok breakdowns. The problem is that the wardrobe is doing the heavy lifting. The dialogue is shabby, scenes stretch without tension, and I found myself studying hemlines instead of emotional stakes.
And hereâs the uncomfortable question humming underneath it all: who owns a story once its subjects are gone, especially when their ending was a public tragedy? Ryan Murphy has built a formidable empire dramatising real lives, often tragic ones. Sometimes it feels like cultural excavation. Sometimes it feels like myth repackaged for mass consumption. This one sits uncomfortably between the two. Scroll on to read our thoughts on other big-ticket releases this week, including Emerald Fennellâs âWuthering Heightsâ and Derry Girls creator, Lisa McGee's How to Get to Heaven from Belfast.
