“Love Story” Is a Forgettable Elegy for Gen X

The New Yorker

by Doreen St. Félix

February 14, 2026

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Ryan Murphy’s “Love Story” anthology series on FX, which explores the tragic romance between John F. Kennedy Jr. and Carolyn Bessette, has sparked criticism for its exploitative take on the couple’s legacy. In an interview with California Governor Gavin Newsom, Murphy discussed the series while deflecting backlash from Jack Schlossberg, the son of Caroline Kennedy and nephew of JFK Jr., who accused Murphy of exploiting his family’s grief for profit. Schlossberg’s comments, which included sarcastic remarks about his own family on social media during the pandemic, led to a public feud with Murphy. The showrunner responded harshly, dismissing Schlossberg’s concerns and even mocking his childhood memories of JFK Jr. The “Love Story” series is part of Murphy’s larger anthology franchise, which often delves into tabloid-worthy stories with a glossy, over-the-top style. This approach has drawn criticism for trivializing serious historical events and exploiting the Kennedy family’s tragic history. The series adds to a long-standing cultural battle over how the Kennedys’ legacy should be portrayed. Since President John F. Kennedy’s assassination in 1963, the family has been surrounded by myths, tabloid speculation, and romanticized portrayals. Jacqueline Kennedy Onassis herself contributed to this narrative by framing JFK’s death as a “Camelot” tragedy. Over time, this has created a complex tapestry of public perception, with some focusing on the family’s glamorous image and others highlighting their darker, more controversial sides. The controversy over “Love Story” highlights broader cultural tensions around how grief and tragedy are commodified for entertainment. Murphy’s series joins a long line of media projects that have sensationalized the Kennedy clan’s history, often prioritizing spectacle over sensitivity. Critics argue that this approach reduces the couple’s story to a mere spectacle, ignoring the real pain of their loss. Schlossberg’s critique reflects a growing unease with how pop culture profits from personal tragedy, raising important questions about ethics in storytelling. As “Love Story” aims for ratings and buzz, it risks alienating audiences who see it as

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Originally published on The New Yorker on 2/14/2026