BATYA UNGAR-SARGON: Love Story: The Death of the Kennedy Myth and the End of the Political Nepo Baby.
The show is about John and Carolyn, but it’s also very much about what it meant to be a Kennedy back in the day. And one of Love Story’s strengths is the way in which it constantly seems to be putting before the viewer the question of whether these people, these Kennedys, were deserving of all the attention they got. And it certainly leaves open the possibility that the answer to that question is no.
Like most of the TV that’s made these days, it was a visual smorgasbord of the conspicuous consumption of the rich and famous—ostentatiously set breakfast tables, gorgeous beach homes, endlessly expanding loft apartments, beautifully appointed rooms and stunningly tailored clothing. But the beautiful interior shots are contrasted with the absence of an inner life when it comes to the main characters, who appear to spend no time at all dwelling on ideas about the world or anything that extends beyond their own personal crosses.
What were JFK Jr.’s politics, beyond “generic Democrat”? What did he think about the world around him? The character portrayed in Love Story is motivated only by careerism. He fails the bar. He doesn’t like being a lawyer. Will his magazine, which only exists because he can trade on the family name, succeed? He has no thoughts beyond making sure his image lives up to the expectations of the family name.
A more pretentious show might have given us evidence that there was more to John than his need to be a Kennedy. But this show allows the viewer to contemplate the very real possibility that there just . . . wasn’t. The point wasn’t to make the world a better place; it was to be seen doing so.
Exit quote: “The replacement of public service with careerism is one of the defining problems in our elites today. It’s not that older political celebrities weren’t personally ambitious, of course. But there was a worldview there, a theory of the case about why you wanted to be the one to assume power, what you would do if you were given the chance.”
Some notable exceptions apply, however: “The Question:” Ted Kennedy and the Pitfalls of Running for President. “One of the most obvious questions a candidate may be asked is why do you want to be president? Why you? Why now? This isn’t the 19th century, after all, when presidents had to be dragged to the White House under the guise of modesty. Why do you want to be president is a simple question with a complex answer–and candidates should be prepared to offer one. Failing to do so could be fatal to any campaign. Just ask Ted Kennedy.”
Related: Paramount made bank on a film titled Love Story in late 1970 and much of 1971. It seems odd to see its title recycled by another production, though apparently one as equally trite:
I'm so old I thought you were talking about Ryan O'Neal and Ali McGraw
— John Podhoretz (@jpodhoretz) March 8, 2026