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   The ‘Love Story’ Spinoff America Needs
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   Prime Klein Time.
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                  <p style="margin:0;margin-bottom:16px">
                   The first sign that
                   <em>
                    Love Story: John F. Kennedy Jr. &amp; Carolyn Bessette
                   </em>
                   might be a banger—even for me, someone who has never been intrigued by the titular lovebirds’ doomed relationship—was, naturally, not a scene that revolved around their courtship. Instead, it involves Annette Bening.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   In that first episode, we watch our heroine Carolyn striding into the
                   <a style="text-decoration: underline; color: #000000;">
                    Calvin Klein
                   </a>
                   offices as if she’s already the master of the universe, even though she’s actually relatively low on the totem pole, something her manager is keen to remind her of. But you can’t keep a bad bitch down. Carolyn’s voice, and more importantly, her taste, shine through during a styling session with the one and only Ms. Beatty, who’s in the office to get fitted for
                   <a style="text-decoration: underline; color: #000000;">
                    Warren’s
                   </a>
                   <em>
                    Bugsy
                   </em>
                   premiere. She wants to feel comfortable, but also make a statement; Carolyn is supposed to be virtually invisible, but can’t help but share her own suggestion—and it’s a bold one. So bold, in fact, that Calvin himself takes note and immediately starts bringing Carolyn more into the fold. It’s the classic protege come-up moment we’ve seen before in all workplace dramas. But as performed by Sarah Pidgeon, playing up Carolyn’s tentative modesty countered by an innate swag, against Alessandro Nivola, who renders Clavin mercurial, inscrutable and unpredictable—it sings.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   With all due respect to Paul Kelly, John Jr, and the rest of the Kennedy dynasty—a part of me wished the show just stayed there. I love love, but watching Carolyn rise through the ranks of one of America’s most definitive fashion houses during one of its most prolific decades? That’s the more interesting show to me. Carolyn furrowing her brow rifling through a bunch of tired headshots until she discovers Kate Moss, Carolyn fashioning her basic boyfriend into
                   <a style="text-decoration: underline; color: #000000;">
                    an all-time billboard
                   </a>
                   —these scenes all vibrate at a higher frequency than some of the show’s other concerns. That’s no dig at the core romance; the series would be dead in the water if Pidgeon and Kelly didn’t have enough real, palpable chemistry to get you wrapped up in the beats of a relationship we’ve all seen play out across countless Instagram reposts for years. But watching Carolyn at work is more engrossing and just more fun—with a hint of tragedy, because it doesn’t take a John &amp; Cat historian to know she’s going to abandon it all sooner than later.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   But that storyline would be nothing without a great Calvin at the helm, and it’s through that role that we get what’s hands down the best performance in the series. No surprise, of course—Alessandro Nivola is reliably always great, a real-deal thespian and a peak,
                   <a style="text-decoration: underline; color: #000000;">
                    Hey It’s That Guy
                   </a>
                   actor. Those of us with advanced-level film taste remember him as Castor Troy’s squeaky kid brother in
                   <em>
                    Face/Of
                   </em>
                   f. He’s only in a third or less of
                   <a style="text-decoration: underline; color: #000000;">
                    <em>
                     The Brutalist
                    </em>
                   </a>
                   , but the shadow of his intense, baller-blocking cousin looms over the rest of the film so much that you can’t help but want the script to do the basic thing and bring him back for an encore of catharsis. His livewire performance as the doomed
                   <a style="text-decoration: underline; color: #000000;">
                    Moltisanti Senior
                   </a>
                   deserved a better movie than
                   <em>
                    Many Saints of Newark
                   </em>
                   . But he doesn’t shirk his commitment to the game even in a truly awful movie like
                   <em>
                    Kraven the Hunte
                   </em>
                   r—on the contrary, he’s the only one having fun,
                   <a rel="noopener" style="text-decoration: underline; color: #000000;" target="_blank">
                    chewing scenery
                   </a>
                   the way only someone who’s kept up with peak-ham
                   <a style="text-decoration: underline; color: #000000;">
                    Nic Cage
                   </a>
                   and John Travolta could.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   In this week’s episode, “The Wedding,” Nivola cements his MVP status in a tender duet with Pidgeon. He’s expecting her to twist a knife he knows is coming—that she’s passed over giving Calvin Klein, man and brand, the look of a lifetime to design her wedding dress—and instead she cuts his head off with her resignation. Hardly the end of the world, but Nivola sells it as a heartbreaking betrayal.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   But even if Carolyn is ready to move on from Calvin Klein, I’m not. While this show is diving on so much Kennedy minutiae (Ethel only serves coffee at 6AM!), it’s leaving me hungry for a full picture on Calvin and his house’s position in ‘90s American culture. So let this be an open letter to Ryan Murphy—who’ll likely be receptive, considering the man has never passed up an opportunity to franchise. Ryan: Let’s fast-track Nivola’s Calvin into his own spin-off, whether that’s a
                   <em>
                    Love Story
                   </em>
                   with him and his wife Kelly (Leila George)—who together have depicted a partnership just as compelling and tense as John Jr. and Carolyn—or another series altogether.
                   <em>
                    American Icons
                   </em>
                   , anyone? Thank me later.
                  </p>
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                  <p style="margin:0;margin-bottom:15px">
                   <strong>
                    Between the Taps
                   </strong>
                  </p>
                  <p style="margin:0">
                   (
                   <em>
                    A weekly roundup of everything else I consumed since the last Tap In)
                   </em>
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                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    <em>
                     Scream 7
                    </em>
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   One of the most galaxy-brain things in the
                   <em>
                    Scream
                   </em>
                   series is
                   <em>
                    Stab
                   </em>
                   , the movie-within-a-movie that’s been a running joke since the second film and a tool for the script to make its trademark Hollywood satire and meta-commentary.
                   <em>
                    Stab
                   </em>
                   is based on the events of the original
                   <em>
                    Scream
                   </em>
                   and then quickly devolves into a soulless, cash-grab zombified franchise with diminishing returns and blatant reaches for relevance. Get the joke?
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   The magic trick though is that
                   <em>
                    Scream
                   </em>
                   always stayed a step ahead of its in-movie mirror image, delivering a series that has lowkey been one of horror’s most consistent: some weaker efforts but no outright garbage duds, and a few (
                   <em>
                    Scream 2
                   </em>
                   ,
                   <em>
                    Scream 4
                   </em>
                   ,
                   <em>
                    Scream VI
                   </em>
                   ) that are genuinely fun and fresh. (Really, what other film series in any genre besides
                   <em>
                    Mission: Impossible
                   </em>
                   , has kept up a 30-year record that strong?) In
                   <em>
                    Scream 4
                   </em>
                   , OG series scribe Kevin Williamson nearly touched God—and by God, I mean the still-brilliant original film, an all-time Frazier Favorite—by giving the killer a motivation that basically amounted to wanting to be an influencer, in
                   <em>
                    2011
                   </em>
                   . (“I don’t need
                   <em>
                    friends
                   </em>
                   —I need
                   <em>
                    FANS
                   </em>
                   !”)
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   That streak is now over. With
                   <em>
                    Scream 7
                   </em>
                   , Williamson, returning to co-write as well as direct, has finally made the
                   <em>
                    Stab
                   </em>
                   movie he’s been satirizing. This isn’t me leaning into the narrative of disavowing this film because new series lead Melissa Barrera was fired for pro-Palestine posts, only for the producers to send a Brinks truck to Neve Campbell, who they’d previously disrespected with a monetary offer that led to
                   <em>
                    Scream VI
                   </em>
                   being the first without her OG Final Girl Sidney Prescott. I was prepared to have to admit that the one-two punch cheat code of reuniting Campbell and Williamson had led to an undeniably enjoyable movie, which would’ve just made the whole Barrera situation more nasty and insidious.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   But Barrera and an ascendant Jenna Ortega were helping steer the franchise in a necessary new direction, and without them, this new entry falls flat on its face. Things are going well enough in the first act, all the way through an exciting chase at Sidney’s house—where she’s now a suburban mom and wife doting on a feisty teenage daughter—that tees up an incredible entrance from fellow legacy character Gale Weathers (Courteney Cox). But soon after, Williamson’s script falls off a cliff, going through the motions with none of his old verve for WB-coded teen characters and dialogue, a bizarre disinterest in the Hollywood meta commentary that sets
                   <em>
                    Scream
                   </em>
                   apart, and the laziest killer reveal and motivation yet. It simply cannot justify its own existence. Despite all the digs in the script at
                   <em>
                    Scream VI
                   </em>
                   , WIlliamson could stand to take a lesson or two from its attempts to shake things up, because box office notwithstanding, this is the most washed
                   <em>
                    Scream
                   </em>
                   has ever been.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    <em>
                     Project Hail Mary
                    </em>
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   If we’re keeping it a stack, Ryan Gosling’s Blockbuster Experiment—the one he’s inexplicably been on for the last five years or so, where he swipes scripts from Ryan Reynolds’ mailbox—is one for three, and that one is
                   <em>
                    Barbie
                   </em>
                   .
                   <em>
                    Hail Mary
                   </em>
                   , his fourth swing for the popcorn stands, is worth about half a point. There are plenty of space scenes that are worth the price of IMAX admission, as well as a great new entry in the Sci-Fi Sidekick Hall of Fame. Gosling is occasionally grating but mostly charming (and often in a weird yellow raincoat that makes him look like the Morton Salt girl) but overall, this movie is more concerned with convincing you it’s the next great Space Adventure than actually living up to that.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    <em>
                     Train Dreams
                    </em>
                   </strong>
                   <strong>
                    , at The Egyptian
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   I’m sure this is a great book.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    <em>
                     The Revenant
                    </em>
                   </strong>
                   <strong>
                    at City Walk IMAX
                   </strong>
                  </p>
                  <p style="margin:0">
                   For some reason, I didn’t think this was a re-release that would sell out at the best IMAX in LA, because this movie just doesn’t scream “premium format” to me. Either way, that was silly—filmbros in LA will pull up for anything, but luckily I finessed my way into a good seat at the last minute. I haven’t seen this movie since it came out, but remembered agreeing with the narrative that it’s more of a Leo Humiliation Ritual for his long overdue Oscar than anything else. (Remember the headlines: Leo Really Ate Horse! Leo Lost Two Fingers to Hypothermia!) In the middle of an Oscar season where Leo seems like an afterthought for a brilliant performance that is, by contrast, understated, I was curious to see how
                   <em>
                    Revenant
                   </em>
                   holds up. Dear readers—it’s more miserable than I remember. I’m glad he got his statue, but it’s a travesty he doesn’t have one for Rick Dalton, and probably won’t for Ghetto Pat.
                  </p>
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