Veteran film producers Brad Simpson and Nina Jacobson ventured into television with their debut project, “American Crime Story: The People v. O.J. Simpson,” which premiered in 2016 in collaboration with Ryan Murphy and FX. Ten years later, they are celebrating the success of their latest acclaimed limited series, “Love Story: John F. Kennedy Jr. and Carolyn Bessette,” continuing their partnership with Murphy and FX.
Following the conclusion of “Love Story,” which aired its final episode on March 26, Jacobson and Simpson appeared on Variety’s “Strictly Business” podcast. They engaged in a comprehensive discussion about revisiting the 1990s and the legendary romance of JFK Jr. and Carolyn Bessette.
The duo also discussed the current state of Hollywood’s development marketplace, the fruitful nature of their partnership with FX and Murphy, and their support for the Producers United initiative. They highlighted the factors that made “Love Story” stand out, such as the nostalgia for a less hectic era in pop culture. Simpson and Jacobson praised Murphy’s instincts, the contributions of creator/executive producer Connor Hines, and finale director Anthony Hemingway. They also commended the performances of “Love Story” stars Sarah Pidgeon, Paul Anthony Kelly, and co-stars Grace Gummer, Constance Zimmer, and Jessica Harper.
“Our cast is an embarrassment of riches, especially the women, who are left dealing with these devastating losses,” said Jacobson.
We are talking coming off the heels of the conclusion of “Love Story: John F. Kennedy Jr. and Carolyn Bessette.” It is quite a journey and it is quite a journey for those of us who remember it firsthand. What was challenging about the finale to capture or shoot?
Brad Simpson: The depiction of the plane ride [in which JFK Jr., Bessette, and her sister Lauren Bessette died] was a major topic of discussion. We planned for them to pass away halfway through the first episode, leaving the aftermath. The challenge was how to show the plane in a respectful manner, avoiding gratuitous or thrilling portrayals. We spent a lot of time developing these characters, knowing the tragic end that awaited them.
Our aim was to honor them in the ending, portraying the plane ride in a way that conveyed the events without turning it into a spectacle. We learned that they were unaware of the impending crash, experiencing disorientation rather than panic, and they died instantly.
Nina, anything stand out to you in terms of in terms of the finale — getting it done, getting it just right?
Nina Jacobson: Our cast is incredible, particularly in portraying the profound losses faced by the women. I commend our writers, Juli Weiner and Kim Rosenstock, and creator Connor Hines. The depth and complexity of the women’s performances in this difficult situation is moving, showcasing their talent as they bring the story to life.
So many great performances. Jessica Harper, who is a great character actor. She packs a lot into Ethel Kennedy and that relationship that we know from reportage on the Kennedys that she and Caroline Kennedy had a special bond. And just the anguish of Caroline Kennedy. And to know this is not fiction.
Simpson: We were fortunate to have such talented actors, knowing that we wouldn’t have John and Caroline in the second half of the episode. In our previous projects like “O.J.” or “Versace,” outcomes are known. Similarly, everyone knows about the plane crash, and we relied on these exceptional actresses to convey the aftermath. Ethel wasn’t initially in the finale; it was meant for Constance Zimmer as Carolyn Bessette’s mother and Grace Gummer as Caroline Kennedy. Ryan, however, admired Jessica Harper’s performance and wanted her back for the finale to discuss the experiences of being a Kennedy woman.
Sarah Pidgeon, over the course of this series, she just embodies this person full of conflicts and with the element that we know that she is going to meet an untimely death. It’s just incredible. And then Anthony Hemingway, just an incredible job in building the tension and the drama in this finale. I know Anthony is a reunion for you from “People v. O.J. Simpson.”
Simpson: Working with Anthony Hemingway again was great. He’s a talented filmmaker, and we have a shorthand from our collaboration on “People v. O.J. Simpson.” The script was finished close to shooting, and he handled it seamlessly. The penultimate episode is often the peak, leaving the finale to focus on emotional resolution. Anthony’s restrained approach suited the series’ tone, and the actors felt secure with him.
A particularly emotional scene was Grace walking out of JFK Jr.’s North Moore Street apartment, mirroring a real event. The atmosphere was haunting, and Grace felt like she was embodying Caroline Kennedy in those moments.
Looking across the series and the goals, what would you say were some of the larger kind of cultural then and now themes that you tried to draw out?
Jacobson: It’s remarkable to create a show that so many people experience together. We explored themes of fame, contrasting past and present relationships with it. The cruelty of tabloids and the nostalgia for less exposure are central. Carolyn was savvy in publicity, yet fame impacted her. Today, fame is more widespread, and our show reflects on its evolving nature. The look back feels almost like a fairy tale, and it’s rewarding to see audiences enjoy immersing in it.
The way people, especially young audiences, have embraced the show is incredible. This retrospective feels like a fairy tale, and we hoped for optimism about the couple and the era. Watching viewers enjoy and engage with it is a joy.
The show is performing very well for FX and Hulu. It’s been a cultural conversation. Every costume choice, every prop you’ve had has been discussed and debated. I’m guessing that when you see that you’re getting that kind of scrutiny, you know you’re connecting?
Simpson: We had significant press attention last summer, with concerns about accuracy. But everyone involved was mission-driven, many of us having experienced 1990s New York. It’s not just nostalgia for that time, but also a longing for its simplicity. The show resonates with millennials and Gen X, who appreciate the carefree nature of that era. We aimed to recreate what we loved about it, not as a calculated move but out of genuine passion.
Of course, you can’t produce a true-life story without having a lot of people weigh in and usually a lot of strong criticism. Daryl Hannah has spoken out — she’s not very happy with her portrayal in “Love Story.” How did you feel about what she had to say?
Simpson: From the beginning, this was John and Carolyn’s story. We conducted extensive research to portray the people and moments that shaped their relationship. Depicting real people comes with challenges, as emotions and perceptions vary. We approached each character with empathy and love, aiming to honor those affected by this real-life tragedy.
Is it becoming harder in any legal sense or production sense to tackle real-life characters, especially if they’re still alive? Are you finding hurdles in the world that we live in now where so many people can weigh in vocally very quickly?
Simpson: Our legal team rigorously fact-checks, even for dramatizations. We strive for emotional truth while dramatizing events. Previously, there were more journalists engaging in deep dives and discussions. Now, there’s a prevalence of quick takes on social media instead of thorough analysis. This shift affects how narratives are received.
That is a sad sign of the times. Let me ask you about your larger partnership with Ryan Murphy and FX. It seems like it is a very fruitful partnership.
Jacobson: Knowing Ryan since we were young in the industry, our partnership has been wonderful. Initially, we had no TV experience compared to his accomplishments. Despite this, the collaboration was nimble and challenging, with Ryan’s instincts in casting and production design being impressive. Working with emerging talents like Connor Hines under Ryan’s guidance has been a gift.
Well, you had a few features under your belt.
Jacobson: Yes, we weren’t inexperienced, but we didn’t know what to expect. The partnership has been rewarding, and Ryan is a remarkable showrunner with a strong team of actors and artisans. It’s no surprise he’s achieved such success.
Simpson: Our approach is straightforward: if a book captivates us, we consider its potential rather than focusing on obstacles. We loved ‘The People v. O.J. Simpson’ book, but it wasn’t suited for a movie. We waited for limited series to gain prominence, and our collaboration with Ryan has been organic.
In terms of the FX of it all, what do they particularly bring to the table?
Simpson: About 12 or 13 years ago, driven by creative jealousy and survival instincts, we entered TV. Despite having no TV experience, FX saw potential in us. Our agent guided us to them, and the relationship has been beneficial. FX values quality, offering thoughtful notes and supporting creators’ visions. Their confidence in their shows is apparent.
Jacobson: I echo that sentiment. FX aligns with our interests and storytelling ambitions. It’s a gift to have such a relationship, especially in uncertain times. If something is good, FX will make it happen, and their input is typically insightful. When it isn’t, we discuss it.
Tell me about “The Shards”?
Simpson: “The Shards,” a book by Bret Easton Ellis, is a touchstone for us, akin to “Less Than Zero” but with serial killers and murders. Set in 1981, it captures a mood defined by its era’s music and fashion. Initially optioned by HBO, we eagerly pursued it when available. Ryan brought us on board, knowing our admiration for it. The show features talented young actors and delivers the early ‘80s vibe many seek.
Jacobson: There’s a thrill in discovering new stars and creating shared cultural experiences. This freedom, combined with Ryan’s brand, is a gift, allowing audiences to connect with the cast.
My last question for you. It’s a big one. How do you feel about the marketplace right now? 2025 was a tough year. A lot of retrenching. There’s still a lot of turmoil in the general marketplace. What would you say in terms of your optimism, your sense of the selling marketplace for TV and film right now?
Jacobson: It’s challenging. A course correction was necessary, as there was too much TV. The goal is always to create shared experiences, but with the vast array of content available, it’s difficult. We long for the days of collective cultural experiences that brought people together. The retrenchment in development feels like it’s easing, as there’s a realization of the need for more development. However, the saturated market remains a challenge.
Simpson: Nina highlights the need for internal development and taking chances. Many studios rely on pre-packaged deals, which can be costly. We came from a time of active development, and unexpected successes often arise from this approach. A development incubator is essential for creating quality content.
Jacobson: Producers need to continuously refine material, striving for improvement. That’s our role. Brad and I support Producers United because sustaining production work is crucial. Many producers have immense value but lack a home. The economy must support people dedicated to finding resonant stories and assembling talented teams. We’re fortunate to have FX and Ryan as partners, enabling us to balance TV and film projects, which is creatively rewarding.
Our involvement with Producers United stems from an understanding of the challenges faced by producers today. Balancing our business between TV and film has been creatively fulfilling.
“Strictly Business” is Variety’s weekly podcast featuring conversations with industry leaders about the business of media and entertainment. (Please click here to subscribe to our free newsletter.) New episodes debut every Wednesday and can be downloaded at Apple Podcasts, Amazon Music, Spotify, Google Play, SoundCloud, and more.
