In fact, it gamely acknowledges that the film version of Tiffany’s took the homosexual male character from the book and repacked him for straight audiences as a heterosexual in traditional romantic comedy fashion. Thereby, Keshishian uses his own lighthearted romp as an unlikely commentary on the decision by having loads of fun with sexual orientation misunderstandings in our contemporary era.

A beautiful and harmless trifle, Love’s carefree blend of sass and soap suds calls to mind the guilty pleasure of watching the superior CW soap Gossip Girl, but much like Gossip, it’s one of those experiences you may plead the fifth on if asked if you're a fan when in snobbish society.

Unfortunately, Keshishian’s attempt is muddled by superfluity as one feels a strong urge to reach for the “fast-forward” button whenever the obnoxious Talullah along with a few other annoying characters appear onscreen. However the chaos does serve an important purpose in augmenting Jacks and inviting viewers to identify with her a bit more than we could with Hepburn’s Golightly.

For instead of Tiffany’s diamonds, in the twenty-first century, multi-tasking is a girl’s best friend and it serves Jacks well in her self-described position as “a superficial assistant at a major fashion magazine,” namely the London branch of Vogue. Although, unlike Anne Hathaway’s discovery that in the fashion world, The Devil Wears Prada, Jacks puts her work—much like her own needs—on the back burner. And instead navigating the Golightly terrain of “rats and super-rats,” she predictably discovers that ultimately she must stop hiding behind luxury products, eccentric “artist” friends, and haute couture to let down her own guard long enough to fall in love.

Wrapping up the work utilizing the rarely beneficial screenwriting favorite "film-within-a-film" approach, much like Jacks, Keshishian called on the support of friends by serving up Gwyneth Paltrow and Orlando Bloom in an unnecessary concluding cameo that jars the whimsical tone and calls far too much attention to itself. Still, with an irresistible turn by Murphy, uniformly excellent work by Rhys, and a nice change of pace for gorgeous Heroes star Santiago Cabrera, one finds that in the end this Love is far from a total disaster.