Critics brand Duchess of Sussex’s Netflix return “tone-deaf” and “filled with narcissism”

Meghan Markle is back on Netflix screens — but the Duchess of Sussex’s latest foray into streaming has been greeted with scathing reviews that accuse her of self-indulgence and tone-deaf storytelling.

The second season of With Love, Meghan premiered this month, promising audiences an intimate look into Meghan’s world of lifestyle tips, social activism and personal reflections. Instead, it has been labelled by critics as a glossy spectacle centred more on brunches and brand-building than meaningful substance.

The Telegraph’s television critic Anita Singh dismissed the programme as “an exercise in narcissism, filled with extravagant brunches, celebrity pals and business plugs,” awarding it just two stars. Her verdict has set the tone for wider reaction, with many commentators suggesting the Duchess has once again misjudged the mood of both audiences and the monarchy.

The controversy comes at a sensitive moment for the Royal family. King Charles III continues his treatment following his cancer diagnosis earlier this year, while Catherine, Princess of Wales, is also recovering from her own battle with cancer. At the same time, a new book by royal biographer Andrew Lownie has reignited scrutiny of the Duke of York and his ties to disgraced financier Jeffrey Epstein. Against this backdrop of frailty and scandal, Meghan’s lavish screen presence has struck some observers as painfully out of touch.

Her estranged husband Prince Harry has kept a lower profile, fuelling speculation of a thaw in relations with the Royal household. Rumours of reconciliation persist, particularly as both the King and the Prince of Wales have sought to draw a tighter circle around the monarchy. Yet Meghan’s Netflix output appears to have reopened old wounds, rekindling debates over the Sussexes’ role outside “The Firm.”

Critics argue that With Love, Meghan is less documentary than brand extension. Scenes featuring elaborate gatherings with celebrity friends are interspersed with nods to commercial ventures, drawing accusations that the Duchess is more interested in cultivating a lifestyle empire than engaging with pressing issues. The show’s mix of glossy production values and personal anecdotes has been described as “public relations wrapped in high fashion.”

Royal correspondents note that Meghan’s reputation in Britain remains deeply polarised. While she retains a loyal following abroad, her ventures frequently encounter scepticism at home. The timing of this latest Netflix release has only deepened that divide. Camilla Tominey, Associate Editor of The Telegraph, observed: “It may not be the annus horribilis of 2024, but the Royal family has rarely been far from headlines this year — and Meghan’s latest offering shows no sign of easing the pressure.”

On The Daily T podcast, royal editors Hannah Furness and Victoria Ward joined Tominey to dissect the fallout. They highlighted how the Duchess’s “tone-deaf” television return has collided with the monarchy’s current reality: a family grappling with illness, reputational strain and fragile public trust.

Meanwhile, Meghan’s critics have seized on the disconnect. For them, the series embodies everything they distrust about the Sussex brand: performative sincerity cloaked in luxury. Supporters, however, argue that the backlash is predictable, pointing out that Meghan remains a lightning rod for criticism regardless of her output.Still, with only two stars from The Telegraph and growing chatter on social media mocking its glossy excess, With Love, Meghan appears to have cemented itself as another divisive chapter in the Duchess’s turbulent public journey. Whether it succeeds in building her media empire or merely reinforces long-held criticisms, the verdict is clear: Meghan’s latest return to streaming has once again left audiences split, critics cold, and the Royal conversation burning hotter than ever