😂🤣😅
They want them to, but they don’t want them to. MIMS!
They sure are in a hurry, can’t even do basic spell check. Who is Macon, Christopher? You hungry for some bacon? Macron?
Lots of furious typing!
Archived 🔗: https://archive.ph/7H8aY
Article:
The British tabloids have a favourite magic trick. They take something obviously successful, wave a headline over it, and – poof – it becomes a “disaster”. The Duchess of Sussex in Hollywood is one of their long-running illusions. According to the Daily Mail, her “Tinseltown dream is crumbling”, her projects are “snubbed”, and she’s apparently wandering around Los Angeles like a failed extra waiting for craft services to open.
But back in actual reality, Meghan is doing what most people in entertainment would call… thriving.
Let’s start with awards. Meghan’s Netflix lifestyle series With Love, Meghan has been nominated for a Daytime Emmy for Outstanding Lifestyle Program, a major industry recognition in a crowded field of shows. The same press that once breathlessly reported every royal ribbon-cutting now wants you to believe that an Emmy nomination is somehow embarrassing. If that’s failure, most producers in Hollywood would love to fail exactly like that.
Then there’s the small matter of her Netflix relationship. The Fail leans hard on the idea that her “Hollywood dream is over” because Netflix adjusted its deal structure and moved her lifestyle brand As Ever out of the streamer’s ecosystem. But Netflix renewed the Sussexes’ first‑look agreement with Archewell Productions in 2025, after already releasing Harry & Meghan, Heart of Invictus, Live to Lead, Polo and With Love, Meghan. And these projects do well. With Love, Meghan hit the top ten in multiple countries, as did Harry & Meghan, which became Netflix’s most‑viewed documentary in its first four days.
So we have: a renewed deal, multiple released projects, record‑breaking numbers, and an Emmy nomination. The British press looks at that and writes, with a straight face, “struggling in Hollywood”.
If you really want to know whether someone has “cracked” Hollywood, you don’t look at one curated Netflix Emmy page. You look at who represents them, who they work with, and who invites them to dinner.
On representation, Meghan didn’t just sign with any agency. She signed with WME – William Morris Endeavor – the powerhouse that represents Oprah Winfrey, Denzel Washington, Rihanna, Matt Damon, Ben Affleck, Charlize Theron and a long list of people whose names appear on actual cinema screens. Her team includes Ari Emanuel, the Endeavor CEO and one of the most powerful agents in the industry, plus Brad Slater and Jill Smoller, the architect behind Dwayne Johnson’s brand and Serena Williams’ long‑term agent.
In Hollywood terms, that’s not “struggling”. That’s being plugged directly into the main power grid.
WME isn’t a charity. Ari Emanuel doesn’t sign people because he feels sorry for them. Agencies like that are built on one question: can this client generate serious business? The answer, from the people who literally profit from saying no, was yes.
Variety described the signing as a “crown jewel” for WME, noting that multiple agencies had been trying to land Meghan since she moved to California.
So now we have: top‑tier representation, a first‑look deal with Netflix, a slate of released projects, and an Emmy nomination. Still “crumbling”, apparently.
Then there’s the social and professional ecosystem the tabloids pretend doesn’t exist. Meghan’s work and public appearances place her in rooms that are very clearly not the “Hollywood wilderness”.
Her Netflix series With Love, Meghanfeatures guests like Mindy Kaling, Chrissy Teigen, Tan France and Jay Shetty, people who aren’t exactly struggling for invitations themselves. Her lifestyle brand As Ever has done collaborations with high‑end partners like chocolatier Compartés, with early drops reportedly selling out in under an hour and jam sales alone estimated in the tens of millions of dollars. That’s not the profile of someone Hollywood has quietly agreed to ignore; that’s the profile of someone brands are very keen to stand next to.

On the event side, Meghan has appeared onstage at SXSW’s “Breaking Barriers, Shaping Narratives: How Women Lead On and Off the Screen” panel, speaking about women’s leadership in media. That’s not a random red‑carpet selfie; that’s a curated, industry‑focused platform where you sit alongside other high‑profile women because organisers believe you have something to say worth hearing.
And then there’s the socialising. Martha Stewart name-dropped Meghan as a fellow guest at a California dinner party. There’s the selfies with Kelly Rowland and Kerry Washington, whose intimate birthday dinner she also attended. The back stage visit with James Taylor. Gwyneth Paltrow coming out to bat for her. I could go on, but you take my point.
The British press looks at that and somehow concludes she’s “on the outs” with Hollywood. It’s an impressive feat of denial. If Meghan were any more “in”, she’d be printed on the invitations.
So why does the British press keep insisting she’s failing?
Part of it is simple: they lost their favourite content machine. When Harry and Meghan declined to be the Crown’s scapegoats any longer, the tabloids lost daily access to a couple who drove clicks like few others. Recasting them as “flops” is a way of punishing them for leaving and reassuring readers that nothing good happens outside the palace gates.
Another part is more uncomfortable. Meghan’s success in Hollywood doesn’t fit the story these outlets want to tell about who gets to thrive. A biracial American woman, who walked away from a centuries‑old institution and then built her own media and lifestyle empire, isn’t the heroine of the traditional white royal fairy tale. So the narrative gets rewritten: she’s not building, she’s “scrambling”; she’s not choosing, she’s “begging”; she’s not collaborating, she’s “clinging”.
It’s also about control. Inside the royal system, Meghan’s work and image were filtered through palace priorities and British press expectations. In Hollywood, she chooses her own projects, partners and platforms. Signing with WME, running Archewell, launching As Ever, producing documentaries and lifestyle content … these are all ways of saying, “I’ll decide what my career looks like, thank you.” For institutions used to deciding that for her, it’s easier to pretend the new path doesn’t count.
It’s clear to non-Fail readers, of course, that the rag keeps accidentally proving the opposite of what it claims. Every time they report on her Emmy nomination, her Netflix numbers, her WME deal, her SXSW panel, her Sundance premiere or her presence at A‑list dinners, they’re quietly documenting a woman who is, by any reasonable measure, very well‑connected in Tinseltown.
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There is a pattern in British media coverage that becomes harder to ignore the more you look at it. When certain public figures face intense scrutiny, their welfare becomes part of the conversation. The press and broadcasters pause, express concern and debate whether the coverage has gone too far. For others, that same moment never arrives.
The cases are not identical. The allegations are different. But the contrast in how vulnerability is treated raises an uncomfortable question: when does the British media decide enough is enough?
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