At 10:15 AM on Monday, July 28, 2025, the Duke and Duchess of Sussex, Prince Harry and Meghan Markle, are grappling with a significant public relations setback as the trailer for their latest Netflix documentary project has amassed over 400,000 dislikes, igniting a wave of online criticism. Released in late 2022 to promote their six-part series Harry & Meghan, the initial trailer drew 7 million views but faced a stark negative response, with more than 281,000 dislikes on the first 72-second clip and an additional 120,000 on a subsequent teaser, according to data from the Return YouTube Dislike tool. This backlash has resurfaced with renewed intensity as their Netflix contract nears its end this September without renewal, prompting social media users to assert that the couple should cease production altogether. The overwhelming disapproval raises questions about the sustainability of their media venture and the public’s shifting perception of their post-royal narrative.
The original trailers, unveiled in December 2022, offered glimpses into the couple’s personal archive, including unseen family photos and Harry’s voiceover lamenting life “behind closed doors.” The first clip, released a week before the series’ debut on December 8, aimed to build anticipation with intimate moments, while the second, highlighting Harry’s critique of a “hierarchy of the family,” dropped just before the December 15 installment. Despite the 7 million views across both, the dislike ratio—outpacing likes by over tenfold—signalled immediate discontent. The Return YouTube Dislike tool, used by millions to gauge unfiltered public sentiment after YouTube hid its dislike counter, revealed a polarized reception. Comments on the platform ranged from mocking the couple’s privacy pleas to questioning the timing, especially as it coincided with Prince William and Kate Middleton’s U.S. visit, amplifying the negative buzz.
The series itself, which chronicled their courtship, royal exit, and personal struggles, initially drew 81.6 million hours watched in its first four days, marking it Netflix’s biggest documentary debut. However, this success appears to have been a fleeting high. Recent projects like Polo (500,000 views, ranking 3,436) and With Love, Meghan (5.3 million views, No. 383) have underperformed, contributing to Netflix’s decision not to renew the couple’s $100 million deal. The establishment narrative frames this as a mutual winding down, with sources suggesting “things have run their course.” Yet, this glosses over the public’s rejection, evident in the trailer dislikes and posts on X calling their content “irrelevant” and “tasteless.” The sentiment suggests the initial royal exposé fascination has waned, leaving their brand struggling to justify further investment.
Online reactions have been scathing. Social media users, drawing from the trailer backlash, argue the couple’s productions lack substance, with one commenter on YouTube labeling it a “public attempt at privacy” that backfired. Others praised Netflix for keeping comments open, allowing unfiltered critique, while some urged the couple to “move on” from their royal grievances. This echoes a broader narrative shift, with royal experts noting that Harry & Meghan was the only project to leverage public curiosity about their departure, while subsequent efforts failed to resonate. The timing of the trailer release, seen as capitalizing on royal family tensions, further fueled accusations of opportunism, a charge the couple has faced since stepping back in 2020.
Financially, the stakes are high. The Montecito mansion, bought for $14.65 million, and annual expenses of $4 million—covering staff, Archewell Foundation, and personal costs—rely heavily on media deals. The end of the Netflix contract, coupled with the 2023 termination of their $20 million Spotify deal, has forced staff cuts, as reported by Page Six on July 5. Princess Diana’s $10 million inheritance, once a buffer, is thinning under these pressures. The second season of With Love, Meghan, slated for this fall, offers a slim hope, but its modest first-season reception (12.6 million hours initially, dropping to 5.3 million) tempers optimism. Without a new deal, the couple’s Hollywood dream faces collapse, a prospect some online voices celebrate as poetic justice.
The establishment’s portrayal of a “smooth transition” downplays these struggles. Netflix’s pivot away from the couple mirrors its handling of the Obama family’s deal, suggesting a strategic realignment rather than personal animosity. However, this narrative avoids addressing the creative missteps—Polo’s niche focus and With Love, Meghan’s lukewarm lifestyle appeal—that have eroded their audience. Critics argue the couple’s reliance on royal drama, rather than fresh storytelling, has alienated viewers, a view supported by the trailer dislikes. The lack of official response from Harry and Meghan, despite staff layoffs, reinforces perceptions of a brand in retreat, challenging their image as media moguls.
Public sentiment, drawn from web discussions, splits between schadenfreude and concern. Some see the dislikes as validation of their royal critiques, with posts on X mocking Meghan’s “lemon-zesting” skills from With Love, Meghan and Harry’s “bore” in Polo. Others lament the couple’s fall, suggesting their narrative—crafted since 2020—obscures a lack of adaptability. The establishment’s silence on these creative failures may protect Netflix’s reputation or avoid reigniting royal tensions, but it leaves the couple’s vulnerabilities exposed. The black car sighting in the unrelated Diogo Jota crash echoes a theme of overlooked details, urging scrutiny of whether their story has been oversold.
The couple’s next steps are uncertain. Meet Me At The Lake and American Riviera Orchard remain stalled, with no products sold despite hype. Potential counteroffers from Amazon or Disney exist, but their track record—highlighted by the trailer backlash—deters commitment. A rumored UK rapprochement, as noted by the Daily Mail, might reflect financial pragmatism, though it contradicts their independence stance. Royal concern, per Marca, suggests the family may brace for a return, a scenario that could reshape their narrative but not their finances without new revenue.
The 400,000 dislikes stand as a stark referendum on their media venture. Once heralded as a royal reinvention, Harry and Meghan now face a public increasingly uninterested in their story. The call to end production, loud on social platforms, reflects a demand for accountability and relevance. As September nears, their future hinges on With Love, Meghan’s second season and unproven ventures, with the trailer backlash a haunting precursor to their Hollywood reckoning.
