The production of the Netflix polo documentary has hit several troubling roadblocks. What was envisioned as a straightforward profile of the sport and some of its biggest stars has now become a logistical nightmare, all thanks to the involvement of Prince Harry and Meghan Markle.
From the beginning, coordinating extensive international travel for interviews was going to be a challenge. But Meghan’s insistence on accompanying Harry at every turn has multiplied the complexity. Without their young children in tow, the couple’s movements are hindered by having to consider two schedules rather than one. Meghan’s role also remains ill-defined, raising questions about how her contributions will serve the documentary versus overshadowing its original purpose.
Compounding the timeline issues are the documentary now being intertwined with Harry and Meghan’s otherArchwell productions. Netflix was hoping for a release in November to capitalize on the winter polo season, but the merged workload makes that deadline extremely unlikely. The production companies juggling multiple projects are struggling to corral everything, especially withArchwell’s infamous cooking show dragging down morale and productivity.
That piloted series continues being an albatross around Netflix’s neck. CEO Ted Sarandos is said to view its acquisition as one of the service’s worst deals, a scathing indictment for any executive. In a last-ditch effort to generate buzz, a teaser may be released to gauge interest, though most feel the public will be more drawn to dissecting Meghan’s presence than the show’s content. The pressure is on to prove the investment justified.
Unfortunately for Harry and Meghan, the current entertainment industry malaise could not have arrived at a worse moment. Only power players like producer Tyler Perry have reliable funding to continually put out new material, keeping strict financial austerity. Meanwhile, the couple’s circle of celebrity allies and supporters has noticeably shrunk over three tumultuous years, cutting off networking opportunities.
Their acceptance of the Robert F. Kennedy ripple of hope award serves as another own-goal. While likely pushed by friend Serena Williams to promote her racial justice documentary, giving Meghan and Harry such an honor reeks of vanity and undermines the cause. It reinforces the narrative of elite hypocrisy, rather than enabling meaningful philanthropic discussion. Harry seems easily swayed into poor judgments that only further damage his reputation.
Heading into the weeks-long run up to Meghan’s birthday, one can expect more strategically-orchestrated family photo releases in the papers and on their Archewell website. She will grasp any chance to garner positive headlines during this period. But her high-profile influence also appears a consistent hindrance to the couple’s professional goals. Time and again, projects become dilutedby Meghan-centric storylines, losing their unique appeal.
Even on a simple documentary about polo, there is warranted concern Meghan could hijack the narrative to center on her juggernaut celebrity. Like with theInvictus Games, what began as a celebration of competence and courage risks evolving into just another platform for Meghan. For the sake of fulfilling their Netflix contract, both parties would be wise to clearly delineate their independent roles in the production.
While she specializes in solo ventures like her Spotify podcast, Harry never gets to solely carry anything without Meghan’s all-encompassing involvement. Some distance may allow him to truly focus on polo’s story, engage passionately with the sport’s community he loves, then present something of merit that achieves the goals of both informing audiences and keeping Netflix satisfied.
How the rest of this production unfolds could foretell whether the couple can effectively balance partnership with distinction, or if Meghan will continue eclipsing opportunities meant for Harry alone. Their slipshod timing and underprepared ventures suggest lessons still left to learn.
