Meghan Markle Pioneers New Frontiers in Unrelatability

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Netflix’s new reality series, “With Love, Meghan,” underscores the idea that it’s possible for multiple truths to coexist simultaneously. Meghan Markle (formerly known as Meghan Sussex) is a typical woman who found herself swept up in a whirlwind romance with a prince, only to find herself at the heart of a storm stirred by invasive British tabloids, centuries-old monarchical traditions steeped in imperialism and elitism, and raw, unpleasant racism. The ordeal was both cruel and surreal – nobody deserves such treatment – and Harry and Meghan’s choice to step away from the royal family takes courage. This complex and sincere portrayal of Meghan Markle in the public eye is just one facet of her reality.

Another way of expressing this might be: “The truth is, ‘With Love, Meghan’ feels like a surreal journey into the heart of nothingness, a grand spectacle showcasing the mesmerizing allure of a woman creating a cake with her makeup artist, using throw-pillow sayings about happiness and hospitality as their only means of communication. It appears overly protective. The series seems to struggle between revealing Meghan’s unique lifestyle and embracing everyday normality because she appears overly concerned about public perception. It is both incredibly unreachable, such as when she talks about the joys of sourcing beeswax from your local beekeeper, and ridiculously simple, like organizing a segment around arranging fruit in rainbow order. Ultimately, it’s quite sad—a production created by a woman trapped in a life where even the most innocuous, mundane statements somehow lead back to a strange, alternate reality.

In essence, “With Love, Meghan” appears to be a simple, uncontroversial addition to the genre of home-entertaining programs. She welcomes friends into her home, prepares meals for them, teaches hostessing skills, and emphasizes the importance of warmth, thoughtfulness, and attention to detail in creating an aesthetically pleasing environment. Meghan positions herself as a TV personality that strikes a balance between Joanna Gaines, Martha Stewart, and Ina Garten, aiming for a broad appeal that is both elevated and accessible. The message conveyed is encouragement for viewers to take on DIY projects like creating balloon arches themselves, using inexpensive materials easily obtainable online. She also suggests that homemade gift bags filled with small items like child-sized garden rakes, snap-pea seeds, and manuka honey straws can bring joy to children and parents alike, without the need for expensive store purchases.

From afar, or even if muted on the TV in a dentist’s office, “With Love, Meghan” fits the mold of a cooking show host quite well. In a garden, Meghan wanders leisurely, plucking rosemary and ripe tomatoes. She chuckles with her companions and attendees, while also executing the necessary displays of culinary prowess. She kneads focaccia dough playfully, and decorates a cake with icing. She elucidates the secrets behind one-pot pasta dishes: as you lift off the lid, the water will evaporate, leaving behind starches from the pasta that make the dish creamy without requiring cream. She nods thoughtfully when renowned chefs impart knowledge about brining or creating vinaigrettes.

As the scenes and dialogues unfold, it becomes clear that the heartfelt signature “With Love, Meghan ” gradually loses significance, devolving into a heap of linens and gooseberries that lack meaning. This is not improved by Meghan’s modest culinary skills, which are on par with a competent yet unremarkable amateur. The question arises as to who created the pasta and cake recipes she often prepares, or who thought up the idea for the intricate ladybug crostini, artistically adorned by Meghan and her friend Mindy Kaling? It could have been Meghan herself, but her reluctance to reveal personal details or provide insight into her thoughts makes it difficult to discern her true identity or preferences. Regrettably, Meghan’s commentary on each new project and recipe does not resonate with someone deeply experienced in the kitchen, or even someone who engages in self-reflection. For instance, she states, “All good stock starts with water,” during a segment where she is not actually preparing a stock. She also says, “When you’ve had kids, you’re used to balancing things on your hips,” while moving around the kitchen. Before making a frittata, she declares, “But first? Coffee.” While arranging a lavish basket of fresh produce for Tatcha founder Vicky Tsai, she remarks, “You’re not trying to make, in a harvest basket, one meal. You’re trying to create moments they can pick from.

In a heartfelt manner, Meghan consistently gives the impression of deep emotional connection, showcasing her passions and affectionate interests such as bees, honey, blackberry bushes, crafting a unique childhood for her children, dogs, and husband. However, these gestures seem somewhat insincere and inadequate, failing to make a significant impact. There’s little evidence of her family members or spouse. The care of her bees is mostly handled by her quirky beekeeper, who manages the hive maintenance until Meghan arrives for the enjoyable aspects like harvesting honey from the combs. Kaling refers to her as Meghan Markle, which is indeed her name, but she quickly clarifies that it should be Sussex, a name she shares with her family. They chuckle over the misunderstanding, Kaling swiftly apologizes for her mistake, and then they resume preparing cucumber sandwiches for a fictional children’s tea party, sipping Bellinis made from Meghan’s personal peach trees.

There are moments when it almost seems authentic. Meghan excels at portraying the enthusiastic student when an expert is present to guide her, and when a chef like Roy Choi persistently conveys that they are having a wonderful time together, it’s almost believable. However, every attempt at humor is swiftly spoiled by a sudden dive into the unsettling region of Meghan’s elaborate “This is a normal life” illusion. She tells Kaling she appreciates mixing high-end and affordable clothing, cheerfully detailing her attire: “Zara, Loro Piana, Jenni Kayne!” (This follows Kaling trying to discuss her outfit, which leaves Meghan puzzled.) Her friend Delfina Blaquier drops by for a picnic, casually explaining the importance of feeding her athletic children a lot of carbs and protein. (They are professional polo players, not water polo players.) Most significantly and comically, the stunning kitchen and the carefully tended garden filled with raised flower beds where Meghan warmly welcomes all her guests are not part of her actual home. They can’t be, as she doesn’t want the location of her house to be widely disclosed or used by a large film crew. Yet, it’s all a façade, similar to a beautifully designed theme park created for a single guest to play hostess in and populated with in-character friends and assistants to flesh out her world.

What makes this situation poignantly sad is that Meghan appears to constantly strive to avoid criticism and never express anything that might suggest uniqueness or significance. The title of the show feels genuinely heartfelt; she yearns for love, and she’s trying to earn that affection by pouring out her own love towards a massive and impersonal Netflix audience. However, she is so cautious, overly concerned with shallow aspects, and unaware of her disconnection from everyday life. Ultimately, she gives off an impression reminiscent of a member of the British royal family: fearful to show vulnerability, fixated on appearances, and seeking validation from a public she cannot truly connect with. Nothing could be more unusual or disheartening.

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2025-03-06 01:15