Every time Meghan Markle demands to be called the Duchess of Sussex, Piers Morgan can’t help but laugh. In Britain, few actually use that title anymore. Meghan, he says, got lucky—met her prince, pulled him away from his family and the monarchy, and now tries to live a royal life on her own terms.

January 2026 saw Piers Morgan back on screens with a vengeance. The same man who lost his job at Good Morning Britain for refusing to back down on Meghan’s claims now returned, loaded with receipts and sharper than ever. His target? Meghan’s recently released Netflix cooking series, Love, Megan.

Morgan didn’t hold back. He called the show “unwatchable,” admitting he couldn’t get past the first few minutes. He labeled it the ultimate vanity project—a carefully staged spectacle where every frame exists to glorify Meghan, not to teach cooking or share genuine moments.

What made Morgan’s critique especially cutting is his insider perspective. He knew Meghan before she married Harry, even describing a brief friendship that ended abruptly once she entered royal circles. This personal history gave his words extra weight, painting a picture of someone who meticulously controls her image and narrative, discarding people once they’re no longer useful.

Morgan tore apart the visuals: the flawless kitchen wasn’t even Meghan’s home—it was a borrowed mansion in Montecito. The lighting was studio-grade, the makeup perfect, and every flower arrangement and ingredient meticulously placed. This wasn’t casual cooking; it was a production designed to sell a brand.

He mocked the content itself—basic coffee-making and cake-baking presented as revolutionary. The show wasn’t about food but about packaging Meghan as talented, creative, and sophisticated. Even the flower arranging scenes came under fire as staged attempts to elevate mundane tasks.

One telling moment involved Meghan correcting friend Mindy Kaling on calling her “Meghan Markle,” insisting on “Sussex” instead. Morgan highlighted how odd it is to demand a place name as a title, especially when Meghan and Harry claim to have left royal life behind for privacy and normalcy.

Morgan argued that without the Sussex title, Meghan loses mystique—she’s just an actress married into fame. That tension between rejecting royal life yet clinging to its perks underpins much of Morgan’s critique.

He also revisited their past: a night in a London pub, a friendship that ended suddenly, and Meghan’s swift distancing once royal life began. Morgan called her a “slight social climber,” a view he voiced years ago and now feels vindicated.

The Netflix show, Morgan says, is a continuation of a pattern—strategic relationships, image control, and fame prioritized over genuine connection. The polished promotional photos, he claims, reveal a manufactured reality, not authentic moments.

Morgan’s criticism is more than opinion—it’s a powerful narrative from someone who lost a career over his stance on Meghan. His refusal to back down, even after being fired, gives his words a relentless edge.

He warns that the show’s failure could impact Meghan and Harry’s lucrative Netflix deal, as public perception and viewership matter immensely. His scathing review could sway millions who might otherwise watch out of curiosity.

Morgan’s critique exposes the façade: a borrowed mansion, professional styling, and staged scenes that undermine Meghan’s claims of authenticity. He calls out the contrast between Meghan’s polished image and the reality of her fractured family ties and fading friendships.

This isn’t just a media feud; it’s a clash between image and reality, between crafted narratives and lived truths. Morgan’s relentless spotlight on Meghan’s brand challenges the carefully built myth.

Now, Meghan faces a choice: respond and fuel further debate or remain silent and let the criticism linger. Meanwhile, Morgan, free from corporate constraints, promises to keep his scrutiny sharp and ongoing.

Whether you love or loathe him, Morgan’s insider perspective and unfiltered critique have cracked the veneer of Meghan’s Netflix project, leaving many viewers seeing the show—and the duchess—in a new light.

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