Cookie Queens Crumbles at Box Office
Their egos are so overblown, they can't listen to reason and refuse advice from anyone
Cookie Queens has received mediocre reviews, not the worst in cinema history. The 2026 documentary about Girl Scout cookie season, directed by Alysa Nahmias and executive-produced by Prince Harry and Meghan is the result of the Sussex’ ego being larger than their talent.
Duchess of Sussex under their Archewell Productions banner, holds a Rotten Tomatoes score in the low-to-mid 90s (around 93-94% from dozens of critic reviews) with a Metacritic score of 73 (“generally favorable”).
Critics have described the film as entertaining, insightful about childhood ambition and Americana, and often “sweet” or “adorable,” while some noted it as light on deeper institutional critique or occasionally staged in feel. It premiered at Sundance in January 2026, later secured distribution, and reached theaters in early August 2026.
The claim that it ranks among the worst-reviewed films ever clashes with the available critic aggregates or coverage since most of them are paid for. Harry and Meghan’s involvement is primarily as executive producers (one of multiple names listed) does not help at all since neither has cinematic talent. Meghan has publicly noted her own past as a Girl Scout and personal affinity for the project.
The Sussexes’ Path and Reputation Trajectory
After stepping back from senior royal duties in 2020 (“Megxit”), Harry and Meghan relocated to California and built a public brand centered on media deals, philanthropy via the Archewell Foundation, and personal storytelling. High-profile projects included their Netflix series and other productions. These efforts brought significant publicity, commercial opportunities, and ongoing scrutiny.
Public reaction has remained polarized. Supporters frame their moves as necessary independence, mental-health advocacy, and modern humanitarian work free from institutional constraints. Critics frequently cite perceived inconsistencies—seeking privacy while maintaining high visibility, grievances aired publicly against the royal family and media, and a pattern of projects that some view as self-focused or commercially driven. Polling and commentary in the UK have often shown cooler sentiment toward the couple, particularly Meghan, with favorability numbers remaining low in recent surveys. Legal efforts, security concerns, and intermittent royal-family interactions have continued to generate headlines and debate.
Their media ventures have produced mixed commercial and critical results overall. Early Netflix work drew large audiences; later projects faced more muted responses. Cookie Queens stands out in coverage as one of the stronger-reviewed titles linked to them, benefiting from its focus on the young subjects rather than the producers. Even so, some reviews referenced the Sussexes’ involvement in passing, with a few noting parallels to the polished, controlled style of their other media output.
Reputational Effects
The couple’s sustained high-profile approach has cemented name recognition and a dedicated following while also reinforcing perceptions of controversy. Positive associations (charity initiatives, production credits on lighter fare such as Cookie Queens) coexist with persistent criticism that their public narrative prioritizes personal branding over quieter impact. This dynamic has limited broader rehabilitation of their image in traditional royal or mainstream UK circles, even as they maintain activity in the U.S. entertainment and philanthropic spaces.
In short, Cookie Queens is a well-reviewed, family-oriented documentary that happens to carry Sussex executive-producer credits. It does not represent a critical or commercial collapse. The longer pattern of their post-royal choices—intense publicity paired with ongoing friction—has left their public standing divided: admired by some for independence and causes, viewed by others as having overplayed grievance and publicity at the cost of lasting goodwill.
