Harry loses escort appeal: Guardian attacks him, ‘Now he’s just some rich guy’

Columnist attacks Duke of Sussex: ‘Victimistic, inconsistent, obsessed with the media he despises. He is now a wealthy businessman, but struggles to accept it’

In her latest editorial in the Guardian, journalist Marina Hyde devotes a vitriolic portrait to Prince Harry, commenting on his recent legal defeat on appeal over his request for a state security system during his visits to the UK. ‘He wanted a whole new life and he got it. He is no longer an active member of the royal family, but he is a rich person. ‘His Wealthy Highness’,’ Hyde writes, mocking the Duke of Sussex’s new status and the difficulty he would show in taking on the responsibilities.

The article takes aim at Harry’s interview with the BBC after the verdict, calling it ‘almost Trumpian’ for its victim-blaming rhetoric and insinuations against the establishment. According to the columnist, the prince tried to make his personal choices look like the result of an external conspiracy: ‘He plays the victim of his own decisions, insinuates that the law must bend to his will’.

Hyde compares the situation to that of other celebrities, such as Beyoncé, pointing out that the pop star, despite having an immense fortune, does not go on television to complain about security costs. ‘Harry is rich, and the rules for the rich are different. Could someone bring him up to speed?’ the journalist further ironizes.

Also in the crosshairs are the prince’s past statements during an interview with Oprah Winfrey, when he recounted that he had signed millionaire contracts with Netflix and Spotify at the suggestion of a third party, after the royal family had cut him off: ‘There aren’t many celebrities who publicly justify their choices by saying they have to finance their own whims, like collecting dinosaur bones’.

Finally, Hyde points out what he calls the ‘most bizarre irony’: Harry’s obsession with the media, while claiming to despise them. ‘If he really detests them, he could always stop living his private life in public, unless he is simply setting the stage for another lucrative documentary.’ A final blow that sketches the prince no longer as a fugitive in search of secrecy, but as a skilful entrepreneur of his own exposure.

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