A scathing review in The Telegraph has reignited debate around Omid Scobie, frequently described by critics as a defender-or "mouthpiece"-for Meghan Markle, after columnist Jessa Crispin dismissed his new romantic comedy with a line that quickly went viral: "The robots can't turn art into slop when humans have already done the job for them."
The novel, Royal Spin, co-written with American author Robin Benway, marks Scobie's pivot from royal reportage to commercial fiction. Published by HarperCollins, the book follows Lauren Morgan, an American press strategist who leaves Washington for Buckingham Palace, blending romance and palace intrigue.
Crispin's review did more than question the plot. She argued that the book leans heavily on brand references rather than character development, listing "Celsius, Skims, Postmates, Old Navy, Uber, Prius, Netflix, Prada, Nordstrom and BTS" as examples of what she portrayed as superficial cultural shorthand. Her broader claim-that the prose feels algorithmic-fed into wider anxieties about formula-driven storytelling in the AI era.
The criticism gained traction not only because of its literary bite but because of Scobie's political proximity. His 2020 co-authored biography Finding Freedom positioned him in the center of debates surrounding Prince Harry and Meghan Markle's departure from royal duties. In Britain's polarized media environment, his work is often read less as standalone publishing and more as an extension of the Sussex narrative.
Scobie has framed Royal Spin as a departure from that role. In remarks reported by the Express, he described the project as a relief after "a crazy and chaotic number of years covering the royals," adding that he and Benway "really enjoyed" writing together. Yet the Telegraph review underscores how difficult it may be for him to disentangle fiction from reputation.
The timing adds another layer. According to industry reports, Universal Television acquired adaptation rights in 2024, with plans to develop the novel as a series. That early Hollywood interest suggests commercial confidence, even as critical reception remains sharply divided.
For Meghan Markle, the backlash carries indirect consequences. The "mouthpiece" label-often applied by detractors-resurfaced alongside Crispin's critique, reinforcing narratives that tether Scobie's creative output to the Sussex brand. In an environment where public perception shapes both media ventures and streaming partnerships, even tangential controversies can ripple outward.
The episode illustrates a broader dynamic in contemporary publishing: literary criticism now unfolds within the same viral ecosystem that governs celebrity culture. A sharply worded line, particularly one invoking artificial intelligence and cultural decline, can travel faster than a marketing campaign.
