This week, Archewell’s Head of Nonfiction, Film & TV stepped down. Chantal Pysnik had worked for the Duke and Duchess of Sussex’s production company for over five years, and she had overseen all of their documentary/docuseries endeavors. Archewell has not announced a replacement, and in fact, Archewell Productions has lost several people in the past year. The foundation, which is now Archewell Philanthropies, has also lost people. A major downsizing is happening right before our eyes, and I think it’s fair game to wonder what’s going on. But according to an “industry insider,” the Sussexes still have tons of stuff in development, but everything is just moving slowly.
Prince Harry and Meghan Markle’s Hollywood dreams seem to be hanging in the balance as the couple settles into life back in the UK, multiple sources tell Page Six.
The Duke and Duchess of Sussex’s Netflix films, “Meet Me at the Lake” and “The Wedding Date,” remain “in development,” sources exclusively tell Page Six — with no apparent progress since March. However, a second source told Page Six that this is simply standard practice in the industry.
“It’s Hollywood. People know how this town works, and things are not made in a day,” the industry insider said, explaining that adaptations take a while, particularly as producers have to work with the book writers on the script.
“This is all part of the process. There are a lot of steps,” the industry source said.
“Meet Me at the Lake,” based on Carley Fortune’s bestselling book, has been in development since August 2023 and is believed to have an attached director, whose identity remains under wraps. Meanwhile, “The Wedding Date,” based on Jasmine Guillory’s hit romance novel, has been in development since 2025. There has also been no update on the Sussexes’ untitled scripted polo drama.
Harry is reportedly working on a documentary honoring his late mother, Princess Diana, ahead of the 30th anniversary of her death next year, although it remains unclear whether Netflix will be involved.
The projects remain lingering as the couple has been dealt another blow after losing their longtime head of nonfiction at Archewell Productions, Chantal Pysnik, Deadline reported Tuesday. Pysnik — one of the very first hires at the company — helmed the hit documentary, “Harry & Meghan” for Netflix, and joined Markle and Harry at the Sundance Festival back in January for a screening of their documentary, “Cookie Queens.”
She also attended the daytime Emmys last week, where her Netflix show, “With Love, Meghan,” was nominated for outstanding lifestyle program. However, it lost out to a series about dogs, called “A Different Breed.”
We’re told Pysnik wanted a new chapter and Harry, 42, and Markle, 45, will be looking for someone to take on her role at their small production company.
Her departure leaves Nishika Kumble, senior vice president of scripted television, as a key remaining executive at the couple’s production company.
Last month, Page Six exclusively reported that Archewell Productions was downsizing its staff. Former head of content Ben Browning, marketing chief Fara Taylor, president Mandana Dayani, audio boss Rebecca Sananes and production manager Bennett Levine have all previously exited the company.
Adding to the uncertainty, Netflix recently ousted content chief Bela Bajaria and film boss Dan Lin, with Peter Rice taking over content operations. It’s not yet known whether Rice shares his predecessors’ enthusiasm for the Sussexes. However, the couple still has a powerful ally in Netflix co-CEO Ted Sarandos, with one source in the know telling us, “Ted is still 100 percent behind them.”
The development limbo is a real thing, and there are plenty of projects which get splashy announcements and then production is delayed for years. But it’s difficult to avoid pointing out that it’s probably pretty hard to develop projects in the Cotswolds, and their last-minute move to the UK this summer at least contributed to these projects feeling so stalled-out. Between all of the flux with Archewell Productions, plus the shift of their foundation, plus Meghan hitting pause on podcasting, plus the open-ended move to the UK … what does it all add up to?
Photos courtesy of Netflix.
I think the downsizing is in part the move to England. Obviously you can work in different countries but it’s much easier when you work in the same place, be more hands on.
My theory is that they (or just Harry) are full on going to be back within the royal bubble by end of 2027, early 2028. There will be some international role that will suit them and that William and Kate will not fight since they seem to hate travel. All of this looks like wrapping up. Similar to what she did when she joined the family.
The thing I’ve realized with the British royals is that once you’re in, you can’t free yourself from it. I don’t think anyone has ever done so – I don’t even think Diana would’ve pulled it off. Doesn’t matter if you are born in or marry in – you’re in for life.
Yeah, I’m not concerned about this plus working remotely is an actual bonafide way of working so it doesn’t matter that they’re in the UK.. They will probably end up folding up their production company. They only got into producing because they needed the money. I think Meghan’s main focus is As Ever and Harry’s is reconciling with his racist family and meeting up with old aristo friends from school.
I agree. I see them slowly closing their production company. Harry wants back in the royal family and Meghan will continue her brand.
I don’t see how they can stay and trust scooter. He would imo forbid them from doing royal work. And ban them from royal events. Harry and meghsn need to consider how their kids could be treated by scooter and company. And also scooter would possibly leak fake stories about the sussexes
I think harry needs to tread carefully. Scooter may still have thoughts of breaking up harry and meghan. I doubt scooter will change.
How odd that once again Sussexes are held to a ridiculously higher standard compared to others in the same category.
Isnt odd? But anytime there is a Black woman involved, the standards are always higher.
The term “development hell” exists for a reason. With little or no monies involved, items in development don’t affect bottom lines and until talent is attached and projects move into production, properties can remain on the backburner indefinitely. Being in limbo is not ideal for creatives because no one is being paid.