Late January brought an unexpected but warmly received moment at the Sundance Film Festival. Prince Harry and Meghan Sussex stepped out together to support the premiere of Cookie Queens, a project they executive-produced through Archewell Productions. The appearance arrived quietly, without fanfare, yet it drew swift attention for what it was and what it was not.
A low-key arrival with a clear purpose
Harry and Meghan appeared in Utah over the weekend for the Sundance debut of Cookie Queens. The documentary follows four Girl Scouts during cookie season and frames the familiar ritual as part of an $800 million enterprise shaped by confidence, discipline, and ambition. Directed by Alysa Nahmias, the film played in the Eccles Theatre, the festival’s largest venue.
The couple kept the focus on the work. Meghan addressed the audience briefly and without notes, reflecting on her own Girl Scout years in California and the values the film explores. Harry stood back, greeting filmmakers and guests before taking his seat. The timing came days after his High Court testimony in London, yet the Sundance moment stayed rooted in film, not headlines.
Festival listings showed multiple screenings scheduled across the week. Each listing carried a sold-out marker as the programme moved forward, placing the film firmly among the festival’s well-attended titles.
Warm reactions and selective scepticism
Most coverage struck a calm and positive note. Reports described a relaxed appearance, casual styling, and an audience that responded with sustained applause. Social media clips of Meghan’s remarks circulated quickly, drawing praise from former Girl Scouts and viewers who recognised their own childhood experiences in the film’s themes.
Industry voices echoed that response. Attendees spoke of a full house and strong engagement, especially notable for an early morning documentary slot. The film also attracted acquisition interest, keeping it in the conversation beyond its premiere.
A different angle appeared elsewhere. Page Six questioned attendance, focusing on balcony seating rather than the packed main floor. The claim travelled fast, even as those inside the theatre offered a contrasting picture.
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When framing overtakes facts
The claim about empty seats did not go unanswered for long. Entertainment journalist Matthew Belloni responded publicly after a Page Six report suggested the Cookie Queens premiere failed to sell out. Belloni pointed out that the documentary screened at 9 a.m. in the Eccles Theatre, the largest venue at the Sundance Film Festival, and that the house was full despite the early slot. Festival schedules and images shared by attendees supported his account, showing every listed screening of the film marked sold out across multiple dates.
The dispute highlighted a pattern that has followed Prince Harry and Meghan Sussex for years. Minor details are often elevated when they support a negative storyline, while broader context receives less attention. Page Six, which operates under Rupert Murdoch’s media umbrella, has repeatedly framed the couple’s work through the lens of underperformance, a backdrop that sits alongside Harry’s ongoing legal action against tabloid publishers over press conduct.
Away from the headlines, the Sundance appearance unfolded without drama. Cookie Queens premiered to packed audiences, and the screenings continued throughout the festival with strong turnout. Meghan addressed the audience briefly before stepping back, keeping the focus on the film and its young subjects. Harry remained present but unobtrusive, allowing the filmmakers to take centre stage.
The louder argument played out online, driven by selective reporting and familiar narratives. Inside the theatres, however, the reality was far simpler. Viewers showed up, the film played to full rooms, and the festival moved on, leaving the controversy far removed from the seats that were already filled.
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