Meghan Markle, the woman who once claimed she longed for a quiet, private life far from the glare of royal scrutiny, was recently spotted enjoying a modest night out in New York City—or at least, her version of modest.

Her evening plans involved attending a Broadway performance of Gypsy, but with a level of security that suggested she was either a foreign dignitary or the headliner of a global pop tour. Arriving with a fleet of three SUVs, a city police vehicle, a couple of former Secret Service agents, and multiple empty decoy cars, Meghan managed to redefine what a “lowkey” outing looks like.

Reports from Page Six reveal that Meghan herself rode in one SUV, while the other two vehicles were entirely vacant and used merely as decoys. Trailing the convoy was an unmarked NYPD vehicle containing two active detectives. This over-the-top security operation felt less like a protective measure and more like an elaborate display of perceived importance. Was she expecting an ambush from the Phantom of the Opera? The sheer absurdity didn’t go unnoticed.

One paparazzi insider summed it up as “absolutely abnormal, totally over the top, and excessive.” For context, even Taylor Swift—one of the most recognizable celebrities on the planet—reportedly travels with just one vehicle for herself and another for her security team. Meghan’s mini-motorcade through Manhattan came off as theatrical, not thoughtful.

This wasn’t about safety. It was about presentation—about maintaining the image of someone untouchable, elevated, and globally significant. But there’s a fundamental flaw in that script: no one cast her in that role. Then there’s the matter of the NYPD vehicle. If city resources were indeed used for what essentially amounted to a Broadway photo-op, that’s not just unnecessary—it’s unacceptable. New York taxpayers should not be underwriting Meghan’s personal PR campaign. This is the same Meghan Markle who stepped back from royal duties because she claimed she didn’t want to be a public burden and instead sought financial independence. Apparently, that independence includes hiring elite security teams and coordinating an entourage that snarls traffic like a presidential motorcade, all for the sake of a few Instagram moments and celebrity cameos.

Of course, she posted about the outing. The curated social media posts followed soon after: smiling shots with the cast, warm hugs with Broadway star Audra McDonald, and a polished video montage of the night. As usual, Meghan ensured every moment was documented and filtered through her carefully constructed lens. Because in her world, if it’s not on Instagram, did it even happen? Whether it’s a royal balcony or a New York theater, she’s always performing, always directing the narrative, always positioning herself center stage—not just literally but symbolically.

Her trip to the theater wasn’t about enjoying a show; it was about making sure the spotlight stayed squarely on her. The message was clear: Look at me. I’m still here. I’m still relevant. I still matter. But instead of demonstrating grace or groundedness, she ended up showcasing how entirely out of touch she remains. That wasn’t security—it was theater. And not the kind with a script or ticket price. Meghan Markle, once again, played the leading role in her ongoing personal production: Me, Myself, and I.

So the next time she speaks about humility, community, or living away from public attention, remember that behind every “quiet” Broadway night are three empty SUVs, two NYPD detectives, a handful of former agents, and one woman who still hasn’t figured out how to be famous without being exhausting.