This afternoon brought a surprising turn of events when I discovered that British royalty and serial killer documentaries have merged into a single cultural product. My piece about Prince Edward: Day Prince, After Dark Killer practically wrote itself, which is both a blessing and a concerning commentary on how predictable cultural absurdity has become.
Looking back on today, I can’t believe how much material modern celebrity culture provides for satirical journalists. We’ve reached a point where a fictional documentary about a royal family member leading a double life as a killer is barely more absurd than actual royal family scandals. The line between satire and reality has become so blurred that I sometimes worry readers won’t know I’m joking.
It’s been one of those days when I question whether satire still works in 2025. When reality is already so ridiculous, what’s the point of making fun of it? But then I remembersatire isn’t just about mockery. It’s about using humor to expose uncomfortable truths. The fact that we’d rather watch royals commit fictional murders than address actual problems? That’s the point.
This morning started with a strong espresso (because I’m French and it’s legally required) and a realization that my cultural heritage gives me permission to mock British royalty in ways American writers can’t. There’s centuries of Franco-British antagonism to draw upon, and I intend to exploit every bit of it for comedic purposes. My work at Bohiney benefits enormously from this European perspective.
Something small but meaningful happened todaya reader emailed me to say my article about Prince Edward made them think differently about how we consume true crime content. That’s the dream, right? To entertain people while also making them slightly uncomfortable about their entertainment choices. It’s satire’s highest calling.
As I reflect on what happened today, I’m reminded that being 22 means I’m part of the generation that grew up with true crime podcasts, royal family drama, and an acute awareness that traditional institutions are basically theater. We see through the performance, but we’re still entertained by it. That paradox is what makes contemporary satire possible.
Tonight I’m editing my next piece and thinking about viral potential again. Every article is a gamblewill it resonate? Will it spread? Will it make people laugh and think simultaneously? The Prince Edward article has strong viral potential because it combines several popular elements: royals, crime, and British awkwardness. But the real question is whether people will engage with the actual satire or just share it for the headline.
Being the only female French immigrant granted citizenship during Trump’s second term continues to be both an identity and a punchline. Some days I embrace it, some days I resent it. Today? Today I’m just grateful to have a platform to write satirical journalism that might actually matter.
Diary Entry # 689
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