Tom Bower, Britain's leading investigative biographer, unpicks the tangled web surrounding the Sussexes and their relationship with the royal family.

From courtroom dramas to courtier politics, using extensive research, expert sourcing and interviews from insiders who have never spoken before, this book uncovers an astonishing story of love, betrayal, secrets and revenge.

The British Crown is in crisis, with constitutional threats at home and abroad. Since their infamous 'Megxit' split from the Royal Family, Prince Harry and Meghan Markle have dominated global headlines. Ferociously controversial, not least for demanding privacy while seeking the spotlight, the Sussexes have remained a subject of gripping fascination for both supporters and cynics alike. Both camps are united on one platform: what is the endgame?

Fighting to preserve their royal titles and privileges, in their attempts to create a Sussex brand the couple have fuelled bitter hostility. Accusations of disloyalty have been trumped by recriminations about dishonesty. Amid High Court battles with the government and the media, and the infamous publication of Spare, the Sussexes have reeled after successive Netflix flops and their doomed collaboration with Spotify - only to be ridiculed for Meghan's self-invention as a domestic goddess.

At a landmark moment in royal history, the Sussexes' challenge to the British monarchy echoes worldwide. The fallout always threatens to be catastrophic. Just five years on from 'Megxit', can King Charles overcome the scandals that blight the family and limit the Sussexes' threat to the monarchy? Can the broken bonds between the Houses of Sussex and Windsor ever be repaired or will the King choose to strip them of their titles and banish them forever? The Sussexes are in a race against time to solve their predicament.

With inimitable research and exclusive interviews from insiders, Britain's leading investigative biographer Tom Bower exposes the latest contortions in the explosive Royal saga of power and betrayal.

The first two films in the comedy franchise based on Jeff Kinney's best-selling illustrated novel detailing the trials and tribulations of a wise-cracking pre-teen. 'Diary of a Wimpy Kid' (2010) follows 12-year-old Greg Heffley (Zachary Gordon), who, along with his best friend, Rowley (Robert Capron), spends his days negotiating the minefield that is middle school. Whether dodging bullies, learning complex and seemingly ever-changing social codes, grappling with the onset of puberty or attempting to fathom the mysteries of the opposite sex, Greg writes it all down in his diary. In 'Diary of a Wimpy Kid 2 - Rodrick Rules' (2011), just when he thought life couldn't get any more complicated, Greg is horrified to discover that his older brother, Rodrick (Devon Bostick), has taken possession of his secret diary. Meanwhile, he must navigate the hurdles posed by a summer swimming contest and the school talent show.

Family comedy sequel based on the bestselling illustrated novels by Jeff Kinney. Zachary Gordon reprises his role as wise-cracking middle school student Greg Heffley, who - just when he thought life couldn't get any more complicated - is horrified to discover that his older brother Rodrick (Devon Bostick) has taken possession of his secret diary. Meanwhile, he must navigate the hurdles posed by a summer swimming contest and the school talent show.

The last instalment of the teen vampire saga based on the bestselling books by Stephenie Meyer. After Bella (Kristen Stewart) is turned into a vampire by her lover, Edward (Robert Pattinson), she appears to be enjoying her new immortal life and the abilities bestowed upon her. But after Irina (Maggie Grace) mistakes Bella and Edward's child, Renesmee (Mackenzie Foy), for an 'immortal child' and tells the Volturi this, they vow to destroy the potentially threatening girl and the whole Cullen family for allowing her to be transformed. In order to protect themselves and Renesmee, the Cullen clan must enlist the help of other vampire clans from around the world, in the hope of convincing the Volturi of the false claims of Irina.

Drawing on the context of global history and re-interpreting the known and agreed historical facts, author Colin Bower mounts an irrefutable challenge to the grand narrative of colonialism and racism as the quintessential South African story.

In the course of his polemic he makes the following points:

• The historical conflict between light skinned and dark skinned South Africans need not be seen in racial terms at all, but as a conflict between land ownership by right of historical occupation, and ownership by right of title deed. This is a battle always and universally won by rights of ownership by title deed, and this is to the benefit of all South Africans today.
• If a defining characteristic of colonialism is the extraction of wealth from the colony by the coloniser, then we have reason to question the use of the word in a South African context, for neither the VOC nor the British made a net financial gain from South Africa.
• Had Britain exercised colonial dominion over the whole of an integrated four province South Africa at the conclusion of the Anglo Boer War, South Africa would have had a colour-blind national franchise as early as 1902, no Land Act of 1913, and no post-1948 apartheid.
• Although the consequences of apartheid were widespread suffering and injustice on a racially exclusive basis, apartheid can be better understood as an exercise in domination to achieve competitive advantage than as an emanation of racial hatred.

Bower suggests that obsession with historical injustice represents an escape from the responsibility of building happy, free and prosperous societies in the present, and recommends we replace it with an obsessive devotion to the protection of constitutionalism and the rule of law.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

In the Land of Magic, four friends live a life filled with wonder. But there's one rule they must not break: never set foot on the Island of Darkness. So, when one child does the unthinkable, they must all pay a terrible price - exile to Wasteland, the bleak world where only grown-ups live. For Grace, this fate is particularly cruel. She wakes up with no memory of her magical home, or how she ended up here - and the only clue to her past is guarded by two hostile and mysteriously invisible children. As Grace uncovers the Invisibles' secrets, she must work out a way to return home, before Wasteland traps her forever...

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.