How much home renovations really cost Harry, Meghan
Prince Harry and Meghan Markle lost a staggering fortune when they left England to start a new life in the US.
According to Hello!, the Duke and Duchess of Sussex's UK residence, Frogmore Cottage, underwent extensive renovations – costing a reported £2.4 million ($A4.29 million) – before they moved in.
The renovations for the royal residence were initially funded by the Crown Estate.
When they stepped down as 'senior members of the Royal Family', the couple repaid for the home's refurbishment to the Crown Estate, despite never owning property.
The Sun reported the pair installed an 'eco-boiler' which supplied unlimited hot water and low-carbon heat.
Prince Harry's $200m UK secret revealed
Property expert Terry Fisher from We Buy Any Home explained why the Sussexes' investment was ultimately futile.
'Frogmore Cottage was never actually owned by Harry and Meghan,' he told Hello!
'It was gifted to them for use by the late Queen, but they didn't have legal ownership – which means the final say over what happens to it has always rested with the monarch.'
Mr Fisher added: 'Even if someone makes improvements or invests in a royal property, that doesn't give them a lasting stake in it. It's more like an extended loan - and when that time ends, it's returned to the Crown.
'When it comes to legal rights, the rules around royal homes are very different to those in everyday property ownership.'
Meghan, Harry savaged as 'local villains'
Frogmore was the Sussexes' first marital home and hosted their wedding reception in May 2018.
The property was also where the couple raised their son Archie for the first few months of his life.
Fans were given a peek inside the cottage in Harry and Meghan's Netflix documentary, including touching bathtime scenes with Archie.
The pair moved to Montecito, California in 2020 after stepping down from royal duties.
They currently live in an $US14.65 million ($A20.9 million) mansion, which boasts nine bedrooms, 16 bathrooms, a pool and a tennis court.

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Moreover, there are difficult clients who lack self-awareness. A couple of montages make the point here. A gallery of random male clients at the Adore interview stating their preferences for dating much younger women, while a montage of female clients reveals how difficult it is to work with people in this intimate area. And then there are some clients who present a serious risk. While screenwriter Song has done some serious thinking about these things, her three lead actors contribute engaging performances to carry it off. With lively, mobile features and a natural, gamine presence that grounds her character, Johnson brings her familiar vibrant presence. It is easy to understand why matchmakers are sought in traditional societies where young adults have only restricted access to prospective partners. And today, it is fascinating to observe how the pace and anonymity of city life have seen matchmaking become a thriving business and online dating the name of the game. Materialists M, 117 minutes 4 Stars The dreamy, introspective relationship drama, Past Lives, was so successful several years ago with an Oscar nomination that the challenge of creating a follow-up feature would have been a daunting task. Not for Canadian writer-director Celine Song, who has landed on her feet again with this sharp relationship drama set in the world of modern dating. Materialists is a three-cornered romantic drama with a smart, ambitious young matchmaker, Lucy (a sparkly Dakota Johnson), who works at Adore, a dating agency in New York that aims high. It promises to match singles with the love of their life, no less. She hasn't found hers yet and says she is celibate at the moment, but there is an ex (Chris Evans) who she still has feelings for, while someone very rich and tall, dark and handsome who has also just appeared in her life. Harry (Pedro Pascal) checks all the boxes - such a rare catch. Pascal (a lead in The Last of US TV series) has the unenviable role of playing the unicorn, the perfect man who scores the highest on the measures that count, namely physical attractiveness and financial worth. He's genial, with an old-fashioned matinee idol look, complete with Burt Reynolds moustache, that is vaguely amusing. While Lucy is waiting for the perfect match herself, we can see she's a skilled negotiator who has a way with words. We see her in action as she tries to convince a reluctant bride out of the bedroom where she has stalled, weeping. Flattery works a charm, and the wedding goes ahead. Brother of the groom Harry is at the event too, and introduces himself to Lucy at the singles table. He is smooth and confident, and works in finance. At precisely the moment they are making each other's acquaintance, Lucy's ex-boyfriend John (Evans) delivers her drink order. He is on the wait staff, serving guests at the function, and he is neither smooth nor wealthy. 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Moreover, there are difficult clients who lack self-awareness. A couple of montages make the point here. A gallery of random male clients at the Adore interview stating their preferences for dating much younger women, while a montage of female clients reveals how difficult it is to work with people in this intimate area. And then there are some clients who present a serious risk. While screenwriter Song has done some serious thinking about these things, her three lead actors contribute engaging performances to carry it off. With lively, mobile features and a natural, gamine presence that grounds her character, Johnson brings her familiar vibrant presence. It is easy to understand why matchmakers are sought in traditional societies where young adults have only restricted access to prospective partners. And today, it is fascinating to observe how the pace and anonymity of city life have seen matchmaking become a thriving business and online dating the name of the game.