As of 04:45 PM +07 on Friday, June 27, 2025, the entertainment world is grappling with the dramatic turn in Rachel Zegler’s career trajectory. The 24-year-old actress, once heralded as Hollywood’s next big star after her Golden Globe-winning role in West Side Story, has announced her departure from the film industry, insisting it was a deliberate choice rather than a forced exit. This decision follows the tumultuous release of Disney’s live-action Snow White in March 2025, a project that has been widely labeled a commercial and critical disaster, with Zegler at the center of the storm. Her pivot to theater, particularly her upcoming role in the West End’s Evita, comes amid a career crash fueled by controversy, online backlash, and a shifting industry landscape, prompting a reevaluation of her Hollywood journey and the narratives surrounding it.

Zegler’s rise began with remarkable promise. At 17, she won the lead role of Maria in Steven Spielberg’s 2021 West Side Story from over 30,000 auditions, a feat that showcased her vocal prowess and acting talent. The film’s critical acclaim and her Golden Globe win at 20 positioned her as a rising star, leading to roles in Shazam! Fury of the Gods (2023), The Hunger Games: The Ballad of Songbirds & Snakes (2023), and the high-profile Snow White remake. However, her Hollywood ascent hit a wall with Snow White, a $270 million production that grossed just $205.6 million globally, far below expectations. The film’s failure has been attributed to multiple factors, including Zegler’s polarizing public statements, which have drawn intense scrutiny and shifted perceptions of her viability as a leading lady.

The controversy surrounding Snow White began early. Announced in 2021, Zegler’s casting as the first Latina Snow White sparked backlash from some fans who deemed her ethnicity a departure from the character’s German fairy-tale roots, a critique laced with racial undertones. Her 2022 D23 Expo comments, where she called the original 1937 film’s Prince Charming a “stalker” and its love story “dated,” ignited further outrage among traditionalists. The situation escalated in August 2024 when she appended a “Free Palestine” message to a Snow White trailer post on X, a move that drew ire from pro-Israel groups and reportedly led to death threats against co-star Gal Gadot, an Israeli actress. Disney producer Marc Platt flew to New York to reprimand her, and the studio scaled back her press tour, signaling a rift. Zegler’s subsequent Instagram posts criticizing Trump supporters after the 2024 election only deepened the divide, alienating a significant portion of the potential audience.

Zegler’s claim that leaving Hollywood was her choice was articulated in a June 2025 i-D Magazine interview. “I came back [to theater] on my own volition, which is just crazy,” she said with a laugh, framing her move to the West End’s Evita as a strategic retreat to her theatrical roots. She described feeling “idle and aimless” after Snow White’s promotion, suggesting a proactive shift rather than a career collapse. This narrative, however, clashes with industry perceptions. Sources cited by Variety and Daily Mail indicate Disney and other studios view her as a “PR nightmare,” with canceled appearances on shows like Saturday Night Live and a diminished role in Snow White’s marketing. The establishment line blames her outspokenness for the film’s $115 million loss, a stance echoed by Marc Platt’s son Jonah, who called her “immature” and “narcissistic” in a now-deleted Instagram post.

The crash of Zegler’s film career is evident in her recent box office track record. Shazam! Fury of the Gods underperformed, and The Hunger Games prequel, while profitable, was the franchise’s weakest entry. Snow White’s 42% Rotten Tomatoes score and steep second-weekend drop—66% to $14.2 million—cemented her association with flops. Critics like Breitbart have labeled her “box office poison,” arguing her political activism turned off viewers. Yet, this narrative oversimplifies the issue. The film’s use of CGI dwarfs and narrative shifts, criticized as inauthentic by purists, shared blame, and Zegler’s performance received praise, suggesting the backlash may exaggerate her role in the failure. The industry’s quick pivot away from her—evidenced by her exit from Paddington in Peru due to the SAG-AFTRA strike—hints at a broader reluctance to risk further controversy.

Zegler’s theater return, debuting as Eva Perón in Evita starting June 14, 2025, at the London Palladium, is a calculated move to reclaim her narrative. Her Broadway debut as Juliet in Romeo and Juliet (2024-2025) and her YouTube covers from 2015-2023 showcased her musical roots, a strength overlooked in Hollywood’s film focus. The Evita role, directed by Jamie Lloyd, leverages her vocal talent, with early buzz suggesting sold-out shows. However, the casting has irked Madonna, who played Evita in 1996 and won a Golden Globe, with a source telling Daily Mail that she feels a “deep connection” to the character and resents Zegler’s lack of acknowledgment. This tension could overshadow her theater comeback, though Zegler’s bracelet beaded with Palestinian flag colors—spelling “ceasefire”—signals her intent to maintain her activism.

Public reaction, reflected on platforms like X, is divided. Fans celebrate her theater pivot, with posts praising her “guts” to leave Hollywood on her terms, while detractors argue it’s a “face-saving exit” after a career derailment. The sentiment mirrors broader cultural splits, with her progressive stances alienating conservatives but earning support from liberal circles, like Melissa Barrera’s Instagram endorsement. Critics question her maturity, citing her age and inexperience, but her Evita performance—lauded for its emotional depth—challenges this, suggesting theater may be her true domain.

The establishment narrative frames Zegler’s departure as a consequence of her own missteps, with Disney distancing itself and studios wary of her “brand risk.” However, this overlooks the disproportionate hate she endured—racist slurs, death threats, and online trolling—as documented by ScreenRant and The Shillong Times. Her therapy reliance, detailed in i-D, reveals the mental toll, with medication helping her “function” amid the storm. This suggests Hollywood’s failure to shield her, as seen in Platt’s reprimand, may have forced her hand, contradicting her “choice” claim. The industry’s short memory, noted by Israel Hayom, could see her return if Evita succeeds, but her film career’s immediate future looks bleak.

The implications are significant. Zegler’s exit highlights the precariousness of young stars in a social media-driven era, where activism can both empower and destroy. Her story parallels others like Gina Carano, sued by Disney in 2024 for similar reasons, exposing Hollywood’s inconsistent tolerance for controversy. Her theater shift could inspire a renaissance for musical talent, challenging film’s dominance, while her openness about mental health—echoing Selena Gomez—may push for better support systems. For Disney, the Snow White loss underscores the risks of live-action remakes tied to divisive figures, potentially influencing future casting.

As of June 27, 2025, Zegler’s Hollywood chapter closes with Snow White’s crash, but her theater debut looms as a potential redemption. Whether her departure was truly her choice or a strategic retreat, it marks a pivotal moment for a “theater kid” whose career collided with the harsh realities of fame, leaving the industry and fans to ponder her next act.