Rachel Zegler, the 23-year-old Golden Globe-winning actress who skyrocketed to fame with her role in Steven Spielberg’s West Side Story (2021), is facing what some are calling the darkest chapter of her young career. On May 20 and May 22, 2025, YouTube videos titled “Rachel Zegler’s TEAM Falls Apart As Insiders Claim She’s COMPLETELY Alone Now” and “Rachel Zegler Left COMPLETELY ALONE — Insiders Spill Everything!” went viral, alleging that Zegler’s support system has crumbled in the wake of her controversial role in Disney’s live-action Snow White remake and her upcoming West End debut in Evita. As of today, June 2, 2025—just 12 days before Evita’s opening night at the London Palladium—these claims have sparked intense speculation about Zegler’s future in Hollywood. But is Zegler truly “completely alone,” or is this narrative another attempt to scapegoat a young actress for broader industry failures? Let’s dive into the story, examine the evidence, and explore the reality behind the headlines.
The Snow White Fallout: A Career Under Siege
Zegler’s journey to this point has been a rollercoaster of highs and lows. Her breakout role as Maria in West Side Story earned her critical acclaim and a Golden Globe, but the film underperformed at the box office, grossing just $76 million against a $100 million budget. She followed this with roles in Shazam! Fury of the Gods (2023) and The Hunger Games: The Ballad of Songbirds & Snakes (2023), the latter grossing $349 million worldwide, cementing her as a rising star. However, her role in Disney’s live-action Snow White, released on March 21, 2025, has proven to be a turning point—for all the wrong reasons.
The $270 million film was a commercial and critical flop, earning just $225 million globally and a dismal 1.6 out of 10 rating on IMDb due to review-bombing campaigns. Zegler’s comments during the press tour—calling the 1937 animated classic “weird” and the prince a “stalker”—drew ire from fans, while her political stances, including a “free Palestine” tweet at Disney’s 2024 D23 expo and anti-Trump remarks after his 2024 reelection, alienated conservative audiences. The film’s failure was compounded by racist backlash to Zegler’s casting as a Latina actress in a traditionally Caucasian role, with some fans decrying the decision as “woke” pandering.
Disney insiders have largely blamed Zegler for the film’s failure. A Vanity Fair report from March 29, 2025, noted that the studio scapegoated Zegler, with unnamed sources claiming her outspokenness and political views were the primary reasons for the film’s poor performance. Producer Marc Platt reportedly flew to New York to address her social media activity, and the premiere was scaled back to a press-free event, a move some interpreted as Disney distancing itself from Zegler. Journalist Mark Harris called the studio’s actions “astonishingly graceless” on Bluesky, accusing Disney of waging a campaign to pin the blame on Zegler rather than acknowledging their own creative and marketing missteps.
The “Completely Alone” Narrative: Fact or Fiction?
The latest chapter in Zegler’s saga comes from two YouTube videos in May 2025, which claim that her support system has “crumbled,” leaving her “completely alone” in Hollywood. The videos allege that her team at ICM Partners, where she has been represented since January 2020, has either abandoned her or failed to manage the fallout from her controversies. They suggest that Zegler’s outspokenness—particularly her political views and her critique of the original Snow White—has alienated not only Disney but also her own representatives, leaving her isolated as she prepares for Evita.
However, this narrative raises more questions than answers. Zegler’s relationship with ICM Partners has been strong since her West Side Story days, with Spielberg himself reportedly helping her navigate her agency decision. As recently as June 2024, Zegler praised her agents in an interview, and a report from Amy-Movie.com on April 17, 2025, debunked claims that she had been fired by ICM or blacklisted in Hollywood, confirming she remains with the agency. There’s no concrete evidence—such as statements from ICM or Zegler herself—to support the claim that her team has fallen apart. The YouTube videos rely on unnamed “insiders,” a common tactic in Hollywood gossip that often lacks credibility without verifiable sources.
Moreover, Zegler’s career trajectory suggests she is far from isolated. She landed the lead role of Eva Perón in Evita, directed by Jamie Lloyd, a high-profile production set to open on June 14, 2025, at the London Palladium. Lloyd praised her “incredible passion” for the show, indicating strong support from the creative team. She also has a new film, She Gets It From Me, opposite Marisa Tomei, slated for release later this year, further evidence that she is still securing work despite the Snow White fallout. While her outspokenness may have strained some professional relationships—such as with Disney and reportedly with Snow White co-star Gal Gadot due to their differing views on the Israel-Palestine conflict—there’s little to suggest she’s been abandoned by her entire support network.
Evita’s Struggles: A Symptom of Broader Issues
The Evita production itself has faced challenges, which may be fueling the narrative of Zegler’s isolation. A Daily Mail report from April 23, 2025, noted that “rows of seats remain unsold” for the 12-week run, with tickets starting at just £29.50 in the 2,286-seat venue. Social media posts on X have amplified this struggle, with users highlighting the show’s inability to sell tickets just weeks before opening night. Some attribute the poor sales to Zegler’s tarnished reputation, with a Yahoo source in May 2025 labeling her “too dangerous to touch” due to her controversies.
However, the Evita box office struggles may have more to do with systemic issues than with Zegler herself. The West End has faced broader challenges in 2025, with rising ticket prices and economic pressures impacting audience turnout across productions. The London Palladium’s large capacity makes it a difficult venue to fill, especially for a revival that lacks the built-in audience of a new musical. Additionally, the production’s marketing has been minimal, with little promotional activity beyond the initial announcement and Zegler’s social media posts. In contrast, other West End shows like The Devil Wears Prada have benefited from aggressive marketing campaigns, which Evita has lacked.
Online sentiment also suggests a targeted backlash against Zegler. A Reddit user on r/TheWestEnd noted that “American MAGA doxxers are intentionally trying to bad mouth anything Zegler is doing,” a campaign that has also affected other progressive figures like Taylor Swift. This targeted negativity may be discouraging potential theatergoers, further impacting Evita’s sales. While Zegler’s controversies have undoubtedly contributed to her public perception, the narrative that she is solely responsible for the show’s struggles ignores these broader factors.
A Pattern of Scapegoating: Zegler as the Target
The “completely alone” narrative fits into a broader pattern of scapegoating that has followed Zegler since her Snow White role was announced in 2021. From the moment she was cast, she faced racist backlash from conservative Disney fans who criticized her Latina heritage, despite her talent and suitability for the role. Her comments about the original film—calling it “dated” and the prince “stalker-y”—were taken out of context by detractors, who labeled her as “disrespectful” and “entitled.” Her political views, including her support for Palestine and criticism of Trump, have made her a target for right-wing outrage, with figures like Megyn Kelly calling for her to be fired from Disney.
This pattern of blame continued with Snow White’s failure, where Disney insiders pointed fingers at Zegler rather than acknowledging their own missteps, such as the film’s $270 million budget, controversial CGI dwarfs, and lackluster marketing. Journalist Mark Harris described Disney’s actions as a “hit job,” arguing that the studio was unfairly attributing the film’s failure to Zegler’s politics rather than their own creative decisions. Actress Melissa Barrera, who faced similar backlash after being fired from Scream 7 for her pro-Palestine stance, praised Zegler as “cool as hell and full of integrity,” reflecting a growing sentiment among some that Zegler’s principles make her a role model, not a liability.
Young actresses, particularly women of color, often face disproportionate scrutiny in Hollywood, as noted by film critics like Anna Smith of the Girls On Film podcast. Zegler’s refusal to conform—whether by standing by her political views or embracing her Latina identity—has made her a target, but it’s also what makes her a voice for her Gen-Z fanbase. The narrative that she’s “completely alone” may be an exaggeration designed to further undermine her, rather than a reflection of her actual support system.
Zegler’s Resilience and Path Forward
Despite the challenges, Zegler remains a talent with immense potential. At 23, she has already amassed a cumulative box office total exceeding $700 million, with Snow White as her second-highest-grossing film despite its failure. Her Broadway debut in Romeo + Juliet (2024-2025) drew a young audience, and her role in Evita offers a chance to showcase her vocal and acting abilities in a new light. Early rehearsal footage shared on social media has been met with praise from fans, suggesting that her performance could shift the narrative in her favor.
Zegler’s upcoming projects, including She Gets It From Me opposite Marisa Tomei, indicate that she is still securing work, even if her relationship with Disney appears strained. Her supporters argue that her challenges stem from systemic biases rather than personal failings. As a Reddit user on r/acting noted in August 2023, “Her career will be absolutely fine and people will continue to want to work with her… She is so talented and charismatic; once the storm passes, she will emerge stronger from it.”
A Broader Reflection on Hollywood’s Treatment of Young Stars
The Zegler saga highlights the precarious position of young stars in the entertainment industry, particularly those who don’t fit the traditional mold. The expectation that Zegler should remain silent on political issues or conform to studio expectations ignores the reality of the social media age, where authenticity often matters more to audiences than polished PR. Disney’s failure to provide adequate media training during the Snow White press tour left Zegler vulnerable to backlash, yet the studio has largely escaped accountability, instead allowing her to take the fall.
As Evita prepares to open, the spotlight will be on Zegler to deliver a performance that can silence her critics. Whether she’s truly “completely alone” or simply the latest target of Hollywood’s scapegoating tendencies remains to be seen. What’s clear, however, is that Zegler’s talent, resilience, and growing fanbase make her a force to be reckoned with—one who may yet rise above the noise and redefine her career on her own terms.
