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 yet another wave of scrutiny as her latest project, a West End revival of Evita, struggles to fill seats just 12 days before its opening night on June 14, 2025, at the London Palladium. Amidst reports of sluggish ticket sales, a narrative has emerged labeling Zegler as “unhireable” in Hollywood, with some insiders claiming her controversial persona has made her “too dangerous to touch.” But as of today, June 2, 2025, a closer look at the situation reveals a more complex story—one that questions whether Zegler is being unfairly scapegoated for broader systemic issues in the entertainment industry, from targeted backlash to mismanaged expectations.

Evita’s Box Office Woes: A Struggling Production

The West End revival of Evita, directed by Jamie Lloyd, was announced on March 14, 2025, as a high-profile return to the stage for Zegler, who stars as Eva Perón in the Andrew Lloyd Webber and Tim Rice musical. The production, running for 12 weeks at the 2,286-seat London Palladium, was seen as a chance for Zegler to rebound from the fallout of Disney’s live-action Snow White remake, which flopped earlier this year. Lloyd praised Zegler’s “incredible passion” for the show, predicting she would “blow the roof off” the venue. Zegler herself shared a personal connection to the musical, recalling how she and her father would sing “Don’t Cry for Me Argentina” together when she was a child.

Despite the initial buzz, Evita has struggled to attract audiences. According to reports from London Theatre Direct, tickets remain available for all shows, with prices starting at just £29.50—a surprisingly low entry point for a West End production of this caliber. A Daily Mail article from April 23, 2025, noted that “rows of seats remain unsold” for June, July, August, and September performances, with only a handful of shows considered semi-full. Social media posts on X have amplified this narrative, with users like @cj_rebelink highlighting on June 1 that the show is “unable to sell tickets” just two weeks before opening night.

The lackluster sales are particularly striking given Zegler’s star power. Her Broadway debut in 2024 as Juliet in a modernized Romeo + Juliet opposite Kit Connor drew the “youngest ticket-buying audience” in Broadway history, suggesting she has a dedicated Gen-Z fanbase. So why is Evita struggling? Some attribute the poor performance to Zegler’s tarnished reputation following Snow White, while others point to broader factors, including targeted backlash and a lack of effective marketing for the production.

The “Unhireable” Label: A Harsh Judgment

The narrative that Zegler is “unhireable” gained traction in early May 2025, when a Yahoo source claimed she is “too dangerous to touch” due to her outspokenness. “She doesn’t know when to shut up,” the insider reportedly said, referencing her controversial comments during the Snow White press tour and her political stances, such as her support for Palestine and anti-Trump remarks following his 2024 reelection. The same source suggested that studios are now “a lot more careful” when hiring lead actresses, citing Zegler’s behavior as a cautionary tale alongside the underperformance of Emilia Pérez, a musical drama starring Zoe Saldaña and Karla Sofía Gascón that also faced backlash.

This “unhireable” label has been echoed across social media, with posts on X reflecting a growing sentiment that Zegler has become “box office poison.” One user, @Pro__Trading, wrote on March 27, 2025, that Zegler is a “massive liability” and unlikely to land another major studio gig after Snow White. Others have speculated that her Evita role may be her last high-profile stage appearance for a while, with some even calling for her removal from the production altogether. A YouTube video posted by @DarthGamer73 on May 26, titled “Rachel Zegler CANCELED? Evita Petition EXPLODES & West End Dreams CRUMBLE!”, claimed that a petition to oust Zegler from the show had gained traction, though no evidence of such a petition has been verified.

However, the “unhireable” narrative deserves scrutiny. At 23, Zegler has already achieved significant success, with a cumulative box office total exceeding $700 million, according to The Numbers. Her role in The Hunger Games: The Ballad of Songbirds & Snakes (2023) grossed $349 million worldwide, and even Snow White, despite its $115 million loss, contributed to her box office draw. Her Golden Globe win for West Side Story and her critically acclaimed Broadway debut suggest she remains a talent with immense potential. The “unhireable” label may be more reflective of Hollywood’s tendency to punish young actresses—particularly women of color—who don’t conform to traditional expectations, rather than an accurate assessment of Zegler’s career prospects.

The Snow White Fallout: A Lingering Impact

Much of the criticism surrounding Zegler stems from her experience with Disney’s live-action Snow White, released on March 21, 2025. The $270 million film was a commercial and critical disappointment, grossing just $225 million globally and earning a dismal 1.6 out of 10 rating on IMDb due to review-bombing campaigns. Zegler’s comments during the press tour—calling the original 1937 film “weird” and the prince a “stalker”—drew ire from fans, while her political posts, including a “free Palestine” tweet at Disney’s 2024 D23 expo, 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, with producer Marc Platt’s son, Jonah Platt, publicly calling her out in a now-deleted Instagram post for dragging “her personal politics into the middle of promoting the movie.” However, this narrative overlooks the film’s broader issues, including a ballooning budget due to production delays, a controversial decision to use CGI dwarfs, and a lackluster marketing campaign. The film’s second weekend saw a 66% drop, earning just $14.2 million, a sign that audience interest waned regardless of Zegler’s involvement.

The Snow White fallout appears to have followed Zegler to Evita. Some online commentators, particularly on Reddit, have suggested that conservative groups are orchestrating a targeted backlash against her, with one user on r/TheWestEnd noting that “American MAGA doxxers are intentionally trying to bad mouth anything Zegler is doing.” This campaign, which has also affected other progressive figures like Taylor Swift, may be contributing to Evita’s ticket sales struggles, as negative sentiment online discourages potential theatergoers.

Systemic Issues: Beyond Zegler’s Control

While Zegler’s outspokenness has undoubtedly played a role in her public perception, the struggles of Evita cannot be attributed to her alone. The West End has faced broader challenges in 2025, with rising ticket prices and economic pressures impacting audience turnout across productions. Evita’s marketing has also been notably subdued, with little promotional activity beyond the initial announcement and a few social media posts from Zegler herself. In contrast, other West End shows like The Devil Wears Prada have benefited from aggressive marketing campaigns, including celebrity appearances and media partnerships, which Evita has lacked.

Additionally, the choice of venue may be a factor. The London Palladium, with its 2,286 seats, is one of the largest theaters in the West End, making it a challenging space to fill for a revival that lacks the built-in audience of a new musical or a more established star. Zegler, while talented, is still early in her career and may not yet have the drawing power to fill such a large venue, especially after the Snow White controversy. The production’s ticket pricing strategy—starting at £29.50—suggests an attempt to attract younger audiences, but without a robust marketing push, it may not have reached the Gen-Z demographic that flocked to her Broadway debut.

A Pattern of Scapegoating: Zegler as the Target

The narrative that Zegler is “unhireable” fits into a broader pattern of scapegoating that has followed her career. 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 critiquing outdated gender norms in Snow White—has made her a target for criticism, even as systemic issues are overlooked. For example, Disney’s failure to provide adequate media training during the Snow White press tour, as suggested by podcast host Zack Peter, left Zegler vulnerable to backlash, yet the studio has largely escaped accountability.

Social media sentiment has amplified this narrative, with posts on X claiming that the Evita cast “refuses to work with her” and that director Jamie Lloyd called her a “nightmare” in private notes. These claims, often propagated through YouTube videos with sensational titles like “Evita Cast REFUSES Rachel Zegler After SHOCKING Drama,” lack corroboration from credible sources and may be part of a coordinated effort to tarnish her reputation. The absence of official statements from the Evita production team or Zegler’s representatives suggests that much of this drama is speculative at best.

Zegler’s Resilience and Future Prospects

Despite the challenges, Zegler remains a talent with immense potential. Her upcoming role in She Gets It From Me, a film opposite Marisa Tomei slated for release later this year, offers a chance to redefine her career on her own terms. Her vocal abilities and acting chops, showcased in West Side Story and The Hunger Games: The Ballad of Songbirds & Snakes, make her a strong fit for Evita’s demanding role, and early rehearsal footage shared on social media has been met with praise from fans.

Zegler’s supporters argue that her challenges stem not from a lack of talent but from systemic biases and targeted backlash. Her refusal to conform to Hollywood’s expectations—whether by speaking out on political issues or embracing her Latina identity—has made her a role model for her Gen-Z fanbase, even as it has drawn criticism from conservative audiences. As one Reddit user on r/Fauxmoi put it, “Rachel is grace under fire. She’s navigating an industry that wants to silence her, and she’s doing it with integrity.”

A Broader Reflection on Industry Dynamics

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. At the same time, the lack of support from studios and productions—whether through media training or robust marketing—leaves young actresses vulnerable to backlash, as seen with both Snow White and Evita.

As Evita prepares to open, the spotlight will be on Zegler to deliver a performance that can shift the narrative in her favor. Whether she’s truly “unhireable” or simply a convenient scapegoat for broader industry struggles remains to be seen. What’s clear, however, is that Zegler’s talent and resilience make her a force to be reckoned with—one who may yet rise above the noise and redefine her career on her own terms.