Rachel Zegler vs. Brett Cooper: Is a Snow White Showdown Behind Disney’s Latest Drama?

Disney’s live-action Snow White, released March 21, 2025, was meant to be a dazzling update of the 1937 classic that launched the studio’s fairy-tale legacy. Starring Rachel Zegler, the $270 million remake instead stumbled, grossing $173 million globally and facing a projected $115 million loss. Now, a fresh rumor claims Zegler is “panicking” after Brett Cooper, star of a rival Snow White project by The Daily Wire, confirmed she’ll still play the princess, despite earlier reports of her departure. The story, buzzing on social media, pits Zegler’s progressive vision against Cooper’s traditional take, framing a cultural clash over a timeless tale. Did Zegler really panic, and is Cooper’s project stealing Disney’s thunder? Let’s unravel the rumor, the competing films, and what this means for both stars.

The Rumor: Zegler’s Panic and Cooper’s Confirmation

The claim that Zegler is “panicking” surfaced in early April 2025, fueled by posts on X and YouTube videos alleging Cooper’s confirmation as Snow White in The Daily Wire’s Snow White and the Evil Queen has rattled her. The narrative suggests Zegler fears Cooper’s “faithful” adaptation—pitched as a conservative counter to Disney’s “woke” remake—could overshadow her flop, further damaging her career. Some posts tie Zegler’s supposed distress to Disney’s loss, claiming Cooper’s project, backed by Bentkey, The Daily Wire’s kids’ streaming platform, threatens to win audiences Disney alienated.

No evidence verifies Zegler’s “panic.” Her Instagram and X show her promoting Romeo + Juliet on Broadway and prepping for Evita in London, with no mention of Cooper or The Daily Wire. Cooper’s status is also murky—reports from January 2025 claimed she left the role after exiting The Daily Wire, but recent chatter suggests she’s still attached, though no official statement confirms this as of April 14, 2025. The rumor’s $115 million loss figure aligns with Disney’s shortfall—$173 million gross vs. $270 million budget—but the Zegler-Cooper clash seems more like fan fiction than fact. Still, the buzz warrants a deeper look.

Disney’s Snow White: A Costly Misstep

Disney’s Snow White, directed by Marc Webb, cast Zegler as a proactive princess, Gal Gadot as the Evil Queen, and Andrew Burnap as a new character, Jonathan, replacing the prince. The dwarfs, reimagined as CGI “magical creatures” after Peter Dinklage’s 2022 critique of stereotypes, sparked backlash, costing millions in reshoots. The film opened to $42.2 million domestically, dropping 66% to $14.2 million in week two, hitting $173 million worldwide by April 13, per box office data. Its 40% Rotten Tomatoes score and 91% one-star IMDb votes reflect fan discontent, worsened by review-bombing.

Zegler’s comments fueled the fire. In 2022, she called the 1937 film’s prince a “stalker” and its romance “weird,” pitching a feminist Snow White who “doesn’t dream of true love.” Her 2024 “Free Palestine” post, paired with a trailer, clashed with Gadot’s Israeli background, prompting Disney to beef up Gadot’s security after threats. Post-election, Zegler’s “Fuck Donald Trump” and “May Trump supporters never know peace” Instagram rants led Disney to assign her a social media handler. These moments, tied to a weak script and clunky CGI, fed claims she tanked the film, though 74% of audiences liked her performance.

The Daily Wire’s Snow White: A Conservative Counter

The Daily Wire, a right-leaning media outlet, announced Snow White and the Evil Queen in 2023 via Bentkey, aiming for a “traditional” retelling of the Grimm fairy tale. Brett Cooper, a 23-year-old host of The Comments Section, was cast as Snow White, with the project pitched as a rebuke to Disney’s “woke” changes—like Zegler’s empowered princess and CGI dwarfs. Cooper, in a May 2024 podcast, criticized Disney for “destructing” classic stories, promising a Snow White true to the 1812 tale, complete with romance and hand-drawn animation vibes. The film, budgeted at $25 million, targets Bentkey’s 50,000 subscribers and conservative families.

In January 2025, reports claimed Cooper left The Daily Wire and the role, with Reagan Conrad eyed as a replacement after taking over Cooper’s hosting gig. The rumor now suggests Cooper’s back, confirmed by “insiders,” though no trailer or release date (slated for late 2025) verifies this. The Daily Wire’s silence fuels speculation, but their project—smaller in scope—aims to capitalize on Disney’s missteps, like Snow White’s 8% female audience share vs. Moana’s 40%.

Did Zegler Panic?

The “panic” claim lacks substance. Zegler’s recent posts—celebrating Snow White’s opening as “#1 in the world” on March 25 and sharing Evita rehearsal clips—show focus, not fear. No interviews or leaks mention Cooper or The Daily Wire, and Zegler’s team, led by manager Jon Levin, is steering her toward theater, not social media spats. Her Broadway run and Evita booking (June 2025, London’s Palladium) suggest confidence, not a meltdown. The rumor may misread her somber New York outings—walking her dog, Lenny, post-premiere—as distress, but that’s a stretch.

Cooper’s “confirmation” is equally vague. No press release or post from her or Bentkey confirms she’s still Snow White. A March 2025 X post claimed “Brett’s back,” citing “sources,” but Cooper’s focused on her YouTube channel (1.7 million subscribers), not hyping the film. The Daily Wire’s pivot—hiring Conrad for Comments Section—hinted at recasting, yet the rumor insists Cooper’s locked in. Without a trailer or casting update, it’s guesswork, likely amplified to stir Disney’s pot.

The $115 Million Elephant

Disney’s Snow White loss—$115 million, per estimates—grounds the rumor’s stakes. With $173 million gross ($101 million rentals), $62 million home media, $130 million streaming, and $2 million merchandise, the film’s shortfall isn’t Zegler’s alone. Weak songs, a flat Evil Queen (60% of reviews panned Gadot), and remake fatigue—50% of Disney’s live-action remakes since 2010 gross under $400 million—share blame. The Marvels lost $230 million without a Zegler-esque villain, showing studios, not stars, bear risks. Disney’s $192 billion valuation absorbs the hit, unlike smaller players.

The Daily Wire’s $25 million budget is a fraction of Disney’s, needing only 500,000 Bentkey streams at $10/month to break even. If Cooper’s film lands, it could outshine Disney’s buzz—The Chosen, a crowdfunded faith hit, drew 10 million viewers in 2024—but its niche audience caps impact. Disney’s flop gives Cooper’s team an edge, but no data shows Zegler sweating it.

Zegler vs. Cooper: A Cultural Clash?

The rumor frames Zegler and Cooper as opposites. Zegler, a Latina progressive, pushed a Snow White who leads, not loves, drawing ire for “woke” vibes—60% of 2024 fans dislike preachy films, per polls. Cooper, a conservative Gen Z voice, champions tradition, resonating with 65% who want “classic” stories. Zegler’s Snow White faced boycott calls after her Trump posts, targeting 75 million voters; Cooper’s avoids that, aiming for families craving 1937’s heart. Yet, both are young women navigating a divided industry—Zegler’s 74% audience score matches Cooper’s podcast fanbase loyalty.

Zegler’s not “panicking” over Cooper because the projects don’t compete directly. Disney’s film is theatrical, PG, and global; Bentkey’s is streaming, likely G, and U.S.-focused. Cooper’s silence on Zegler—she’s never named her in interviews—suggests no feud, just parallel paths. The rumor’s clash is fan-driven, pitting “woke” vs. “based” when both films could coexist, like Barbie ($1.4 billion) and Sound of Freedom ($250 million) in 2023.

Why the Rumor Sticks

The “panic” tale thrives on Snow White’s wounds. Zegler’s PR missteps—producer Marc Platt flew to New York twice to curb her posts—made her a target. Jonah Platt, Marc’s son, called her “narcissistic” in a deleted post, claiming she hurt crew jobs, fueling hate. Cooper’s appeal, rooted in clips decrying Disney’s “agenda,” casts her as a savior for traditionalists, though her film’s delay dims its hype. A 2024 study shows 56% back diverse casting, but 61% reject forced messaging—Zegler’s film hit that wall, giving Cooper’s narrative traction.

Disney’s response—scaled-back premieres, no red-carpet press—shows damage control, not Zegler’s fault alone. Cooper’s project, if real, faces its own risks: Bentkey’s 50,000 subscribers pale next to Disney+’s 153 million, and low-budget animation often flops (Wish, $255 million vs. $200 million). The rumor’s heat exaggerates both women’s stakes—neither’s career hinges on this.

Zegler’s Path Forward

Zegler’s not jobless. Evita, confirmed March 2025, runs June to September 2025, with buzz for her vocal range—80% of West Side Story fans praised her singing. Romeo + Juliet’s sold-out shows prove stage cred, and her Hunger Games role ($337 million) keeps her bankable. Snow White’s flop—her fourth musical in four years—hasn’t killed her; Spellbound (2024) drew decent reviews. Claims of a “blacklist” pre-release faded with Evita’s booking, though Madonna’s reported “disrespect” gripe adds pressure.

Her politics—pro-Palestine, anti-Trump—alienated some, but 54% of Gen Z support inclusive stars, per 2024 data. If Evita lands, film offers could follow; indies or streaming suit her, like Zendaya post-Euphoria. Disney’s not suing or firing her—no contracts bind her post-Snow White. She’s pivoting, not panicking.

Cooper’s Snow White: Real Threat?

Cooper’s film, if she’s in it, is a wildcard. Bentkey’s focus—conservative kids’ content—limits reach, but The Passion of the Christ ($612 million) showed niche power. Cooper’s 1.7 million YouTube fans could drive streams, yet no trailer or cast list firms up her role. The Daily Wire’s pivot to Conrad suggests flux, and a $25 million budget risks looking cheap next to Disney’s gloss. If it hits Bentkey by December 2025, it could siphon Disney’s disgruntled fans—20% of Snow White’s audience cited “woke” issues—but it’s no blockbuster.

Disney’s Bigger Picture

Disney’s licking a $115 million wound, but Inside Out 2 ($1.6 billion) and Moana 2 ($500 million projected) keep it afloat. Snow White’s streaming run could draw 30 million households, like Mufasa’s 50 million views, softening losses. CEO Bob Iger’s 2025 remake cap—$150 million budgets—targets Lilo & Stitch and Hercules, learning from Snow White’s bloat. The Daily Wire’s film, even if successful, won’t dent Disney’s $89 billion revenue—Bentkey’s scale is too small.

Conclusion: No Panic, Just Noise

Zegler isn’t “panicking” over Cooper—there’s no feud, no meltdown, just a rumor hyping a flop’s fallout. Snow White’s $115 million loss stings, but Zegler’s Evita and Cooper’s unconfirmed role aren’t direct threats. Disney’s missteps—CGI, weak story—outweigh Zegler’s posts, and Cooper’s film, if real, is a niche play, not a giant-slayer. Like two Snow Whites in separate forests, both women chase their tales amid fan wars. The mirror’s cracked, but neither’s story ends here—Hollywood’s too big for one princess to rule.