MEGYN KELLY UNLEASHES FURY: Woke Snow White Flops Hard at Box Office—And She’s Ripping It to Shreds!

In a scathing takedown that’s lighting up the airwaves and social media, conservative firebrand Megyn Kelly has set her sights on Disney’s latest cinematic misfire: the live-action Snow White remake, which tanked spectacularly at the box office upon its release on March 28, 2025. Dubbed the “woke Snow White” by critics for its progressive reimagining of the 1937 classic, the film—starring Rachel Zegler as a fiercely independent princess—grossed a dismal $45 million domestically against a $200 million budget in its opening weekend, marking one of Disney’s biggest flops in years. Kelly, never one to mince words, seized the moment on her April 1, 2025, SiriusXM show, The Megyn Kelly Show, delivering a blistering critique that’s gone viral and reignited the culture war over Hollywood’s direction. Is this the death knell for Disney’s “woke” era, or just another loud chapter in Kelly’s crusade?

Kelly’s rant was a masterclass in outrage, blending sharp analysis with her signature biting sarcasm. “Disney took a beloved fairy tale, threw out everything that made it timeless, and turned it into a preachy, joyless mess—and guess what? Nobody wanted it!” she declared, her voice dripping with disdain. She zeroed in on the film’s departures from the original—ditching the Seven Dwarfs for CGI “magical creatures,” retooling Snow White as a warrior leader instead of a damsel, and sidelining the prince for a “girlboss” narrative—as evidence of a “woke agenda” that alienated audiences. “This isn’t Snow White—it’s Snow Woke, and it’s a disaster,” she quipped, sparking a flood of applause from her listeners and a tsunami of posts on X.

The Flop: What Went Wrong?

The numbers don’t lie: Snow White was a box-office bloodbath. Opening against modest expectations of $70 million, it barely scraped past half that, trailing behind holdovers like Moana 2 ($62 million in its second week) and a surprise indie hit, The Last Cowboy ($50 million). Internationally, it fared little better, adding $30 million for a global haul of $75 million—far short of breaking even when marketing costs are factored in. Critics were lukewarm, with a 58% Rotten Tomatoes score praising Zegler’s charisma but panning the film’s “muddled messaging” and “uninspired visuals.” Audiences were harsher, giving it a C+ CinemaScore—Disney’s lowest since 2019’s Maleficent: Mistress of Evil.

The backlash predates the release. In 2023, Zegler’s comments dismissing the original’s romance as “creepy” and promising a Snow White who “doesn’t need a prince” drew ire from traditionalists. Actor Peter Dinklage’s critique of the dwarf portrayal as stereotypical prompted Disney to scrap them entirely, replacing them with a diverse band of CGI critters—a move Kelly mocked as “pandering to the Twitter mob.” Add in a $200 million price tag inflated by reshoots after test screenings bombed, and the stage was set for a fall. “They spent a fortune to fix what wasn’t broken,” Kelly said. “And now they’re paying the price.”

Kelly’s Takedown: A Cultural Reckoning

Kelly didn’t hold back, dedicating a 20-minute segment to dissecting the flop. “This is what happens when you let ideology trump storytelling,” she argued, citing the film’s focus on empowerment over enchantment. She played clips of Zegler’s interviews, pausing to scoff: “She’s out there trashing a classic that’s been loved for 90 years—good luck winning over the moms and kids who actually buy tickets!” Kelly also took aim at Disney CEO Bob Iger, accusing him of “caving to the woke police” instead of protecting the company’s legacy. “Iger’s asleep at the wheel while his empire burns,” she said, a jab that echoed across conservative media.

Her audience ate it up. Posts on X like “Megyn Kelly just OBLITERATED Disney’s woke Snow White—facts!” racked up thousands of likes, while clips of the rant hit 3 million views on YouTube within 24 hours. Kelly doubled down on social media, tweeting, “Disney’s Snow White tanked because people want fairy tales, not lectures. Wake up, Hollywood!” Her critique tapped into a growing sentiment among conservatives—and some moderates—that Disney’s push for diversity and modern values has alienated its core family audience. “My kids didn’t want a TED Talk—they wanted dwarfs and a happy ending,” one X user lamented.

Disney’s Dilemma: A Woke Backlash?

The Snow White flop isn’t an isolated incident—it’s the latest in a string of Disney disappointments signaling trouble for its “woke” pivot. The Marvels (2023) and Indiana Jones and the Dial of Destiny (2024) underperformed, with critics blaming “forced diversity” and “preachy scripts.” The 2025 Mufasa: The Lion King prequel, despite a $100 million opening, faced similar gripes over its “modernized” take. Disney’s stock, already shaky after a 10% drop in 2024, slid another 4% post-Snow White, as analysts warned of “brand fatigue” and “audience disconnect.” “They’re losing the plot—literally,” quipped Forbes columnist Rob Cain on April 1, 2025.

Disney’s defenders argue the backlash is overblown. Variety’s Owen Gleiberman praised Snow White as “a bold reimagining,” suggesting its failure stems more from marketing missteps—pushing the “woke” angle too hard—than the film itself. Progressives on X countered Kelly’s rant with posts like “Megyn’s mad because Snow White isn’t a doormat anymore—cry harder,” while others noted that Disney’s Moana 2 and Avatar 3 (both 2025) are tracking strong, proving the brand isn’t dead. Still, the $200 million loss stings, and whispers of Iger’s exit are growing louder as shareholders demand a course correction.

Digging Deeper: A Fairy Tale in Crisis

Kelly’s attack reflects a broader cultural clash. Disney’s original Snow White—a tale of innocence, romance, and redemption—resonated in 1937’s Depression-era America, grossing $418 million (adjusted). Today’s audience, split between nostalgia buffs and progressive Gen Z, is harder to please. A 2024 YouGov poll found 62% of Americans over 40 prefer “classic” Disney stories, while 55% under 30 want “updated” takes—leaving studios like Disney caught in a no-win bind. “They’re trying to serve two masters and failing at both,” said media analyst Paul Dergarabedian to The Wrap.

The dwarf controversy exemplifies the tension. Dinklage’s 2022 call-out forced Disney into a corner: keep the dwarfs and risk “ableism” accusations, or cut them and anger purists. The CGI compromise pleased no one—Kelly called it “a soulless cop-out”—and a concurrent $200 million lawsuit from dwarf actors (filed April 1, 2025) alleging discrimination only muddied the waters. “Disney’s so scared of offending anyone, they offended everyone,” Kelly sneered, a line now plastered across conservative memes.

The Bigger Picture: Hollywood on Notice

Kelly’s tirade isn’t just about Snow White—it’s a warning shot to an industry she sees as out of touch. “Hollywood’s obsessed with checking boxes instead of telling stories,” she said, citing flops like Warner Bros.’ Batgirl (shelved in 2022) and Paramount’s Star Trek 4 (stalled in 2025) as proof. Data backs her up: a 2024 Motion Picture Association report shows ticket sales down 15% from pre-pandemic levels, with “originality” topping audience wish lists over “representation.” Yet successes like Barbie ($1.4 billion in 2023) suggest woke can work when it’s fun, not forced—a nuance Kelly glosses over.

Disney’s next moves are critical. With Mufasa and Avatar 3 on deck, Iger’s team is reportedly rethinking Snow White’s rollout, possibly slashing its Disney+ window to recoup losses. Kelly, meanwhile, isn’t letting up—she’s teased a follow-up segment with “more dirt” on Disney’s woes. “This is bigger than one movie,” she warned. “It’s a wake-up call.”

The Verdict: A Tale Still Unfolding

As of 9:31 PM PDT on April 1, 2025, Snow White’s fate is sealed as a cautionary tale, and Kelly’s voice is the loudest in the room. Whether her obliteration sways Disney—or Hollywood—remains to be seen, but it’s clear the “woke” experiment is under fire. For now, the box office speaks louder than the critics, and Kelly’s got the megaphone. In a world of fairy tales, this one’s ending is anything but happy—and the battle over what comes next is just beginning.