Rachel Zegler’s Y2K Bombs: Is Her Hollywood Career Truly Over?

Rachel Zegler, once heralded as Hollywood’s next big thing after her Golden Globe-winning turn in West Side Story (2021), is facing a career crossroads that few could have predicted. Her latest film, the A24 horror-comedy Y2K, released on December 6, 2024, has crashed spectacularly at the box office, grossing a mere $2.1 million in its opening weekend against a modest $15 million budget. This flop, coming on the heels of the catastrophic failure of Disney’s Snow White (2025), which earned just $145.6 million globally against a $350 million price tag, has fueled a narrative that Zegler’s star power is waning—and some are even declaring her career “over.” With social media ablaze with harsh criticism and industry insiders questioning her bankability, the 23-year-old actress is at a pivotal moment. But is this truly the end for Zegler, or can she stage a comeback? Let’s dive into the controversy, the numbers, and what’s next for this embattled star.

The Y2K Debacle: A Box Office Disaster

Y2K, directed by Kyle Mooney, was pitched as a nostalgic horror-comedy set during the 1999 New Year’s Eve panic, with Zegler starring alongside Jaeden Martell and Julian Dennison. Despite its low $15 million budget and A24’s reputation for edgy hits, the film opened to a dismal $923,000 on Friday across 2,108 theaters, averaging a paltry $437 per screen. By the end of its debut weekend, it had scraped together $2.1 million, landing at #9 on the box office charts, outpaced by juggernauts like Moana 2 ($600 million globally) and smaller releases like Pushpa: The Rule Part 2. Social media diagnostics from RelishMix revealed a reach of 35.1 million across platforms, 21% below average for first-time horror releases, with fans slamming its “uninspired style” and digital filming for a ’90s-set story.

The film’s critical reception was equally brutal, earning a “C-” CinemaScore and a 50% recommend rate on Comscore/Screen Engine’s PostTrak. Critics noted that Zegler’s performance, while energetic, couldn’t salvage a script that failed to capture the era’s nostalgia, with one X user calling it “A24’s weakest swing in years.” The poor performance has been particularly damaging because Y2K was marketed heavily on Zegler’s star power, unlike her earlier ensemble roles. Industry outlets like Deadline questioned whether the film would even hit $2 million, underscoring the extent of its failure and raising doubts about Zegler’s ability to draw audiences.

The Snow White Shadow

The Y2K flop is especially stinging because it follows the high-profile collapse of Snow White, Disney’s live-action remake that was meant to cement Zegler’s status as a leading lady. The film, released on March 21, 2025, opened to a disappointing $43 million domestically and $87.3 million globally, far short of the $1 billion needed to break even on its $350 million budget. Critics gave it a 40% Rotten Tomatoes score, slamming its “garish” CGI and Gal Gadot’s “wooden” Evil Queen, though Zegler’s “luminous” performance was a rare bright spot. However, her off-screen controversies overshadowed her work, with fans and critics alike blaming her for the film’s failure.

Zegler’s comments during the Snow White press tour—calling the 1937 original “weird” and the Prince a “stalker”—alienated fans of the classic, while her August 2024 X post, “and always remember, free palestine,” sparked a boycott from pro-Israel groups and reportedly led to death threats against Gadot. Her November 2024 Instagram rant, including “Fuck Donald Trump” and wishing Trump supporters “never know peace,” further polarized audiences, prompting Disney to hire a social media expert to vet her posts. Jonah Platt, son of producer Marc Platt, publicly called her “narcissistic” and “immature” in a now-deleted Instagram post, claiming her actions “clearly hurt the film’s box office.” The narrative of Zegler as “box office poison” gained traction, with X posts like @MTAT91905 raging, “Rachel Zegler should be cut and never play a main role ever again!!!!”

A Pattern of Flops

Y2K and Snow White are not isolated incidents. Zegler’s filmography since West Side Story ($76 million globally against a $100 million budget) has been a string of underperformers. Shazam! Fury of the Gods (2023) grossed $134 million on a $125 million budget, a loss for DC, while The Hunger Games: The Ballad of Songbirds & Snakes (2023), though profitable at $337 million, was the franchise’s lowest earner by $300 million. Her 2024 animated film Spellbound earned dual 48% Rotten Tomatoes scores, though Zegler’s voice work was praised. Collectively, these films paint a picture of a star who, despite critical acclaim for her performances, struggles to drive ticket sales, a crucial metric in Hollywood’s unforgiving landscape.

The backlash against Zegler often centers on her public persona. Her outspoken political views, particularly on the Israel-Palestine conflict and U.S. politics, have made her a lightning rod for controversy. Critics on X and Reddit argue that her comments alienate broad audiences, with one user stating, “She’s talented, but her PR is a disaster—nobody wants drama at the movies.” Others, like @TheExpressUS, have branded her “box office snake oil,” suggesting her presence alone dooms projects. This sentiment is compounded by her absence from upcoming film or TV roles, with her IMDb slate blank beyond She Gets It From Me, a comedy-drama with Marisa Tomei set for 2026.

Defenders and Bright Spots

Despite the gloom, Zegler has vocal supporters who argue she’s being unfairly scapegoated. Film critic David Ehrlich posted on X, “Rachel Zegler RULES and so obviously has a lifetime of incredible roles ahead of her,” while actress Melissa Barrera, fired from Scream 7 for pro-Palestine posts, called Zegler “cool as hell and full of integrity.” Journalist Mark Harris labeled Disney’s blame game a “hit job,” accusing the studio of deflecting from its own missteps, like poor marketing and a flawed remake strategy. Over 50 journalists signed an open letter condemning Variety’s reporting as biased against Zegler.

Zegler’s performances consistently earn praise, even in flops. In Y2K, her comedic timing was a highlight, and in Snow White, she carried the film with a “spectacular” voice and nuanced portrayal, blending the 1937 princess’s delicacy with modern strength. Her musical roles—West Side Story, The Hunger Games, Spellbound, and Snow White—showcase her vocal prowess, a niche where she excels. Her Broadway debut as Juliet in Romeo + Juliet (2024) and upcoming West End role as Eva Perón in Evita (June-September 2025) signal a pivot to stage work, where her talent may face less public scrutiny.

The Industry Context

Y2K’s failure isn’t solely Zegler’s burden. A24’s recent misses, like Civil War’s modest returns, suggest a cooling indie market, while Y2K’s digital aesthetic and weak nostalgia failed to resonate. Disney’s live-action remakes, from Dumbo to Mufasa: The Lion King, have struggled, with Snow White’s flop exacerbated by a saturated market and fan fatigue. Hollywood’s broader crisis—evidenced by low Oscar ratings and DEI backlash—has made stars like Zegler easy targets for cultural discontent.

Zegler’s case mirrors other young actresses, like Margot Robbie, whose Babylon and Amsterdam flopped before Barbie’s $1.4 billion triumph. The difference lies in Zegler’s lack of a breakout hit and her polarizing public image, which amplifies perceptions of risk. Her Evita role, however, could be a lifeline, with fans on X praising the casting as “perfect for her voice and passion.”

Is Her Career Really Over?

Claims that Zegler’s career is “over” are premature. At 23, she has time to rebuild, and her She Gets It From Me role alongside Tomei offers a chance to pivot to grounded, character-driven work. However, the Y2K flop and Snow White’s disaster have undeniably dented her bankability, with studios likely wary of her baggage. Her talent is undisputed—critics consistently praise her singing and acting—but her PR strategy needs an overhaul to avoid further alienating audiences. A break from social media, as some suggest, could help, though her stage commitments show she’s not retreating entirely.

The Snow White backlash, fueled by racist attacks and political divides, highlights the unfair scrutiny faced by actresses of color, a point echoed by supporters like Lily Allen, who noted Zegler’s courage mirrors Disney heroines. Yet, Hollywood is fickle, and without a hit soon, Zegler risks being sidelined. Her Evita debut and She Gets It From Me are critical tests. If they succeed, she could follow Zendaya’s path from Disney to global stardom; if they falter, she may be relegated to niche roles or Broadway.

For now, Zegler’s career is bruised but not broken. The “career over” narrative is fueled by schadenfreude and industry scapegoating, but her talent and youth suggest resilience. As she navigates this storm, the question isn’t whether she can act—it’s whether Hollywood and its audiences will give her the chance to shine again.