Rachel Zegler’s Evita Ticket Sales Collapse: Are Online Trolls Really to Blame for Her London Flop?

Rachel Zegler, the 23-year-old actress once hailed as Hollywood’s brightest new star, is facing yet another setback in her tumultuous career. Her upcoming role as Eva Perón in a West End revival of Evita, set to open on June 14, 2025, at the London Palladium, is struggling with shockingly low ticket sales, with rows of seats unsold just weeks before rehearsals begin. Zegler’s team has pointed the finger at online trolls, claiming their relentless attacks—sparked by her controversial Snow White comments and political activism—are tanking the production. The narrative, amplified by posts on X and industry reports, has ignited a firestorm, with some dismissing the excuse as “absurd” and others arguing Zegler is being unfairly scapegoated for broader industry woes. Is this a case of cyberbullying derailing a star, or a convenient deflection from deeper issues? Let’s dive into the controversy rocking London’s theater scene.

The Ticket Sales Crisis

Evita, a 12-week revival of Andrew Lloyd Webber and Tim Rice’s 1978 musical, was expected to be a triumphant pivot for Zegler after the catastrophic failure of Disney’s Snow White (2025), which grossed just $145.6 million against a $350 million budget. Directed by Jamie Lloyd, the production boasts a 2,286-seat venue and tickets starting at £29.50, yet the Palladium’s website shows vast swathes of “green good” availability for June, July, August, and September. A Daily Mail report highlighted the empty seats, noting that no performances have sold out despite Zegler’s high-profile casting. Posts on X, like one from @Draculordx, amplified the issue, claiming Zegler’s team is “shocked” by the “crashing ticket sales” and blaming “critiques en ligne” for the decline.

Zegler’s team has argued that online trolls, who’ve targeted her since her Snow White controversies, are orchestrating a boycott. The backlash began with her 2022 comments calling the 1937 Disney classic “weird” and its Prince a “stalker,” followed by her August 2024 X post, “and always remember, free palestine,” which drew boycott calls from pro-Israel groups. Her November 2024 Instagram rant, including “Fuck Donald Trump” and wishing his supporters “never know peace,” further alienated audiences, with critics like Megyn Kelly and Jonah Platt, son of Snow White producer Marc Platt, slamming her as “narcissistic.” Zegler’s camp insists this toxic online campaign has scared off theatergoers, with one source telling Variety, “The hate machine is relentless—she’s being punished for speaking her mind.”

The Trolls: A Convenient Scapegoat?

The claim that trolls are to blame has met with skepticism. Industry analysts argue that Evita’s ticket sales woes reflect broader market dynamics rather than a targeted attack. London’s West End is grappling with a post-COVID slump, with ticket prices averaging £72 and audiences favoring jukebox musicals like Mamma Mia! over serious dramas like Evita. A 2024 report from The Stage noted a 10% drop in theater attendance compared to pre-pandemic levels, with high-profile shows like The Phantom of the Opera also struggling. Zegler’s casting, while a draw for her KatyCats fanbase, may not resonate with older theatergoers who prefer established stage veterans for a role immortalized by Patti LuPone and Elaine Paige.

Critics on X, such as @LionelMedia, have called the troll excuse “absurd,” pointing to Zegler’s own actions as the real culprit. Her Snow White comments alienated Disney purists, while her political posts—viewed 8.8 million times—sparked boycotts from both pro-Israel and conservative audiences. The Snow White flop, projected to lose Disney $115 million, cemented her reputation as “box office poison,” with one Reddit user on r/popculture stating, “She’s become the poster child for Hollywood’s woke missteps.” The narrative of trolls as the sole driver ignores these self-inflicted wounds, with some arguing Zegler’s team is deflecting from her PR missteps and the production’s lack of buzz.

Zegler’s Career in Freefall

The Evita ticket sales crisis is the latest in a string of setbacks for Zegler. Her filmography since West Side Story ($76 million against $100 million) has been marred by flops: Shazam! Fury of the Gods ($134 million against $125 million), The Hunger Games: The Ballad of Songbirds & Snakes ($337 million, the franchise’s lowest), Spellbound (48% Rotten Tomatoes), and Y2K ($2.1 million opening weekend against $15 million). Snow White’s failure, compounded by a rumored feud with co-star Gal Gadot over their Israel-Palestine stances, has made Zegler a lightning rod for controversy. Her absence from the 2025 Met Gala, reportedly to avoid further scrutiny, underscores her retreat from high-profile events.

Zegler’s political activism has been a double-edged sword. Her pro-Palestine post led to increased security for Gadot after death threats, while her anti-Trump rant prompted Disney to hire a social media specialist, per Variety. Jonah Platt’s now-deleted post branded her “immature,” and celebrities like Danica Patrick and Ariana DeBose have distanced themselves, with Patrick mocking Snow White’s “woke” failure on Instagram. Zegler’s team argues she’s a victim of racist and sexist attacks, with supporters like Melissa Barrera and David Ehrlich rallying behind her, but the narrative of “trolls” as the sole culprit glosses over her role in polarizing audiences.

The Broader Context: Hollywood’s Scapegoat Culture

Zegler’s plight mirrors other young stars caught in Hollywood’s culture wars. Katy Perry’s Blue Origin backlash and Tom Cruise’s “woke” reporter clash highlight the industry’s struggle to navigate polarized audiences. Like Perry, Zegler has been accused of being tone-deaf, with her Snow White comments and political posts alienating broad demographics. Disney’s tendency to scapegoat talent—seen with The Acolyte’s Leslye Headland—repeats here, with insiders blaming Zegler for Snow White’s flop despite production issues like a 2022 set fire and CGI dwarf backlash. A Reddit thread on r/blankies called Variety’s reporting a “hit piece,” noting that Zegler’s performance was the film’s strongest element.

The Evita ticket sales issue also reflects theater’s broader challenges. High-profile flops like Tammy Faye (2024) show that even star-driven musicals struggle in a cautious market. Zegler’s lack of stage experience, compared to predecessors like LuPone, may deter purists, while her Snow White baggage could be dampening enthusiasm. Still, her vocal talent—praised in West Side Story and The Hunger Games—suggests she could win over audiences if the production delivers.

Can Zegler Turn It Around?

Zegler’s defenders argue she’s being unfairly targeted. Over 50 journalists signed an open letter condemning biased reporting, and fans on X, like @TeenVogue, praise her for “speaking her mind.” Her Evita role, with its demanding score including “Don’t Cry for Me Argentina,” is a chance to showcase her strengths, but sluggish ticket sales—reported by Cosmic Book News as “empty seats everywhere”—pose a hurdle. Her next film, She Gets It From Me with Marisa Tomei, set for 2026, offers another shot at redemption, but its low profile suggests studios are hedging their bets.

The “trolls” narrative, while partly valid given the racist and sexist attacks Zegler has faced since 2021, oversimplifies the issue. Her Snow White comments and political posts, while principled, have alienated key audience segments, and her team’s failure to manage her public image has compounded the damage. PR expert Eric Schiffer, quoted in the Daily Mail, warned that Zegler risks “career extinction” without a strategic pivot, a sentiment echoed by fans who admire her talent but cringe at her PR missteps.

The Road Ahead

Evita’s success hinges on Zegler’s ability to deliver a knockout performance and shift focus from her controversies. A strong opening could silence doubters, but empty seats signal an uphill battle. Disney’s Snow White fallout, with its $115 million loss, has left Zegler vulnerable, and the Evita narrative—blaming trolls for a systemic issue—risks further alienating fans. Her youth and talent, evidenced by her Golden Globe win, suggest she’s far from “over,” but Hollywood’s unforgiving nature demands a hit soon.

The Evita ticket sales crisis is less about trolls and more about a star grappling with the consequences of fame in a polarized world. Whether Zegler can channel Eva Perón’s charisma and defiance to revive her career remains to be seen. For now, the empty seats at the Palladium tell a story of a star under siege—not just by trolls, but by the weight of her own choices and an industry quick to cast blame.