Rachel Zegler, the 23-year-old actress whose career has been marked by both meteoric rises and dramatic falls, has hit another roadblock as her latest project, the indie comedy-drama She Gets It From Me, has been shut down just weeks into production. The film, which was set to star Zegler alongside Oscar winner Marisa Tomei, was intended to be a fresh start for the young star following the high-profile failure of Disney’s live-action Snow White. The shutdown, attributed to a combination of creative conflicts, logistical challenges, and financial strain, has sparked renewed scrutiny of Zegler’s career trajectory and raised broader questions about the viability of independent films in today’s volatile industry landscape.
A New Beginning Derailed
She Gets It From Me, directed by Julia von Heinz, was announced in late April 2025 as Zegler’s first major film role since Snow White. The project, backed by 3311 Productions and shopped by Embankment Films at the Cannes Film Market, generated buzz for its unconventional premise: Zegler plays Nicky, a young woman whose engagement celebration spirals into a chaotic search for her birth mother, Charlotte, a former punk rocker with a penchant for self-destruction, portrayed by Tomei. Producer Jen Dana had praised Zegler’s ability to bring “depth and humanity” to her roles, highlighting the film as a chance for the actress to showcase her versatility in a more intimate, character-driven story.
Zegler’s involvement came at a critical juncture. Her career had been on a rollercoaster since her breakout role in Steven Spielberg’s West Side Story (2021), which earned her a Golden Globe and critical acclaim. She followed that success with The Hunger Games: The Ballad of Songbirds & Snakes (2023), which grossed $348 million worldwide, but stumbled with Disney’s Snow White, released on March 21, 2025. The live-action remake was a commercial and critical disaster, grossing only $200 million against a $240–270 million budget and earning a 40% score on Rotten Tomatoes. Zegler faced intense backlash for her casting as a Latina Snow White, her comments calling the 1937 original “weird,” and her political outspokenness, including a “Free Palestine” post that clashed with co-star Gal Gadot’s pro-Israel stance. The film’s failure, which cost Disney an estimated $115 million loss, left Zegler’s reputation battered, with some questioning her ability to lead major projects.
She Gets It From Me was seen as an opportunity for Zegler to step away from the high-stakes world of Disney blockbusters and prove herself in a smaller, more personal film. Production began in early May 2025 in New York City, with a modest budget and a tight 28-day shooting schedule. The film was expected to wrap by mid-June, with a potential festival run at TIFF or Sundance in the fall. But just two weeks into filming, the project unraveled, leaving cast and crew in limbo and Zegler facing yet another career setback.
A Perfect Storm of Problems
Sources close to the production paint a picture of a project plagued by multiple issues from the start. Filming in New York City, a notoriously difficult location due to its bureaucratic permitting process and unpredictable weather, proved challenging. The production struggled to secure permits for several key outdoor scenes, leading to costly delays. A rainy spring exacerbated the problem—several shooting days were canceled due to inclement weather, pushing the film over budget and behind schedule.
Creative tensions also played a significant role in the shutdown. Director Julia von Heinz, known for her emotionally intense dramas like And Tomorrow the Entire World (2020), reportedly clashed with producers over the film’s tone. Von Heinz envisioned a darker, more dramatic take on the story, focusing on the raw emotional fallout of Nicky and Charlotte’s reunion, while the producers pushed for a lighter, more commercial comedy to appeal to a broader audience. “Julia wanted to dig into the messy, painful side of the mother-daughter dynamic,” a source told Variety. “But the producers were worried it wouldn’t sell. They kept rewriting scenes on the fly, which frustrated everyone.”
Zegler, caught in the middle of these conflicts, reportedly struggled to adapt to the shifting vision. After the Snow White fallout, where she was heavily criticized for her comments and the film’s poor performance, Zegler was under immense pressure to deliver a standout performance. Some crew members described her as “overwhelmed” and “withdrawn,” noting that she often retreated to her trailer between takes. Rumors of tension between Zegler and Tomei also surfaced, with sources claiming the two actresses had different working styles—Zegler preferred a structured approach, while Tomei favored improvisation. While these reports may be exaggerated, they added to the perception of a dysfunctional set.
The final straw came on May 14, 2025, during a particularly fraught day of filming. A complex scene involving a heated confrontation between Nicky and Charlotte went awry when von Heinz and the cinematographer disagreed over the lighting setup, leading to a public argument that halted production for hours. With the budget already stretched thin and morale at an all-time low, the producers made the decision to shut down the film the following day, citing “insurmountable logistical and creative challenges.” Crew members were sent home, and the project was put on indefinite hold, with no clear timeline for resumption.
Zegler’s Career Under Scrutiny
The shutdown of She Gets It From Me is a significant blow to Zegler, who was hoping the film would help her rebound from the Snow White disaster. The Disney remake’s failure has already had lasting repercussions—Disney shelved a planned live-action Tangled remake, signaling a broader retreat from their live-action remake strategy. Zegler, unfairly blamed for much of Snow White’s shortcomings, has struggled to shake the narrative that she’s a liability. Her political outspokenness, including her post-election “f*** Donald Trump” Instagram story and her “Free Palestine” tweet, has made her a polarizing figure, with some studios reportedly hesitant to cast her in high-profile projects.
The She Gets It From Me shutdown has only intensified the scrutiny on Zegler’s career. Online, reactions have been mixed. Some fans expressed sympathy, arguing that she’s being unfairly targeted for systemic issues beyond her control. “Rachel is a talented actress who’s been set up to fail,” one supporter wrote on X. “First Snow White, now this—it’s not her fault the production was a mess.” Others were less forgiving, with one user commenting, “She keeps getting chances, but maybe she’s just not ready for the pressure. Time to step back and regroup.”
Industry insiders, however, caution against writing Zegler off. “She’s still incredibly young and has a lot of potential,” said film analyst Maria Torres. “The Snow White flop wasn’t her fault—it was a poorly managed project from the start. And She Gets It From Me’s shutdown is more about the realities of indie filmmaking than anything she did. She needs better support and a project that plays to her strengths.” Zegler’s vocal talents, which were a highlight of Snow White despite the film’s flaws, and her recent role in the horror-comedy Y2K, which has gained traction on Max, suggest she still has a dedicated fanbase and the ability to bounce back.
The Fragility of Indie Filmmaking
The shutdown of She Gets It From Me also underscores the broader challenges facing independent films in 2025. The industry is still grappling with the aftermath of the COVID-19 pandemic, labor strikes, and a shifting landscape where streaming platforms dominate. Indie films often operate on razor-thin budgets, leaving little room for error when issues like weather delays, permitting problems, or creative disputes arise. “Indie filmmaking is a high-wire act,” said producer Alex Carter. “You need everything to go right, and when it doesn’t, projects can collapse quickly.”
For Zegler, the shutdown highlights the unique pressures faced by young actresses in Hollywood. Like many before her, she’s been held to an impossible standard, expected to carry the weight of entire projects while navigating public scrutiny and systemic inequities. Her experience with Snow White—where she was blamed for everything from the film’s marketing missteps to its creative failures—mirrors the treatment of other young stars, from Kristen Stewart during the Twilight era to Halle Bailey with The Little Mermaid. “Hollywood has a pattern of building up young women and then tearing them down,” said Torres. “Rachel is talented, but she’s being asked to do the impossible—be perfect in an imperfect industry.”
Looking Ahead
Despite the setback, Zegler’s career is far from over. She’s set to star in Evita at the London Palladium, beginning June 14, 2025, a role that will allow her to return to her musical theater roots and showcase her vocal abilities. The production, directed by Jamie Lloyd, has been praised for its bold vision, and Zegler’s personal connection to the musical—she’s cited Evita as a formative influence—could make it a turning point. She’s also been lauded for her performance in Y2K, which has climbed the charts on Max, proving she can still resonate with audiences in the right role.
The future of She Gets It From Me remains uncertain. Some insiders speculate that the project could be revived with a new director or additional funding, but others believe it may be shelved permanently. For now, Zegler is focusing on her upcoming projects and the lessons she’s learned. “I’m still growing, and I’m still learning,” she said in a recent interview with Variety. “I’m not going to let this define me. I have more stories to tell, and I’m going to keep going.”
As Hollywood continues to navigate its own fairytale-ending expectations, Zegler’s journey serves as a reminder of the resilience required to survive in an industry that can be as unforgiving as any wicked queen. Her next chapter—whether on stage or screen—promises to be one to watch, as she seeks to reclaim her narrative and prove that her talent can outshine even the darkest of setbacks.
