In the smoldering wreckage of Disney’s Snow White remake—starring Rachel Zegler, a Latina Snow White who barely scraped $87 million globally against a $270 million budget on its March 21, 2025, release—progressives are clutching their pearls, shrieking “racism” and “misogyny” at anyone who dares point out the obvious: this film’s a dud because Hollywood’s diversity-for-diversity’s-sake obsession ruined it. The latest Glamour UK sob story (March 28, 2025, “Rachel Zegler: Why Is Hollywood Afraid Of Women Who Speak Their Minds?”) blames bigots for targeting Zegler, not the film’s ham-fisted social engineering. Here’s the deluded take: Hollywood’s been a barren wasteland for Black and POC talent, and recasting white roles is the noble fix. The stark reality? That’s hogwash. Black actors—think Sidney Poitier, Denzel Washington, Will Smith—have been thriving in film and TV for decades. The problem isn’t omission; it’s the organized crusade to strip “whiteness” (a term beloved by white-collar elitists like Robin DiAngelo and tenured university bigots) from traditionally white characters and slap a POC label on them instead.
Take Snow White-Disney’s justification is so moronic it hurts: she’s not “white as snow” because of her skin—oh no, that’s too logical for these geniuses. She’s Snow White because she survived a snowstorm, a plot twist so contrived it sounds like a toddler’s fanfiction. Disney just shrugged and cast Zegler, a Colombian-Polish actress, as the “fairest of them all,” ignoring the Grimm tale’s pale-skinned heroine. Let’s forget about the fact that the villainess in this movie, who’s threatened by Snow Whites beauty is Jewish superhero bombshell Gal Gadot. Fans on X howled—#NotMySnowWhite trended—calling it a betrayal of a European fairy tale. Progressives countered, “She’s not real, so shut up!” Yet the same crowd defends blackwashing real historical figures with equal zeal. Jodie Turner-Smith as Anne Boleyn in Channel 5’s 2021 miniseries? A white English queen turned Black, with X users raging, “Historical erasure!” Caroline Henderson as Jarl Haakon in Vikings: Valhalla (2022)? A Norse male ruler morphed into a Black woman, prompting cries of “woke revisionism.” And don’t forget Queen Charlotte: A Bridgerton Story (2023), where Golda Rosheuvel’s Black Queen Charlotte reigns in a fantasy Regency England. These aren’t fairy tales; they’re documented whites recast as POC, and the stench of propaganda is unmistakable.
Michael B. Jordan’s brazen enough to admit it: in a 2018 Variety chat, he said, “I want the roles written for white men.” He got one—Johnny Storm in 2015’s Fantastic Four—and the film tanked ($167 million worldwide against a $120 million budget), killing the franchise. Sure, his casting wasn’t the sole culprit (rotten script, shaky direction), but it’s a symptom: Hollywood’s more obsessed with diversity quotas than quality. The Academy’s 2024 rules—two of four inclusion standards for Best Picture—shove this down studios’ throats: diverse leads, crews, or internships, or no Oscar nod. The result? Consumers smell the insincerity a mile off, and they’re not buying tickets.
This blackwashing epidemic’s gone berserk. John Boyega’s Finn in Star Wars: The Force Awakens (2015) infuriated fans—not because he’s Black, but because stormtroopers were clones of Jango Fett, a Maori-descended character (Temuera Morrison), not a random Black Brit. Boyega’s still griping about it, telling GQ in 2020 Disney sidelined him after promising a big arc. His Finn morphs from brainwashed grunt to lightsaber-wielding Force messiah—absurd even if he were white, but the race swap lit the fuse. X exploded with #BoycottStarWarsVII, and while the film made $2 billion, the backlash lingers. Halle Bailey’s Ariel in The Little Mermaid (2023)? A Danish fairy tale’s redheaded mermaid turned Black, with X users snarking, “Melanin underwater? She’d be pale as a ghost!” Disney’s retort: “It’s fiction!” Tell that to the $300 million budget barely breaking even.
Kids’ shows aren’t safe either. Velma Dinkley in HBO’s Velma (2023) went from white nerd to South Asian (Mindy Kaling), earning a 17% Rotten Tomatoes audience score and X rants like “Scooby-Doo’s ruined.” April O’Neil in Teenage Mutant Ninja Turtles: Mutant Mayhem (2023) swapped white for Black (Ayo Edebiri), with fans grumbling, “Not my April!” Jimmy Olsen in My Adventures with Superman (2023) turned Asian (Ishmel Sahid), irking comic purists. These aren’t subtle tweaks—they’re blatant quota plays, and kids’ nostalgia gets torched for it.
The progressive myth—crammed down Middle America’s throats—is that systemic racism demands this. Disagree, and you’re a “Nazi” or “racist.” But where’s the evidence? Hollywood’s churned out Black stars—Eddie Murphy, Morgan Freeman, Viola Davis—without quotas for ages. The real disenfranchisement? White audiences alienated by hollow gestures that dilute actual racism’s weight. Denzel Washington’s Macrinus in Gladiator II (2024) drew X flak—“Rome’s not Black!”—yet his Equalizer (2014) swap from white TV lead (Edward Woodward) to Black icon felt seamless. No one blinked because it was sincere, not a quota stunt. Contrast that with Idris Elba’s Heimdall in Thor (2011), a Norse god turned Black, mocked as “forced diversity” on X. Sincerity matters; pandering flops.
Actors like Boyega, Bailey, and Turner-Smith are stuck clapping back at “racist” critics, tokenized by a system that doesn’t care about them—just its mysterious social engineering fetish. Glamour UK whines Zegler’s a victim of hate, but humans have a sixth sense for manipulation. When white roles flip Black and succeed—like Washington’s Equalizer—no one cares. When they reek of agenda—Snow White, Fantastic Four—they bomb. Hollywood’s unapologetic, though. They’ll keep race-swapping, call you “racist, racist, racist,” and ignore the box office graveyard. If everyone who hates these mush-brained, actually racist flops is a bigot, fine—we’re all racist. But the numbers don’t lie: propaganda, not entertainment, is why they fail. Keep bending, Hollywood—Middle America’s not breaking