The entertainment industry has long been a battleground for talent, ambition, and, increasingly, online vitriol. Young stars Bella Ramsey and Rachel Zegler, celebrated for their roles in The Last of Us and Snow White, respectively, have faced relentless online harassment that has pushed them to seek institutional support. However, their recent complaints filed with a prominent actors’ rights organization were unexpectedly rejected, raising questions about the industry’s ability to protect its most vulnerable talents. This development has ignited a firestorm of debate about online toxicity, the responsibilities of professional bodies, and the unique challenges faced by young, outspoken actors in the digital age.

Bella Ramsey, a 21-year-old non-binary actor, rose to global fame as Ellie in HBO’s The Last of Us, a role that earned critical acclaim but also attracted a barrage of hateful comments targeting their appearance, gender identity, and public statements on mental health and autism. Similarly, Rachel Zegler, a 23-year-old Latina actress, has endured years of online abuse since her casting as Snow White in Disney’s live-action remake. Critics have attacked her ethnicity, her comments on modernizing the classic fairy tale, and her vocal political stances, including her support for Palestine and criticism of certain political figures. Both actors, part of a new generation unafraid to speak their truth, have become lightning rods for online hate, prompting them to file formal complaints with an actors’ rights organization—likely a body like Equity in the UK or SAG-AFTRA in the US—seeking intervention against the harassment.

The rejection of their complaints has sent shockwaves through the industry and their fanbases. While the specific reasons for the rejection remain undisclosed, speculation abounds. Some suggest the organization may have deemed the harassment outside its jurisdiction, as online abuse often originates from anonymous sources or international platforms beyond the group’s reach. Others argue the complaints may have lacked sufficient evidence to meet the organization’s criteria for actionable cases, such as direct threats or coordinated campaigns traceable to specific entities. Whatever the rationale, the decision has left Ramsey and Zegler without the institutional backing they sought, highlighting a troubling gap in protections for actors facing digital-era challenges.

The harassment faced by Ramsey and Zegler is not an isolated phenomenon but part of a broader pattern targeting young, diverse, and outspoken performers. Ramsey, who has been open about their autism diagnosis and struggles with mental health, deactivated their social media accounts in April 2025 to shield themselves from relentless negativity. The decision came after years of enduring comments that criticized their appearance—some comparing them unfavorably to the video game version of Ellie—and attacked their non-binary identity. In an interview with The Hollywood Reporter, Ramsey spoke candidly about the toll of this abuse, noting that their autism made the barrage of hate particularly overwhelming, as it amplified their sensitivity to criticism.

Zegler’s experience mirrors Ramsey’s in its intensity but differs in its triggers. Since her casting as Snow White was announced in 2021, Zegler has faced racist backlash from those who argued a Latina actress shouldn’t play a character described as having “skin as white as snow.” Her comments at Disney’s D23 event in 2022, where she described the 1937 animated film as outdated and emphasized a more empowered Snow White, further fueled the ire of purists and online trolls. Zegler’s political outspokenness—most notably a 2024 X post calling for a free Palestine and a 2025 Instagram post criticizing Trump supporters—escalated the harassment, with some detractors showing up at her apartment to scream profanities. Disney’s response was to hire a social media consultant to vet her posts, but the studio offered little public support against the racist and misogynistic attacks.

The actors’ rights organization’s rejection of their complaints underscores a critical issue: the entertainment industry’s slow adaptation to the realities of online harassment. Unlike workplace harassment, which unions and guilds are equipped to address through contracts and legal frameworks, online abuse is diffuse, often anonymous, and spans global jurisdictions. Social media platforms like X, Instagram, and Reddit, where much of the harassment occurs, have inconsistent moderation policies, leaving victims with few avenues for recourse. For young actors like Ramsey and Zegler, who lack the financial security or established clout of veteran stars, the emotional and professional toll is immense.

The public reaction to the rejection has been polarized. Supporters of Ramsey and Zegler, including fellow actors like Pedro Pascal, Ethel Cain, and Jameela Jamil, have rallied behind them. Pascal, who worked with Ramsey on The Last of Us, posted an Instagram Story calling Zegler an “icon,” while Cain urged her not to let the hate dim her spirit. Fans on platforms like Reddit and X have decried the organization’s decision, arguing it sends a message that actors must endure abuse as a cost of fame. Some have called for the organization to revise its policies to better address digital harassment, pointing to the mental health crises it can precipitate. Ramsey’s decision to quit social media and Zegler’s reported struggles with anxiety highlight the real-world consequences of unchecked online toxicity.

On the other hand, critics of Ramsey and Zegler—particularly vocal on X and conservative media outlets—argue that their outspokenness invites scrutiny. Some claim Zegler’s comments about Snow White disrespected Disney’s legacy, alienating fans and contributing to the film’s lackluster $143.1 million box office against a $350 million budget. Others assert that her political posts, particularly those alienating conservative audiences, were ill-advised for a star tied to a family-friendly brand. Similarly, Ramsey’s public discussions of their non-binary identity and mental health have been weaponized by detractors who view such openness as attention-seeking. These critics argue that the actors’ rights organization was right to reject the complaints, as public figures must accept criticism as part of their role.

This dichotomy reflects a deeper cultural divide about the expectations placed on young celebrities. Ramsey and Zegler belong to a generation that values authenticity and social advocacy, using their platforms to challenge norms and amplify marginalized voices. Yet, this openness exposes them to a level of scrutiny that previous generations of actors rarely faced. The internet amplifies every misstep, and algorithms reward outrage, creating echo chambers where hate festers. For women and non-binary actors of color, like Zegler and Ramsey, the harassment is often layered with racism, misogyny, and transphobia, as seen in the experiences of peers like Halle Bailey, who faced similar abuse for playing Ariel in The Little Mermaid.

The rejection of their complaints also raises questions about the efficacy of actors’ rights organizations in the modern era. These bodies were designed to negotiate contracts, ensure fair wages, and protect against on-set abuses, not to police the wild west of social media. Some industry insiders suggest that organizations like SAG-AFTRA could partner with tech companies to develop tools for tracking and mitigating online harassment, such as AI-driven filters for identifying coordinated attacks. Others advocate for mental health support programs tailored to actors facing digital abuse, recognizing that financial compensation alone cannot address the psychological toll.

For Ramsey and Zegler, the path forward is fraught but not without hope. Ramsey continues to focus on their craft, with The Last of Us Season 2 set to premiere in April 2025, promising to deepen their portrayal of Ellie. Zegler, meanwhile, is preparing for her West End debut as Eva Perón in Evita, a role that could showcase her resilience and talent to a new audience. Both have cultivated loyal fanbases who celebrate their authenticity and reject the hate directed at them. Zegler’s conversation with Bailey for Variety’s Actors on Actors series revealed her philosophy of “choosing thankfulness and gratefulness” to find peace amid the storm, a sentiment Ramsey has echoed in their decision to prioritize mental health over online presence.

The broader implications of this saga extend beyond Ramsey and Zegler. The entertainment industry must grapple with how to protect its talent in an era where fame comes with a digital target on one’s back. Fans, too, bear responsibility for fostering a culture that values constructive critique over vitriol. As Ramsey and Zegler navigate the fallout of their rejected complaints, their resilience serves as a beacon for other young actors facing similar battles. The actors’ rights organization’s decision may have closed one door, but it has opened a larger conversation about accountability, support, and the human cost of stardom in the digital age.