Ruby Rose Claims Sydney Sweeney 'Hates' LGBTQA+ Community For 'Ruining' Christy Martin Biopic

Ruby Rose has launched a blistering public attack on Sydney Sweeney, accusing the Euphoria star of 'ruining' the biopic Christy and of harbouring antipathy toward the LGBTQA+ community.

The dispute erupted after Christy recorded one of the weakest wide openings of the year, prompting heated online reaction from figures in and around the queer community. Rose, who says she was previously attached to the project, published a Threads post excoriating Sweeney and the film's public relations narrative.

The row has sharpened wider debates about representation, star politics, and how biopics of queer figures are made and marketed.

Ruby Rose's Post: What She Said and Where She Said It

Ruby Rose took to Threads to say the original script for Christy was 'incredible' and that she had been 'attached to play Cherry', asserting the project began as a queer-led passion piece.

In the post, Rose wrote that 'most of us were actually gay' and accused Sweeney's publicity of reframing the film as something done 'for the people' while insisting 'none of "the people" want to see someone who hates them, parading around pretending to be us'. She concluded with the line, 'You're a cretin and you ruined the film. Period. Christy deserved better'.

Rose's message quickly circulated across social platforms, prompting responses from critics, fans, and other industry figures. Several news outlets republished the Threads screenshots and reported the post in detail.

Box Office, Reception, and the Wider Context

Christy opened on 7 November 2025 and posted an opening weekend gross of approximately £900 million ($1,310,888) in the United States across more than 2,000 theatres, a performance that places it among the weakest wide openings of the modern era.

Critically, the film has not been uniformly dismissed; critics' reviews registered mixed-to-positive notices, while audience reactions on some platforms have been enthusiastic, with a very strong Popcornmeter/audience rating reported on Rotten Tomatoes despite the low box office. That gap between commercial performance and audience approval has fuelled the controversy rather than calming it.

Industry commentators point to several intersecting factors for the commercial flop. Marketing choices, release timing, and the challenge of turning a complex and painful life story into a mainstream box-office draw. The debate over whether a film's cultural impact can be measured by ticket sales has become central to the online conversation.

Sweeney's Response and Claims About Representation

Sydney Sweeney responded publicly on Instagram, defending the film and its purpose, writing she was 'so deeply proud of this movie' and stressing the project's mission to give survivors courage and a platform.

Sweeney's defenders point out that she is the film's lead and that many collaborators have spoken in public about the care taken in adapting Christy Martin's life. Supporters say an actor's personal politics should not necessarily disqualify them from portraying a historical figure, while critics argue that casting choices and off-screen affiliations matter deeply when the subject is part of a marginalised community.

Rose's allegation that Sweeney 'hates gay people' draws on a broader context. Sweeney's earlier controversies around a fashion campaign and questions about her political registration have left some observers sensitive to whether she is the right figure to represent a queer sports pioneer. Others say accusations of personal bigotry require careful evidence and cannot rest solely on political registration or ad hoc backlash.

What This Means For Representation and Biopics

The fallout highlights an enduring tension in cinema, who has the right to tell certain stories and how representation is authenticated. For queer audiences and the creative community, the debate over Christy underscores the importance of whose voices are present in writers' rooms, on set, and in publicity.

There is also a pragmatic business lesson. Films that aim to serve activist or corrective cultural purposes still face the marketplace. When a film that foregrounds queer history underperforms, activists and artists inevitably scrutinise whether creative decisions weakened its reach or its resonance. The result is an often painful public reckoning in which artistic intent, casting, marketing, and the lived realities of marginalised communities collide.

Ruby Rose's intervention has turned what might have been an industry post-mortem into a wider cultural argument about authenticity, allyship, and who benefits when stories about marginalised people make it to the screen. Whether the controversy will lead to changes in casting practices or publicity strategies remains to be seen.

The Christy controversy is less about a single film than about who gets to represent a community on a global stage, and the anger born of those perceived betrayals.