BREAKING: Sydney Sweeney’s Haters Silenced — Journalist Forced Off Social Media After Anti-White Tweets Resurface

What began as a takedown of Sydney Sweeney’s American Eagle jeans campaign has now detonated into a career-shaking scandal — and one journalist is paying the price.

Over the weekend, Doreen St. Félix, a staff writer at The New Yorker, vanished from social media after critics unearthed her own history of racially charged posts. The meltdown followed just days after she accused American Eagle of promoting “whiteness” by showcasing actress Sydney Sweeney as the face of their denim line.

But in a stunning twist, the very journalist framing Sweeney as a symbol of “white idealization” was caught harboring deep-seated animosity of her own — against white men.

The Attack on Sydney Sweeney

In a sprawling 1,040-word essay, St. Félix painted Sweeney’s new American Eagle ad campaign as a symptom of America’s obsession with white beauty. She accused the brand of glorifying Sweeney’s “famously large breasts, genes, and whiteness” as if they were cultural ideals.

Her sharpest claim? That Sweeney was being cast as nothing less than an “Aryan princess.”

St. Félix wrote:

“Interestingly, breasts, and the desire for them, are stereotyped as objects of white desire, as opposed to, say, the black man’s hunger for ass. Sweeney, on the precipice of totalizing fame, has an adoring legion, the most extreme of whom want to recruit her as a kind of Aryan princess.”

The essay was meant to sting. Instead, it boomeranged.

Old Tweets Come Back to Haunt

Just days later, senior fellow Christopher Rufo of the Manhattan Institute dug up years-old tweets from St. Félix — and the receipts were damning.

One post read bluntly:

“I hate white men.”

Another sneered:

“You all are the worst. Go nurse your f—ing Oedipal complexes and leave the earth to the browns and the women.”

And in yet another resurfaced message, St. Félix described white people as genetically predisposed to causing plagues.

The hypocrisy was glaring. A journalist accusing others of celebrating “whiteness” was herself actively spreading anti-white rhetoric.

Social Media Vanishing Act

By Saturday, St. Félix’s accounts began disappearing one by one. Twitter (X), Instagram, and other platforms she once used as megaphones for cultural critique went silent.

Rufo, who first highlighted the old posts, noted on X:

“Doreen St. Félix, the New Yorker writer who says that white people ‘fill [her] with a lot of hate,’ has deleted her account. The magazine blocked me after I shared her old tweets.”

Neither St. Félix nor The New Yorker offered comment when contacted by Fox News Digital. Instead, silence — the same silence critics say reveals just how unprepared her defenders are to address the hypocrisy.

Fair Game or Witch Hunt?

Here’s the question some are now asking: Is dredging up decade-old posts fair?

In many cases, critics argue that weaponizing ancient tweets is a cheap shot. But this case feels different. Why? Because St. Félix wasn’t simply reflecting on culture. She was actively accusing a young actress of embodying the very “sins” that she herself had celebrated online years prior.

Hypocrisy, when revealed, is hard to ignore.

And the fallout has been swift. The hashtags #AntiWhiteHypocrisy and #SweeneyStrong began trending over the weekend as fans rallied behind Sydney Sweeney, while critics demanded accountability from The New Yorker.

A Double Standard?

Observers were quick to note the double standard. St. Félix had zero hesitation in penning over 1,000 words about Sweeney’s jeans shoot — yet showed little outrage when superstar Beyoncé posed in a Levi’s denim campaign with strikingly similar imagery just a year earlier.

The silence, some say, reveals not journalism, but bias.

One viral comment put it bluntly:

“When Beyoncé wears jeans, it’s empowerment. When Sydney Sweeney wears jeans, it’s fascism? Give me a break.”

The Fallout Continues

Meanwhile, Sydney Sweeney has not issued any public comment. American Eagle also stayed measured, releasing only a brief statement reaffirming their pride in the campaign. The brand noted that Sweeney represents “confidence, authenticity, and empowerment for a new generation.”

But the real drama lies elsewhere: with a journalist whose words caught up to her.

Once poised as the arbiter of cultural morality, St. Félix now finds herself erased from the very platforms she once used to build her reputation. Her critics are calling it poetic justice.

And the irony? While she attempted to paint Sweeney as a symbol of privilege, it is St. Félix’s own privilege — her platform, her bylines, her unchecked rhetoric — that has now collapsed under scrutiny.

Conclusion: A Mirror, Not a Microphone

At the end of the day, the controversy isn’t just about jeans. It isn’t even about Sydney Sweeney. It’s about what happens when the loudest cultural gatekeepers are forced to live by the standards they impose on others.

For St. Félix, the microphone has become a mirror — and what it reflects is a hypocrisy so glaring that even her most loyal defenders have been left scrambling for excuses.

Whether she’ll return to the public stage remains to be seen. But for now, the message is clear: in the age of receipts, no one who throws stones should expect their glass house to remain intact.