According to Gizmodo, Brendan Fraser is still furious about Warner Bros shelving the completed Batgirl film as a tax write-off. The actor was set to co-star as villain Firefly alongside Leslie Grace’s Barbara Gordon in the DC Studios project. Fraser revealed the massive scale of production with four floors dedicated to the film in Glasgow. He called the cancellation “tragic” for depriving a generation of girls of a Latina superheroine. The situation reflects Hollywood’s trend of treating films as “content” to be commodified rather than art. This marks at least the second time Fraser has publicly criticized the decision during press tours for other films.
Hollywood’s Content Problem
Fraser’s comments hit at something fundamental that’s been bothering a lot of people in the industry. When he says “content” is being commodified to the point where it’s more valuable burned than released, he’s not wrong. We’ve seen this play out repeatedly – not just with Batgirl but with Coyote vs. Acme and other projects. Studios have realized there’s financial value in killing things for tax benefits. And that’s terrifying for anyone who actually cares about storytelling.
Trust Broken
Here’s the thing Fraser nailed in his earlier Variety interview – this destroys trust. When filmmakers and actors pour years into projects that can just disappear for accounting reasons, why would anyone give their best? The relationship between creators and studios becomes purely transactional. Basically, you’re left wondering if your work will ever see daylight or just become a line item on a tax form.
Bigger Than One Movie
What makes Batgirl particularly galling is that it was finished. We’re not talking about a project in development hell – this was a completed film with Michael Keaton returning as Batman. Fraser’s right about the representation angle too. How many opportunities do we get for Latina superhero leads? The studio essentially decided that denying that representation was better business than releasing it. That sends a pretty bleak message about where priorities lie.
Changing Tides?
There might be some hope though. The public backlash against these decisions has been fierce. Warner Bros found itself in a “nobody wants me” era after these gambits, and the Coyote vs. Acme situation showed that fan and creator pressure can sometimes work. But will it be enough to change the fundamental calculus? I’m skeptical. When billions are at stake, artistic integrity tends to lose. Still, having high-profile voices like Fraser’s calling this out keeps the conversation alive. And that matters.
