It’s a bird! It’s a plane! It’s a flop that will cost Warner Bros. a cool $100 million. Likely more.

Supergirl opened to a disastrous $38 million over the weekend. That’s far below the film’s early estimates, which predicted a $65 million domestic haul. Many superhero films make triple that amount in their debuts, but Supergirl couldn’t rally film fans outside the U.S., either. The film earned $30 million via international markets.

The semi-sequel to last year’s Superman stars Milly Alcock as the hard-partying Krypton cousin scrambling to find the antidote to her drugged dog Krypto.

Yes, that’s the film’s plot, and the dog in question was obviously CGI. That may partially explain the film’s tepid reception. This failure is far from an orphan, though.

Let’s start with the main character, a minor player in the DC Comics universe. Alcock, a relative unknown, introduced the character via a boozy cameo at the end of Superman.

Since then, Alcock has played the victim card in the media, saying that her work on HBO Max’s House of the Dragon taught her that “simply existing as a woman in that space is something that people comment on. We have become very comfortable having this weird ownership of women’s bodies.”

The online backlash was swift and predictable, and the starlet doubled down by singling out “Christian Dads” in the process. Later, she claimed her Supergirl character was likely bisexual.

Week by week, those Supergirl box office predictions drooped.

Alcock’s woke media interviews didn’t help. The tepid trailer hurt the film’s potential buzz, and the fact that last year’s Superman didn’t crush the box office as some expected also mattered.

So did the film itself. The movie earned a begrudging 54 percent “rotten” rating at Rotten Tomatoes, with the praises falling in the “faint” category and the barbs proving lethal. Variety, a site renowned for its liberal bias, dubbed it “super-horrendous.”

Alcock’s character proved anything but winning. She suffered emotional trauma earlier in her life, which is depicted via flashbacks. The trauma left her both detached and eager to drown her sorrows at the nearest intergalactic watering hole.

Right on cue, the New York Times blamed the film’s sorry performance on “misogyny.”

“Female-led superhero movies have been rejected almost uniformly over the past five years or so, perhaps reflecting a resurgent misogyny among the core fan base, which is largely male.”

The film’s failure puts a dent in producer James Gunn’s attempt to reboot the DC movie franchise. Some may point to so-called superhero fatigue; witness the recent failures of Madame Web, Kraven the Hunter, and The Marvels.

That term applies more to middling films than the genre in toto at this point.

Besides, Spider-Man: Brand New Day (July 31) is expected to earn $200 million in its opening frame. Some suggest that the figure could hit $250 million. What fatigue?

Then again, the last Spider-Man feature, 2021’s No Way Home, united the culture with its clever multiverse storytelling and return of multiple fan favorites. Spider-Man himself, actor Tom Holland, doesn’t play the victim in media interviews or blast franchise fans.

Alcock has a lot to learn about stardom, assuming she gets a second chance after this high-profile debacle. The same holds for Hollywood. Trot out an inferior product, promoted by unlikable stars, and wait for the wave of red ink to wash in.