February 17, 2026

Big Bang Bay Drops an F1 Bomb

By Emily Poler

Last week, of course, many of us watched or were at least in the presence of the Big Game (aka the Superb Owl), so I thought it would be appropriate to post today about something related to it. Alas, the only part I really paid attention to was the halftime show (who won the game? Who even played?), and as much as I’d like to unpack Bad Bunny’s many messages here, there’s no angle that’s really appropriate for a legal blog. (I’ll just say that as someone who grew up in a neighborhood that was heavily Puerto Rican, I loved his culturally celebratory performance.) But looking deeper, I did find something relevant to a very popular aspect of America’s favorite Sunday: the commercials! So, let’s talk about the dumpster fire that is Michael Bay’s lawsuit against Cadillac’s Formula 1 team and Translation, the creative agency it worked with to create an ad for the Super Bowl. 

In case you’ve forgotten (or are a thinking adult), Michael Bay is a film director. Since the late-1990s he’s directed a slew of big budget action movies where lots of things go bang and boom, including “Bad Boys” I and II, “Armageddon,” and, yes FIVE Transformers films.

Formula 1, or F1, racing is the long-standing international auto racing league whose single-seat, open-wheel cars look like rockets with big fat tires on the outside of the futuristic bodies. F1 races are held on road and street tracks; if you’re not an aficionado, the most famous event you may have heard of is the Monaco Grand Prix. (By contrast with F1, NASCAR races the same cars you and I drive, just heavily modified and covered with logos, and mostly on oval tracks). 

F1 teams belong to either automotive companies or very rich people like Dan Towriss, CEO of the group that owns the Cadillac F1 team. In late 2025, Towriss approached Michael Bay about developing a multi-million dollar commercial that would introduce Cadillac F1’s debut on the F1 circuit in an “American” way during the “most American” of events (the Super Bowl), with Towriss declaring he wanted to hire “the most American director [he] could find.” (Minor digression, but how exactly does making CGI-heavy movies based on kid’s toys where alien robots turn into cars make Bay “most American director”? I have some serious suspicions about the foundation for this claim, but that’s a story for another day.) Bay has made Super Bowl ads before and has also previously worked with General Motors (Cadillac’s parent company).

According to Bay’s complaint, he and his team of more than a dozen people spent time developing ideas for the commercial and presented them to Towriss who, at that point, allegedly told Bay to “get to work, with Bay’s producer documenting in writing that Towriss “hired Bay to conceptualize, produce, and direct the commercial.”

With the schedule super tight if they were going to finish in the mere two months before the Big Game, Bay and team immediately started creating mockups and schedules and identifying filming locations. But a week later, according to Bay, he was abruptly informed that the Cadillac F1 team wanted to “go in a different direction” and use someone else to complete the commercial — with no compensation for the time and work Bay put in. The reason, according to Cadillac F1, is that “after two meetings, it became clear he couldn’t meet our timeline, and there ultimately wasn’t a path forward.”

In his suit, which was filed hours before the commercial aired, Bay claims there was a verbal agreement between him and the Cadillac team pursuant to which the Cadillac team would pay Bay for his work, as well as the costs he and his team incurred. He also claims that the Cadillac team stole his ideas and engaged in fraud because they promised Bay to pay for certain goods and services even though they didn’t intend to abide by those promises. In response, Cadillac F1 says the concept and creative were already in place and they had only discussed hiring Bay as the commercial’s director.

Before I get into the merits (or lack thereof) of Bay’s case, let me point out the obvious: Don’t ever start work on a project without getting a written contract! Everyone involved here was a sophisticated actor with tons of experience; why did no one bother to say, hang on a sec, let’s sign an agreement? This applies not just to Bay but also to everyone on the Cadillac side as well, which apparently didn’t consider the possibility that halfway through the project Bay might abandon it or suddenly demand more money to finish it. The explanation for both sides’ mistakes, I suspect, is that Towriss was a loose cannon acting on his own in his discussions with Bay, instead of leaving things to the pros at the Translation agency who deal with this sort of thing every day, while for Bay’s part, he was aware of the time crunch and figured Towriss’ word was bond. 

All that aside, Bay’s lawsuit is pretty flimsy. First, generally speaking, ideas are not protectable. Here, Bay’s idea for the commercial centered around an “overall, impressionistic, ‘dream’ theme, which would show the Cadillac F1 car as the engineers’ dream brought to reality.” This concept in and of itself can’t be protected, and neither Bay nor anyone else can own this idea. Once it’s produced as an actual commercial, that’s another story, of course: The actual commercial is protectable, but the underlying idea is not. 

Meanwhile, Bay’s claim for fraud, based on his accusation that the Cadillac F1 team didn’t intend to honor its promise, is a waste of time. Fraud requires the plaintiff to allege and ultimately prove that the statement at issue was false at the time it was said. In other words, this means that Bay will have to show that the Cadillac team had a secret intention to not follow through on its promise to pay Bay for his services while intending not to ultimately work with him. Is it possible Cadillac F1 acted in such a manner? Sure. Can Bay prove it? Highly unlikely. Saying someone didn’t intend to abide by a contract is almost never fraud and such claims are almost always dismissed. In my view, they tend to make the party asserting them look silly and if I was Bay’s attorney, I would strongly urge him to avoid such an embarrassing claim. 

Bay is seeking $1.5 million for his director’s and producer’s fees and the costs incurred by him and his team, as well as punitive damages. And if that doesn’t succeed, I’m sure he can take his revenge someday by crushing a Cadillac in “Transformers VIII.” On Mars. By a giant robot’s foot, most likely.