In terms of Vought-produced projects, “The Mesmerizer” most closely resembles the “Terminal Beauty” film series, which stars Mesmer’s Teenage Kix teammate Popclaw (Brittany Allen). Both appear to be pulpy and crowd-pleasing — far from the evil levels of corporate sanitization and propaganda other Vought projects perpetrate.
“Red Thunder,” a Soldier Boy (Jensen Ackles) vehicle released in the 1980s, embodies the hamfisted jingoism and Red Scare slant that would almost certainly alienate those who didn’t grow up with it (much like its clear real-world inspiration, “Red Dawn”). Arguably far worse, however, is “Citizen Starlight,” a reality series starring Annie January (Erin Moriarty) specifically crafted to capitalize on the Deep’s (Chace Crawford) criminal behavior while minimizing Vought’s obviously horrific workplace environment as a brief outlier already dealt with.
Speaking of the Deep, it doesn’t take long for him to spin his “cancellation” into a sickening tale of redemption with the docudrama “Not Without My Dolphin.” Vought further distorts reality with “Super in America,” best known for presenting an entirely fabricated Homelander (Antony Starr) origin story to the public. But perhaps worst of all is “Dawn of the Seven,” the Zack Snyder-inspired, Adam Bourke (P.J. Byrne)-directed tentpole that is reshot at the last minute to whitewash Homelander’s relationship with a literal Nazi. Suffice it to say, there are certainly worse easy-viewing options Cate and Andre could have chosen.