Gen V
Image via Prime Video

‘I think it’s important for verisimilitude that we create these penises practically’: TV’s most shocking scene has a justifiable explanation

Stomachs were guaranteed to churn, either way.

As the first live-action spin-off to emerge from one of the darkest, most deranged, and blackly hilarious comic book adaptations there’s ever been, the bar was set mighty high for Gen V when it came to outdoing The Boys in terms of sheer jaw-dropping insanity.

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Returning to his familiar bag of tricks in order to make it happen, executive producer Eric Kripke once more decided that genitalia was the way forward. Not only does Lizze Broadway’s Emma clamber upon one in the name of erotic satisfaction (not hers, of course) in an early episode, there’s an even more horrifying moment involving a member that we’re not going to spell out here, but if you know, then you know.

gen v
Image via Prime Video

In an interview with Variety, it was revealed that not only was a five-foot practical schlong created for Gen V in the name of posterity, but Kripke hilariously outlined that it’s simply not in The Boys‘ universe ethos’ to use fully-digital dongs, either.

“It’s not our style to CG a penis. I think it’s important for verisimilitude that we create these penises practically. When we were writing the pilot, that scene, as shocking as it is, is about Emma’s self- esteem. It’s about being goaded and pressured into doing something sexually that she’s not comfortable with, and that really costs her something. Again, we’re never like, “Hey, we blew up a dick in The Boys so let’s have a tiny person climb a dick in this one.” We’re always talking about, “She’s going through it” and this was a bold way to dramatize that.”

Such is unhinged nature of The Boys and its associated offshoots, Kripke spends a lot of time talking about the franchise’s use of genitals for its unforgettable set pieces, and you can more than likely assume it won’t be the last time either, with season 4 of the main show awaiting a release date.


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Scott Campbell
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