Hentaied Founder Romero 'Mr. Alien' on Fetish, Fantasy and Finding Order in Chaos

A sharp sting pierces the woman’s skin. Something foreign slips beneath the surface. Eggs, maybe. She doesn’t know it yet, but soon her body will become a vessel, a hive, a source of contamination. She’ll visit a doctor, demand an X-ray and discover something unspeakable forming deep inside her. Her clitoris will grow sensitive and swollen, until it becomes a sex organ she uses to infect others, building her own colony one body at a time.

This is the kind of dark, feverish vision that routinely strikes producer/director/impresario Romero Mr. Alien while he’s curled up on the couch reading manga.

“That idea came out of nowhere,” he says. “I wasn’t thinking of anything in particular, and it just came into my mind. It just arrived.”

For Romero, ideas are like invading parasites that take root in his brain and won’t leave until they’ve been brought to shocking life on camera. It’s why he developed Hentaied: the site is an outlet for images he couldn’t shake. The same goes for sister sites Parasited and Futanari.

“I remember dreaming for months of women completely full of cum,” he recalls matter-of-factly. “At some point, I was like, ‘I don’t want to have that in my head anymore. It should get out.’”

And get out it does, in the form of monsters, slime-covered sets and writhing bodies. Romero’s body of work includes more than 5,500 scenes showcasing some of the most extreme, elaborate and polarizing adult content in existence. With alien parasites, monstrous transformations, possession, futanari experiments, full-body prosthetics and surreal psychological meltdowns, all unfolding beneath fluorescent lighting and a rain of sticky fluids, it barely resembles porn in any traditional sense. Romero crafts stories filled with sentient machines, body horror and realities where control slips, the rules bend and identity becomes fluid.

Chat with Romero face-to-face, though, and you will experience a strange and delightful contradiction. In person, the man who creates some of the most intense and unsettling fetish films in the world is warm, funny and sharply stylish — someone you might envision hosting a quirky dinner party in Milan or walking a film festival red carpet.

He speaks with a gentle Italian accent as he describes his process, bouncing between references to trauma theory, production design and manga panels.

“I usually put down the biggest ideas and the direction I want to go in,” he says. “Then fans help sharpen the ideas. I provide the container, I create the characters — and they come up with ways to make it better.”

Those fans are more than just passive viewers. They create animations, draw ideas and pitch scenes.

“On Futanari, we had a prop dick and it was pointing down,” Romero remembers. “But someone suggested, ‘If it points higher, it looks like they’re more excited, more into it.’ Then this engineer in the fan base actually made a project to put something inside the prop so it would point up.

“We even had a big forum and Discord group to test ideas,” he adds. “That’s how I find out if an idea I had will be well liked.”

As a result, what started as a filmmaker exorcising his personal preoccupations has grown to become a network of like minds orbiting a strange and specific creative vision, helping mutate it into something even wilder. The hive, as it were, keeps growing.

Romero Mr. Alien: The Early Years

Romero has always felt pulled toward the strange and erotic, even before he had the tools to bring those fantasies to life.

“My family was in the sex shop business,” he explains. “Of course, when I was very young, they didn’t expose me to it, but I always knew what they did. So as a young man, I was pretty interested in sexuality, fetish, perversion and everything out of the ordinary.”

That early proximity made adult entertainment feel less like a taboo and more like a legitimate career path — one that fused Romero’s passions for visual storytelling, aesthetics and transgression. He wanted to learn how to shoot videos, but ran into a snag.

“I didn’t have any money,” he shrugs.

So he jumped into the industry the only way he could: as a performer.

“My first two days in the industry, I was an actor,” he says with a sheepish grin. “I was very proud of those movies, but I still can’t find them anywhere.”

By day three, though, he’d already made a decision: Performing wasn’t for him.

“I realized I wasn’t really comfortable with certain aspects of being an actor,” he says. “I thought I could give more as a film maker. So I said, ‘Let’s go in that direction and see where we land.’”

Even in those early days, long before the monster suits and surreal transformation sequences, Romero found himself experimenting with tone and tension, shooting scenes that leaned into the psychological, symbolic or science fiction-adjacent.

Meanwhile, there was the matter of making ends meet.

“I was a professional musician, I worked in TV, supermarkets, construction — all kinds of random jobs,” he recalls.

“But I never worked for anybody else in adult,” he notes. “Always for myself.”

Like most artists, Romero can cite a number of key influences on his personal outlook and style. “The Handmaiden” by Park Chan-wook ranks high on his list of favorite films.

“It’s an erotic movie, and it pushed me to raise the quality of my own work,” he says. “It was so beautiful and inspiring.”

He also reveres “There Will Be Blood,” which he calls “the best movie ever made” for its masterful directing, writing and Daniel Day-Lewis’ “genius” performance; and he loves “Audition” by Takashi Miike. But his favorite of all time is Robert Rodriguez.

“He’s my favorite person on the planet,” Romero says without hesitation. “When nobody wanted to produce ‘From Dusk Till Dawn’ as a series, he paid for it himself. Then nobody wanted to distribute it, so he bought a TV network. He made a masterpiece. That’s the legend of the independent director. I see myself in that, in adult.”

Other favorites include Quentin Tarantino, Christopher Nolan, David Fincher and writer Chuck Palahniuk.

“There’s this sentence he wrote: ‘A smile after five seconds is only teeth,’” Romero quotes. “That’s so disturbing. But you’ll think about it for the next 10 minutes every time you smile. He’s a dark genius.”

Method to the Mayhem

It is tempting to describe Romero as a mad scientist of fetish filmmaking — especially once you’ve seen the gurneys, X-ray machines and pharmaceutical spray tanks in his custom-built Los Angeles studio. But to do so would risk underestimating the level of control, consistency and collaborative effort behind every surreal, slime-drenched scene.

Romero doesn’t just produce adult content. He builds worlds.

These worlds span nearly 30 interconnected brands, including Hentaied, Futanari, Parasited, Freeze, Vampired, Voodoo, Cumflation, Plants vs. Cunts and more. There’s also Defeated — his longest-running franchise — which began as a niche exploration of oil wrestling, lesbian combat and kinky sex-fighting. Hentaied, often viewed as his flagship site, actually came later, launching in 2019 and quickly becoming one of his biggest undertakings.

Today, Romero’s operation includes big studios in both Budapest and Los Angeles.

“Before, we would spend $5,000 to build a set and $5,000 to destroy it, because we didn’t own the studio,” he explains. “Now, we build everything in-house. Right now, we’re building a hospital. We have to keep it for a year just to make the cost back, because we’re talking about millions of dollars.”

The goal isn’t to impress, however, but to immerse. Every wall, every floor, every detail is chosen with care. Romero walks the space with his collaborators, deciding where each light switch and bedpan should go.

That attention to detail extends to his writing. Romero doesn’t just storyboard his ideas — he lives with them. In his mind, characters interact and evolve for months before he shoots a single scene.

That’s how it was with “Unseen Strings,” Romero’s upcoming project featuring Blake Blossom.

“I took six months to write it,” he says. “I created the characters, then I let them live in my mind. There were moments I wasn’t doing anything, but the characters were speaking to each other. Then we had three or four months of prep. That project? One year and a half already, and we haven’t even started filming. We start in October.”

Even those infamous cumshots — exaggerated, genre-defining and entirely synthetic — are a result of obsessive trial and error.

“Don’t use any commercial cum on the market,” Romero warns. “Because 95% of them are bullshit. You can’t leave those products on the skin for long. They’ll cause allergic reactions. So we had to figure out our own recipes.”

In the early days, Romero’s assistant Eve would cook up the signature slime in a cauldron every morning, standing in the kitchen as other crew members walked in to make coffee.

“Breakfast,” Romero jokes. “We’re almost scientists now.”

Indeed, one sprawling room is a Frankenstein’s lab full of chrome-plated medical equipment, monster parts and what appears to be a spray station.

“We collect props every week,” Romero notes. “We go to liquidations, junkyards, all sorts of places.”

That DIY instinct helps him look at objects and see beyond what they are, to what they could become.

“That X-ray machine doesn’t work, so I got it cheap,” he confides, pointing to a massive mechanical device with a swiveling arm. “But the arm moves really precisely, so I can build a monster on top of it — the arm becomes part of the monster. If I built it myself, it would cost 20 or 30 grand. This way? Thirty bucks.”

Transformation — of objects, of performers, even entire realities — is at the heart of everything Romero creates.

“That’s an important part of the craftsmanship,” he confirms. “Transformation is probably the No. 1 element in what we do.”

To Romero, his obsessive thoroughness isn’t a luxury, but a necessity. His vision demands it.

“My wife’s not very happy about it,” he admits with a laugh. “But I don’t see this as work. It’s my life.”

An Alienverse of Talent

Romero may craft every tentacle, set piece and cumshot with precision, but he doesn’t do it alone. Even his most inspired creations could not exist without the women who inhabit his universe.

“I think we have access to most every actress in the porn industry right now,” Romero observes with casual confidence, as if it’s no big deal.

What draws talent in? The invitation to break form and dive deep. Romero’s projects offer something performers don’t often get elsewhere: the chance to act, push boundaries, and be weird and wild on camera.

“In my world, the more dirty and over-the-top they can be, the better,” he elaborates. “It shows a different part of the actress. Some had almost retired from mainstream porn. There was already so much content of them out there. But then Hentaied arrives and it’s a completely new thing. We’ve seen some careers completely revived.”

He recalls working with European star Ginebra Bellucci at the height of her popularity.

“She was like, ‘That’s so cool, I want to do something different,’” Romero says.

He also glows when talking about Blake Blossom, who will star in the upcoming “Unseen Strings.” The two first crossed paths on the set of a Parasited scene directed by Ricky Greenwood. After staying in touch, Romero pitched her on a much more intense 10-day shoot, 12 hours each day.

“She said, ‘I’ve never done anything like this, but I can prove myself to you, and to the people. I’m going to do my best in the part you wrote for me,’” Romero shares. “It’s a big chunk of your life. You spend so much time and energy together, they have to believe in the project. That’s what makes it work. You don’t do it for the money.”

One of his closest creative relationships has been with Valentina Nappi.

“She’s Italian, like me,” he says. “We bring our values. We shot together for five days on this new project that was completely bananas.” He laughs, recalling the grind. “One day we started at 8 a.m. and finished at 4:30 the next morning. A team of 16 people. Nobody left. Why? Because they loved the project.

“She’s an amazing actress,” he adds. “She’s doing movies for Amazon Prime Video now, but she still came back and shot with me in Italy. That’s real.”

In Europe, some of Romero’s go-to performers include Amira Adara and Tiffany Tatum.

“We’ve known each other forever,” he says. “On set, we don’t even need to speak much. They catch my ideas fast.”

He’s discovered favorites in the U.S. as well.

“Octavia Red is incredible,” Romero attests. “I saw her on the Parasited set and said, ‘I want this girl forever.’ I booked her for a trip to Europe. That was insane. And Little Puck is one of a kind. I don’t have to say much — she just gets it. We like the same things — the same movies and manga.”

His affinity for working with talent serves Romero well in another venture: running an OnlyFans agency called AS Management. He’s equally enthusiastic about collaborating with top-tier directors with whom he shares chemistry and enthusiasm.

“In Europe, I started by going to the top guys like Roberto Di Suna and Mark Zicha,” Romero notes. “Then everybody else came. Ricky Greenwood contacted me through Twitter. We talked, and we’ve been working together ever since.

“I don’t want to sound pretentious,” he adds. “But I only want to work with the best. Sometimes when we have directors come work with us, at the beginning they put in one-tenth the effort that we put in. Then they look at us and go, ‘Is this good?’ And I’m like, ‘Do you think it’s good?’”

Still, for those ready to grind, Romero has an open door.

“We’re always looking for people,” he says. “If you’re a director, if you’re a producer and want to do something cool — and put a lot of effort into it — we are the right company to speak to. We are hiring.”

Just not on LinkedIn.

“I got banned from LinkedIn multiple times,” he laughs. “Some Karen reported me. So now I use random places like Craigslist and Facebook. I get a lot of funny answers.”

From Fear to Love

For all the outrageous visuals in Romero Mr. Alien’s films — the slime, the monsters, the machines — what lingers is something less tangible but far more haunting: emotion. His work pushes boundaries not only in aesthetics and kink, but in psychology, often taking viewers on a journey that begins in fear and ends, somehow, in surrender.

“That’s a major thing I try to convey,” Romero says. “It’s a fetish movie more than a porn movie. The most interesting part, especially when I direct myself, is to get into this idea of corruption. We are basically corrupting a woman, taking her from fear to love. That’s the idea behind most of the movies we do.”

Romero’s words conjure a kind of fairy tale spiked with body horror and alien invasions — “Beauty and the Beast” with latex and tentacles.

“At the beginning, I want the woman to be barely consensual,” he explains. “Then it goes in a direction where she’s like, ‘I’m loving this.’ Not just ‘I want this,’ but ‘This is the reason for my life right now.’”

When directing, Romero conducts one-on-one pep talks designed to help each performer understand their character’s transformation, not just physically, but emotionally.

“I don’t care about fucking you with my tentacles,” he says, blunt but sincere. “I care about the emotional output you’re able to give me. The emotional rollercoaster. That’s the hardest thing to get from the directors, from the actresses. But when it works, it works.”

That kind of emotional depth is evident in titles like “Clockwork Vendetta,” from Romero’s Freeze banner. In that scene, Kazumi’s character finds herself immobilized in the woods, slowly realizing she’s helpless — and into it. The arc of consent shifts, subverts expectations and challenges the viewer to reconsider their own boundaries of desire.

Pushing the boundaries of consent — even in a fictional, clearly staged context — is not something Romero takes lightly. He believes in fantasy. He believes in the intelligence of adult viewers, and their capacity to understand nuance. But he’s also well aware of the potential risks when scenes contain morally complex ideas.

“Every time we write a script, we are really, really careful,” he emphasizes. “I think we are the company that’s been able to push the boundaries the most in the last 10 years. But I’m very careful about what I promote.”

He has to be. With videos that feature giant tentacles, horse appendages, ravishment roleplay and surreal sci-fi transformations, content like Romero’s is often labeled “extreme.” As a result, despite safeguards like pre-shoot consent check-ins, it is subjected to intense scrutiny by would-be censors and — more importantly — card brands and payment processors, who may fail to appreciate the distinction between real-life resistance and consensual fantasy.

“People want to censor it so bad,” Romero says. “They think, ‘Oh, they’re making videos about women who aren’t consenting!’ But if somebody watches Japanese porn and the actress is saying, ‘No, no, no, I’m not that kind of girl! Please stop it,’ that’s a role. In the case of our movies, it is clear that it’s art. The actress can leave at any point. It’s all so structured.”

Interestingly, Romero reports that many of his most engaged viewers are women. Nevertheless, his viral hit “Mrs. Horsecock” — a horror-porn satire featuring a woman who loses control of her mind and body after waking up with an oversized “horse” cock — brought the criticism to a fever pitch.

“I had people writing to me, saying, ‘How can you produce this kind of thing? This should be illegal,’” he recalls. “And I’m like, ‘If you watch Mrs. Horsecock and your first idea is to fuck a horse — I’m sorry, that’s your problem, not mine.”

A Lifeform Growing Within

On-screen, Romero has built a world defined by gore, tension and surreal horror — but in his own life, it appears, his biggest adventure yet is just beginning.

“My wife is pregnant,” he reveals, a bright smile spreading across his face. “It’s our first. So we’re slowing down a bit now. We travel a lot for work, and she likes it, but of course, there’s pros and cons to this crazy life. She has always been really supportive, and usually she would travel with me or accompany me on set, but this year she won’t be able to.”

Romero is already thinking about how to balance his creative and professional life with the challenges of raising a child.

“I come from a family with pretty traditional values,” he says. “I think I’ll have to find the best way to protect my kid from the work I do.

“Though I do believe this is a ‘cool dad’ kind of job!” he adds, laughing. “I think it’s pretty dope.”

As it happens, Romero and his wife were already in the habit of curating their own well-being outside of work, including by avoiding certain triggers.

“We got these rings that check your vitals — stress, heart rate, all of that,” he explains. “I noticed my wife had all these stress spikes, and I was like, ‘How is this possible?’ I started to study it, and I realized her stress spiked during social media use. So I looked at mine and the same thing happened.”

So they did something drastic: They cut it out.

“As soon as we removed social media from our lives, our heart rates decreased by five to 10 beats,” he marvels. “That’s huge. Instead, I read manga every day. It’s part of my routine, like cardio, gym, work, manga. Even if you’re reading the most traumatic things ever, it’s more relaxing than doomscrolling!

“‘Berserk’ is the one I feel closest to, but ‘Monster’ — I think it’s the best manga ever created,” Romero declares. He also points to Junji Ito’s “Uzumaki,” describing a surreal scene where two bullies both turn into snails, make love and escape into “the paradise of snails.”

“That’s unbelievable,” he says, still in awe. “Completely bananas.”

In his downtime, Romero enjoys snowboarding — but not skiing, he clarifies, laughing — and taking relaxing trips with his wife. Still, work is never far away.

“I mostly always work,” he says. “My brain is constantly creating. I still think that my best movies are in the future.”

The Alien Expansion

Romero has never been content to stay still. His ambitions sparked a move from Europe to Los Angeles, which brought easier access to performers, gear and like-minded creatives, enabling him to scale up his productions even further.

“It’s amazing,” he says. “In Europe, we have a lot of limitations. There’s a roof you can get to, and then after that, it’s impossible to go further. We don’t have certain talents. We don’t have certain resources. But here in LA, there’s just everything. I found my place. I don’t think I’ll ever leave.”

Romero’s next frontier is stepping beyond film and into video games — specifically, FMV (full-motion video) games, where users make choices that drive the story forward. Think choose-your-own-adventure with real video footage and a very adult twist.

“It’s pretty cool,” he grins. “Instead of 3D models or polygons, you’re controlling real people in real footage. That’s my new business. There are others in porn who do it, but not at the level we do. Nobody’s ever seen anything like this in our industry.”

Romero’s first game, Endless Echoes, stars Octavia Red as the protagonist, with Nancy Ace playing the villain.

“She’s one of the loveliest girls in Europe,” Romero says. “She’s incredibly classy and she’s able to convey this sense of magnificence at everything she does.”

Romero expects to release four video games in the next several months.

“We’re beta-testing all our workflows,” he says. “The big piece will come out by March or April.”

That larger project, while not strictly pornographic, still rides the line.

“It’s probably rated 17+ or 18+,” Romero explains. “There’s a lot of violence. There’s a lot of sexualized things. But it’s not porn.”

This leap into gaming isn’t just a whim for Romero. It’s part of his broader vision to diversify the ways audiences can engage with fantasy.

“I think we’re about to see a shift,” he predicts. “Streaming changed how we think about porn, and games are going to do the same thing. I want to be one of the first to do it right.”