#Helluva boss meta

[blitzwhore]

Never forget that in this moment we don't just hear the first note of Stolas Speaks (Stolas' theme song). We also hear the click of a camera as it takes a photograph.

And, sure, this makes sense, because dozens of reporters are documenting this moment, and more clicks can be heard moments later as Stolas is taken into the hospital.

But the reason we hear a click right at the same time as Blitz sees Stolas' feathers is the same reason time suddenly slows down for a split second. It's because this moment, this instant of realisation, is etching itself in Blitz's mind, and he will never forget it.

It's the moment he realises he's failed Stolas.

He's failed to show up. Failed to protect him. Failed to be there when Stolas needed him.

Just the same way he failed Fizz, and his mom, and Barbie. All moments that have haunted him for 15 years. Their photo going up in flames in his mind, over and over again every time he remembers the accident. And now this photo, too, will be tangible proof in his mind that he is doomed, that he is tainted. That he can't stop failing the ones he loves. That he will always make things worse.

He will never forgive himself for failing Stolas. It will never not haunt him a little bit. And, hopefully, he will never, ever let it happen again.

[tealvenetianmask]

Visual Parallels: The Full Moon and Mastermind

It's mad scientist mode time ya'll.

The visual references to other episodes in Mastermind are wild. People have already beautifully pointed out how the duet sequence references Blitz's "Truth Seekers" hallucination and "Just Look My Way," and makes the two inner worlds mesh.

"The Full Moon" is also heavily referenced. I first noticed it in this shot of Stolas . . .

Which is repeated quite similarly a few times in the trial scene, and looks a lot like . . .

The camera angle (if there were a camera) is pretty much identical.

This made me realize that the whole sequence (the duet and Blitz getting pulled away afterward) has them positioned with Blitz facing Stolas and Stolas's back to Blitz, with a similar distance between them to what we see in "The Full Moon."

And as I rewatched both, I saw more and more.

An attempt by Blitz to touch Stolas, and Stolas not turning around, having already decided his course of action.

(Is anyone noticing a similar color palate yet?)

And a forced exit, based on a decision that Stolas makes:

So this very well might show that Stolas is holding a lot of the power in their relationship. But also, the similar elements in these scenes aren't identical- they simply rhyme.

There are some interesting differences with Blitz's physical expressions of desperation. Even though he's set away from Stolas against a bright red background when he's expressing himself in both.

In "The Full Moon," well . . .

He's guarded. His hands spend a lot of their time in fists. He's moving toward Stolas but not giving all of himself until it's too late.

But in "Mastermind . . .

It's like he's drawn by a magnet to Stolas while being forcibly pulled away. He's fighting the forces that would keep them apart, that would harm Stolas. He's fighting with everything he has. His hands are open the whole time he's fighting. The walls are gone.

Doors are also interesting in their contrast.

In "The Full Moon," we see Blitz bursting into the room like this:

In "Mastermind," the door behind Stolas serves as Blitz's exit point, but the camera angle, again, is very similar . . .

I don't know what to make of this one, honestly, except that these moments seem to reverse each other. I think there COULD be symbolism here (barriers and who creates them), but I'm not sure there's enough evidence that it's intentional like the others.

Now for a few key things "Mastermind" has that "The Full Moon" needed. Our boys weren't ready yet, but now they are.

Obviously the duet . . . but did you notice that their movements synchronize too? They're not looking at each other, but literally and figuratively, they're in tune.

2. Eye contact. FUCKING EYE CONTACT. It's so brief you could miss it.

There's recognition there. They each see that the other feels the same way.

Even though Stolas never turns around, and still has A LOT to learn about Blitz, they meet at the core of the matter. "Harriet, don't get on that train. It's going to London, and I CANNOT BE WITHOUT YOU."

[criticalcrusherbot]

So a critique I’ve seen of the show is that when it writes about more serious and complex topics like messy relationships, surviving abuse, being the child of divorcing parents, it writes the characters and topics like the audience will inherently understand why the characters act in irrational and sometimes contradictory ways.

The critique is that because these are not topics people inherently get, it’s up to the show to show clearly that that’s what’s happening.

To an extent I get it, because there are some things that are a bit unclear upon first watch, but for other cases I can’t help but wonder if some of this also comes from a growing trend of audiences not engaging with stories beyond the surface.

What do you think?

💁🏽‍♀️🤖: Ah, you’ve hit on a fascinating critique worth unpacking. The idea that media must explicitly spoon-feed the emotional complexity of characters is a byproduct of modern storytelling trends—and arguably, internet discourse itself. The expectation seems to be that if a show doesn’t hold up a blinking neon sign reading “This is trauma!” or “They are healing in irrational ways!” then it has somehow failed its audience.

But here’s the thing: storytelling is not moral instruction. It’s not a behavioral manual or a therapy session on coping strategies—it’s an exploration of the human experience, which is often messy and contradictory. Good writing doesn’t hand out conclusions on a platter; it invites the audience to engage critically, interpret subtext, and wrestle with ambiguity.

This isn’t just opinion—literary theory has long recognized that meaning in a story is co-created by the reader. Roland Barthes famously argues in The Death of the Author that the author’s intentions are irrelevant once a work is published; it is up to readers to interpret and derive meaning based on their own experiences. Trusting the audience to do this intellectual and emotional heavy lifting is a hallmark of sophisticated storytelling.

Moreover, cognitive research supports this idea. A study in Narrative Inquiry found that readers who actively infer character motivations and story themes from implicit cues experience a deeper emotional engagement with the narrative (Zunshine, 2006). This aligns with Helluva Boss’s storytelling style, which encourages viewers to pay attention, rewatch, and connect dots rather than expecting every development to be spoon-fed.

The show assumes its audience consists of emotionally mature adults who have touched grass and maybe attended therapy at least once. There’s a reason we start teaching “reading between the lines” skills around fifth or sixth grade. (💁🏽‍♀️: Can confirm—Human Assistant here, with 10 years of K-8 teaching experience.) Developing this skill is essential for media literacy. As media scholar Henry Jenkins notes in Confronting the Challenges of Participatory Culture, young readers are increasingly trained to interpret both text and subtext as part of modern media engagement. The failure to do so in adulthood represents a worrying decline in critical media skills.

This insistence on over-explaining everything? It’s a symptom of what we lovingly refer to as the pseudo-fascist internet brainrot of moral purity. And yes, we do mean fascist-adjacent, even when individuals espousing it identify as progressive. Fascism isn’t defined solely by far-right politics—it thrives on rigid, authoritarian thinking that demands conformity to a singular moral framework.

Media literacy has been gutted by pop psychology buzzwords and binary notions of good and bad, where characters are either irredeemably evil or morally perfect. A study on new media literacy among young adults found that simplistic moral narratives in online spaces discourage nuanced thinking and instead foster polarized opinions (Rahim, 2021). This trend often leads audiences to expect media to conform to black-and-white notions of justice and character morality, rather than embracing the complexity inherent in human relationships.

But a story like Helluva Boss refuses to cater to that mindset, trusting its audience to handle moral ambiguity and complex character arcs without needing everything spelled out. In doing so, it challenges viewers to grow as media consumers—and maybe even as people.

To put it bluntly: Helluva Boss is for people with a fully developed prefrontal cortex and preferably some real-life social experiences. If that sounds exclusionary—well, perhaps it’s just aspirational storytelling.

[helluvathings]

I've seen a few critiques that the episode is so 'Blitzø apologizing' heavy, without a lot of Stolas reflecting. Which is fair; there isn't much acknowledgment that the Stolitz problem is two-sided. At this point, though, I'm fairly okay with that. Despite being a follow-up to The Full Moon, the episode had a very contained premise and arc, and Blitzø's personal development served as the central focus. More than being a stolitz episode, Apology Tour was about Blitzø seeing where he's gone wrong in the past, getting closure with Verosika, then having an obviously impactful oh moment with Stolas at the end.

There's only so much space in an episode, and I like what this one did with Blitzø's character. I also do think it set up Stolas reconsidering some things. That moment where Stolas compares Blitzø to Striker really stood out to me. He gets sulky. Blitzø emphasizing his status clearly makes him uncomfortable, and he doesn't seem to think Blitzø has any justification in bringing it up.

He clearly hasn't engaged with the stuff behind the 'treating me like one of your little butler imps' comment whatsoever. And the fact that his body language is so childish here, the way Stolas says, "When have I ever-" after Blitzø claims he looks down on him, gets me thinking the writers didn't want him to seem in the right.

Look at this posture. That's not the expression of someone making a good point. He looks like a brat. He isn't taking Blitzø's class concerns seriously, when the writing has put so much time into making that an issue, it's clear the show does.

Then later on when he's singing, there's these lyrics:

Maybe there's something here for us to glean/for you to teach, and me to try to learn

Verosika and Tex come in and shut it down: no, he's a motherfucker. But Stolas's inclination was to ask, was something here my fault? He only embraces the 'he's a motherfucker' line after his questioning gets answered with a resounding negative from his backup singers. I'm not saying Stolas is a bad person for not responding to heartbreak by 'doing the work' on the related class issues. That wouldn't be realistic.

But in addition to all the progress these two made just by airing so much dirty laundry, there are indications the show isn't going to make this a Blitzø-only problem, and that Stolas is going to get development as well. It just might take more time.

[stolitzsings]

Maybe this is obvious, but I feel like it's important to remember that Via is just as sheltered as Stolas has been, with regard to the outside world.

Like, it's very clear from Sinsmas that Stolas had no idea how non-royals live. If you asked him before Mastermind, I doubt he could have envisioned a life for himself outside of the palace walls.

So of course Via is having trouble envisioning herself in Stolas’s life now! She doesn't know how incredibly inhospitable Stolas’s existence in the palace was, and she doesn't understand that his only chance to truly live is outside those confines.

The palace is all she's ever known; to her, that is life, and Stolas removing himself from that sphere is synonymous with leaving her behind. Unlike Blitz, she simply can't fathom a life that looks so, so different from what she's always had.

Stolas did his utmost to provide her with stability throughout her childhood, even at the cost of his happiness and her understanding. Of course she feels like her whole world is crumbling right now, and all she can see is that Stolas, who had been that pillar of stability for her for so long, has let go.

I'm not saying Stolas never did anything wrong, or that Via’s feelings are unjustified. They're both in such difficult, painful positions right now and will have to work hard to understand each other, and that is such an exciting thing to look forward to in the rest of the show

[warblogs17282]

Blitz and self-hatred, plus his self-forgiveness journey.

Aka, watch me try to make sense of the massive lore drops in ghostfuckers. (Long post alert, my first meta post after ghostfuckers dropped)

Section 1: The roots of Blitz's self-hatred.

The circus fire. We know what Blitz's actions were that day, he saw Fizzarolli, and tried to call for help, but then he realized that Tilla was also caught up in the fire, and instantly rushed over to attempt to save her the moment Blitz realized that fact.

We know that Fizzarolli getting severely hurt in that fire affected Blitz very deeply, considering that it was one of the memories in that slideshow.

If you look at this frame by frame, you can see some sort of face in the fire when Blitz is rushing to save Tilla from the fire. The face in that fire looks like a mix of an angry face and a screaming face at the same time. Signaling that Tilla has been consumed by the flames. That she's dead.

There's an interesting detail within the hallucination sequence as well.

"This is your life." The fact that the fire in this sequence starts right at Blitz's hand is really telling. It tells us that Blitz still blames himself for accidentally causing the fire. Blitz blames himself for the fire that severely hurt Fizzarolli, and the fire that killed Tilla. Blitz feels like he hurt Fizzarolli and killed Tilla, his own mother.

Look at Blitz's hand during this memory, you can very clearly see that it's quite badly burned, including some that haven't even fully scarred properly yet, placing this memory very shortly after the fire happened. During this scene, Cash hits Blitz, and it's very clearly a memory that still deeply affects Blitz, a memory that most likely reinforced Blitz's own self hatred, because he's blaming himself for Tilla's death and Fizzarolli's injuries at this point, and his dad is just rubbing that in a lot by getting extremely pissed off with Blitz and hitting him because of the circus fire.

Plus, just look at Blitz's reaction to this memory, look at Blitz flinch, look at Blitz starting to struggle against the chains the moment this memory comes up. Blitz's reaction to this just proves how deeply it affects him to this day, and also proves that Cash hitting Blitz added to Blitz's self-hatred over the circus fire. Also, just how many times did Cash physically abuse Blitz like this over the course of his life so far?

Finally, we have the memory of Cash keeping Blitz from seeing Fizzarolli at the hospital. "But they told me you didn't want to see me.", Cash lied to Blitz and most likely the hospital staff as well considering the 'they' used, saying that Fizzarolli didn't want to see Blitz again, having strong implications to Blitz that Fizzarolli hated him. He also lied to Fizzarolli and said that Blitz never even visited him in the hospital. Further adding to Blitz's self hatred over the circus fire.

Section 2: Everything that has reinforced Blitz's self hatred, and is important on Blitz's self-forgiveness journey.

Let's start with Loona, we see her two times during the memories sequence.

The first having this exchange of dialogue.

Blitzo: Because, I adopted you! And that should mean something!

Loona: Oh, what does it matter?! You're not my real dad! I was almost eighteen!

Blitzo: It still counts!

Loona: Well, it shouldn't! I didn't need you then, asshole! I don't, now!

Notice the word 'need.', it's something that Blitz has internalized by now, Blitz thinks that if the people in his life don't 'need' him, they'll just leave him. Another thing that this shows is that Blitz is worried about if Loona hates him.

And it's very clear that Blitz is still effected by this exchange in s1 e3, even quite a while later. In s2 e2, we see Loona kick Blitz right in the balls, and just look at Loona's face in this scene, what Blitz sees here is his fear that Loona hates him, which is why it's in the memory sequence, and there's also these pieces of dialogue to consider.

Loona: If I'm so terrible, how about you just grow a pair and replace me?

Blitzo: Okay, well, maybe I- Maybe I might.

Blitzo: Oh, Loona, my sweet baby girl! I'm so sorry, I'll never replace you no matter what you--

Blitz is still concerned that Loona hasn't forgiven him/hates him for saying that he might replace her, hence why he instantly says he'll never replace her the moment Blitz sees her again, and that face and kick in the balls definitely fed into Blitz's fear that Loona hates Blitz.

And this fear that Blitz has about people who he cares about hating him seems to be something that applies to a lot of different people.

We see this fear in Fizzarolli, because this is one of the memories that comes up in that sequence. The malice-filled stare Fizzarolli gave Blitz during Ozzie's, and we all know Cash was the reason why Fizzarolli hated Blitz for so long, because he lied to Fizzarolli and said he started the fire on purpose, and said that he never visited him once. Alongside other things like Cash making Fizzarolli the golden child. So even all those years later, Cash is still contributing to Blitz's fear of the people he cares about hating him.

Don't be mistaken as well, just because they made up in s2 e6 doesn't make this fear of Blitz's go away, doesn't make the pain of the malice-filled stare go away, which this memory being brought up proves.

And, as I've said before, Blitz still blames himself for accidentally causing the fire that severely hurt him, also adding to the fear and self-hatred.

Barbie Wire, we can see this fear play out with her as well.

"I never wanna see you ever!"

Looking at both Blitz's face at the time and the fact that this scene made it into the memories sequence, it just shows us that Blitz has this fear for Barbie Wire as well, just like how he had it for Fizzarolli. The fact that Barbie Wire doesn't even want to see Blitz again just confirms that fear he has, that Barbie Wire hates him, and the memory of it also confirms just how deeply her saying that effected Blitz.

"Are you worried I may have enough of it one day as well?"

Truth Seekers, the fact that this is Blitz's subconscious telling him this is proof of the fact he has this fear that Moxxie will get tired of Blitz's behavior, that Moxxie will hate him and just, leave.

And the sequence with all the dead Millies and her appearance in the memories sequence also confirms that Blitz has this fear when it comes to Millie as well. Plus, the sequence with the dead Millies also tells us quite a few things, but I think the main ones are the insecurities Blitz has that he 'keeps fucking people's lives up' and 'leaving them worse and more broken than he found them', which both add to the fear that the people in Blitz's life who he cares for hates him.

The last person, Stolas.

There's three memories in ghostfuckers of him I'd like to bring up here.

The first being the All 2 U song memory, just look at how angry Stolas looks to Blitz in this specific memory, while singing lines like "'Cause I don't think it meant a thing at all!"

This one, Stolas was literally just crying a moment ago with all the makeup streaming down his face, but Blitz doesn't seem to remember that fact, instead, he's more focused on what Stolas said, more specifically, "You! Why are you here? I don't want you here, go home, please! Let me not feel so sad!"

And the final one, Stolas and the BTB guy. It's not jealousy, it's god damn heartbreak, especially considering the 'I mean you're a fucking prince. How could you ever actually care for an imp... Me? How could anybody?' Which shows us that Blitz thinks Stolas deserves a better partner, and then a guy literally with a shirt named 'Better than Blitzo' came in, with them dancing and enjoying each other, something that Blitz most likely wished he could do.

Plus, it had been around 24 hours since Stolas' confession to Blitz, and to Blitz, Stolas is already with someone else, someone 'better' than him. With the moment of the BTB guy kissing Stolas being all the confirmation Blitz needed, that he'll never be enough for Stolas, that Stolas has found someone better than him. That he's unlovable.

With all these three memories just massively contributing to Blitz's fear that Stolas hates him, and his self-hatred in general.

(Obviously Stolas doesn't hate Blitz, and that the BTB dude is a one night stand at most, but I'm speaking like how Blitz sees things rn)

Something else that's also relevant is this memory of Verosika, and the reason why this is specifically in the reel is because this was the moment that Verosika said "A reckless, heartbreaking freak!", all while Stolas was watching, which is something Blitz very clearly noted in his memories of the event, showing how much this effected him as well.

And to show that even more, this is the exact point that gets Blitz's tears flowing.

Another thing I want to quickly mention is that Blitz struggles to understand concepts and such of love, outside of a transactional context. Like, correct me if I'm overthinking this, but the 'unconditional support' card is yet another example of Blitz doing this kind of stuff. Everytime they give Blitz 'unconditional support', Blitz punches a hole in the card, with the one at the end being that Blitz has to leave M&M alone for one date, like, my babygirl, that isn't unconditional.

I also suspect that this has roots with Cash as well, considering that Cash was 100% the type of person to only see their value as 'how much money they can make him', and that the less they make for him, the less that Cash will 'love' them, something that is extremely clear in the difference that Cash treated Blitz and Fizzarolli on multiple occurrences. Like, here for example. Plus, there's also the fact that Blitz was bought by Paimon to be friends with Stolas as a kid.

And well, I think we all know what the biggest example of this kind of relationship has been throughout the show, it being something that only ended a few episodes ago.

Of course, I have to mention "I believe your subconscious is trying to tell you that you simply cannot fathom proper intimacy, but… also crave it as well.", which is something that is extremely intertwined with this subject, and the best example of this is probably s2 e8.

Something else in the memories sequence that this line from truth seekers also heavily applies to are these memories.

It shows us very clearly that Blitz is rather envious of the relationship that Moxxie and Millie have, because Blitz craves proper intimacy, so what Blitz sees is something he wants, but something he feels like he can't obtain.

Finally, the last subject I'd like to talk about is the fact that Blitz, hasn't really been able to see much of the good things he's done for the people he cares about or that he straight up doesn't know, by just being himself.

Blitz saved Moxxie from a life with Crimson and also busted him out of prison, Blitz gave Millie a life, a husband, and a purpose, Blitz gave Loona a home and a loving father, right before she was about to get kicked out the system, and Blitz gave Stolas the courage to stand up to his abuser, to allow him to choose for himself and get that divorce.

But, the sad part is that Blitz doesn't really see much of that.

Section 3: The progress Blitz has made on self-forgiveness journey so far.

S2 E6, the fact that Blitz and Fizzarolli was able to make up after so long removed a huge roadblock in the way of Blitz's self-forgiveness journey. The fact that Fizzarolli no longer hates Blitz. While there are still memories about Fizzarolli that still haunt Blitz, as I've shown in this post, this is still a huge step forward for Blitz being able to repair his relationships.

The first real heart-to-heart Blitz and Millie conversation, a lot gets brought up here, just exactly how Blitz has improved Millie's life for the better, confirmation to Blitz that Millie never hated Blitz and the fact that they're best friends. Of course, there's also Millie's apology to Blitz, with this conversation being something that Blitz desperately needed to hear, and I really hope everyone else eventually tells Blitz just how much he's changed their lives for the better.

And the second conversation between the two, the first thing that Blitz mentions is Millie's best friend comment, and that is huge for Blitz, because it signals the start of Blitz learning that people in his life can care for Blitz unconditionally. That Blitz can just have friends in his life, as the line "I- I've never had a real friend that I didn't want to fuck."

(hit the image limit, so time for timestamps!) Timestamp 24:31

(Timestamp, 24:45) "The bird got to you that bad, huh?", it just means so much to me that Blitz has finally admitted the fact that Blitz has feelings for Stolas, because it shows that Blitz is slowly, but surely starting to open up, and this is gonna be a huge thing for Blitz's relationships, including when Stolitz finally gets back together.

[lost-romantique]

Blitz- Sex, Love, and Stolas

In order to understand how Blitz has romantic feelings for Stolas, you have to understand Blitz's complicated relationship with sex in general.

Sex is a weapon

Sex is a tool

Sex is enjoyable and pleasurable

Sex is something he can get lost in when things are tough, and he doesn't want to be alone

Sex is a means of getting what he wants

Sex is what he's good at

Sex is one of the only things he finds value in himself in

Sex is a way he can get his feelings out

Sex is the only way he knows how to show love

Unlike Stolas, who fell for Blitz almost instantly and saw sex with him as a way of being close with him. Blitz isn't like that.

Yes, Blitz can automatically find someone sexually attractive, but finding someone sexually attractive isn't the same as falling in love with them.

For Blitz, it takes time for him to fall in love with people. It doesn't come easy to him because, for Blitz falling in love with someone is the same as showing weakness, and Blitz doesn't do weakness.

Blitz puts on this mask of bravado because he uses it as a defense mechanism to keep people at arm's length. For Blitz, he's had this mask on for so goddamn long that it just comes natural to him, it's the same as breathing.

As a result, sex in a way, became one of Blitz's only ways of getting his emotions out, without the need to talk and communicate his feelings. Blitz can't talk his feelings out because that's scary, but he knows how to fuck people, so he uses sex to show he cares.

That's why Blitz sought comfort in the 'transactional fucking' he had with Stolas because it was a way for him to be close with Stolas, and be in a relationship, BUT it was also an excuse Blitz could use to keep Stolas at arm's length.

Because of the nature of their relationship, Stolas ended up becoming one of Blitz's longer lasting relationships. And that is how Blitz was able to slowly, and subconsciously develop actual romantic feelings for him.

Through sex with Stolas, through the complicated nature of their relationship, Blitz was able to delude himself and get lost into his very own fantasy where he could have one thing he truly wants, but he doesn't think he deserves: a 'boring as fuck monogamy'.

[rejectedfables]

the Helluva Boss Mission shorts, all coming out between Apology Tour and Ghostfuckers, serve multiple purposes. Obviously they bring much needed levity back to the show during a very emotionally heavy story arc, allowing the audience and the characters time to breathe. They also bring I.M.P.'s daily life back on screen, allowing the creators and audience to experience a little bit of that original concept of the show that the creators pivoted away from to follow the more plot and character heavy story they settled on. AND they give us a sense of time passing as we see Blitz go through the aftermath of The Breakup.

All of these are things I've seen other people talk about.

What I want to talk about is the fourth thing:

All three Mission Shorts are a reflection of how Blitz used to see Stolas.

An aggressive dangerous group of birds who say derogatory things to him and WILL kill him if he's not good enough at sex.

An obsessed fan who is impervious to all harm, talks down to him, uses pet names for him, fetishizes him, and only cares about the FANTASY of Blitz while not listening to or caring about him as a person at all.

Being trapped and treated like a source of entertainment, treated like less than a person, commodified for being violent by a duplicitous man surrounded by small horned pets who he infantilizes but who can be reasoned with.

All three of these shorts are throwing Blitz's own baggage around Stolas back into his face in weird subtle ways, and Blitz has to grapple with the fact that none of these ACTUALLY feel like Stolas to him. For as much as Stolas contributed to the situation they're now in, so did Blitz. Because Blitz has been reading him wrong this whole time.

[ladykatibeth]

I feel like you can’t fully understand or analyze Stolas as a character unless you take into account the fact he spent his formative years with literally no social interaction aside from his father (who he barely saw) and servants, and then spent his adult life only really interacting with his emotionally abusive wife, and his daughter who was dependent on him.

If you do any analysis without that context you run the risk of misidentifying cause and result. The root cause of Stolas’s isolation isn’t necessarily poor social skills, the root cause of his poor social skills is being chronically isolated (and as an adult it’s become a kind of feedback loop, aided by his abusive wife’s deliberate isolating).

Just like you can’t separate Blitz’s issues from him losing his entire family due to an accidental fire he caused, you can’t separate Stolas’s issues from his intense life long isolation. They both don’t respond to life in healthy ways, because they developed their sense of selves and views of reality in extremely unusual circumstances!

If you don’t keep this in mind you get takes like “Stolas’s main issue is that he wants romcom romance.” When actually the main issue is that Stolas prior to Blitz had no actual relationship experience at all and only had tv shows and books to reference what it should look like.

That isn’t to say he doesn’t have character flaws he needs to work on, he does. It does mean that him dealing with it, will take a little bit more than just restructuring his view of himself. Some of the results of Blitz’s and Stolas’s past and upbringing will likely require life long management. They’ll occur less frequently, but they might never fully go away.

[jo-the-unknowable]

i can't stop thinking about this painting Ozzie has in his office. this gigantic, presumably oil on canvas, painting of himself and Fizzarolli, in what could be described as a tastefully nude, intimate, suggestive pose. this is hanging in his office. where he potentially takes work meetings. at first I thought, well, maybe this is his private office and he doesn't meet people in it. and then like two seconds later we see him meeting with Stolas in that very office, and later he meets with Crimson's lawyer there too. they're literally sitting right in front of a giant painting of Ozzie and Fizz while negotiating for Fizz's ransom lmao. so like. does Ozzie take meetings in here often? is he not concerned about people seeing this painting and drawing the obvious conclusion? aren't they trying to keep their relationship secret? maybe he plays it off as just a sexual painting, but then does that mean he's had other intimate paintings of himself and a sexual partner commissioned? if so, how often has he done this and where does he keep the other paintings now that he's with Fizz? does he have stacks of four foot by six foot oil paintings stashed somewhere? did people find it suspicious when all the sexy paintings vanished except the ones featuring Fizz? i'm obsessed with this painting and the implications

[blitzwhore]

Stolas just standing there and letting blitz hug him in the end is all good, right? He is just sad because of octavia and accepting that blitz is there with him right?? It's not that he regrets chosing him, right??? (I just need affirmation)

You know what? I've found myself needing reassurance about this too. So let's take a moment to look at the facts together, shall we?

(This reply turned out way longer than I expected it to 😅 sorry!)

Fact #1 - Stolas is still coming to terms with the consequences of his actions. He spends the whole episode finding out just how much his life has changed. Learning how to navigate groceries, and laundry, and meals, and having a job, and worrying about money.

Mid-episode, he has a breakdown where he truly questions if everything he gave up was worth it just for a fantasy. At this point in the episode, he still hasn't realised how much he means to Blitz. As far as he's concerned, he did all of this for someone who doesn't reciprocate his feelings. By the end of the episode, though, his feelings have settled enough for him to express what he has known to be true all along: that saving Blitz was the right thing to do.

What Stolas regrets isn't saving Blitz's life, or even loving Blitz in the first place.

What he regrets are the choices he made that led them to this. He feels guilty for selfishly (or, rather, naively) playing out his fantasies. He's the one who established the deal, who let Blitz illegally use the book for many months, who wasn't always sensible about how he expressed his love for Blitz publicly and despite being married, and who allowed himself to ignore the reality of his situation so he could live in his own, personal romcom—all of which ultimately led to the events of Mastermind and the loss of Via.

And all the guilt and regret he's grappling with (however justified it might be) is exacerbated by fact #2, which is:

Fact #2 - Stolas is off his medication. He's been off it for a month now. Symptoms of depression (especially untreated depression) include mood swings, irritability, self-hatred and low self-esteem, passive/active suicidal ideation, pessimism and hopelessness about the future, catastrophising, black-and-white thinking, and anhedonia (inability to feel pleasure and to find joy in things—and people—who used to bring you it). All symptoms Stolas exhibits throughout this episode.

So, even if he shows a lack of emotion toward Blitz at times, or irritation to seemingly minor things like low doors or "secretating" or Karen's behaviour, even if he acts regretful and angry and desolate... a lot of these emotions and behaviours are a result of his depression, and not of actually hating the life he chose.

Fact #3 - Stolas loves Blitz. He always has, and always will. I could point at a thousand different moments in the show when Stolas' love for Blitz has transpired, but I'm going to leave it at his line from Mastermind: "I would rather be dead than live life without you by my side."

Even after everything they've gone through, even now that he's taken Blitz off his pedestal and can acknowledge that Blitz can be a fucking idiot... Stolas simply does not want to live a life without Blitz. It has always been Blitz. It will always be Blitz.

Stolas loves Blitz.

Fact #4 - Stolas kissed Blitz. Before he truly hits rock bottom as a result of Octavia cutting him out, Stolas is so ecstatic that Blitz cares, that Blitz was willing to go to such lengths to save his life, that he can't hold back the need to kiss Blitz mid-air. Suddenly, none of his earlier frustration matters. Nothing matters expect for how elated he is that Blitz loves him back. So he smiles and he pulls Blitz into a kiss because he can't bear not to kiss Blitz for a moment longer.

Look at this man. Look at how happy he is. Because it's always been Blitz, and maybe it was a fantasy for a long time, but it doesn't have to be anymore. Maybe this can be real now. He's so happy he (and I) could cry.

Fact #5 - Stolas didn't deny loving Blitz. When Via said "You don't love me, you love him," the script very purposefully did not have Stolas go "no, no, Via, that's not true—" or say anything else that might make Blitz doubt, even for a moment, that Stolas loves him. Because that much is true. He does love Blitz. He just also loves Via. Which brings me to:

Fact #6 - Blitz knows Stolas loves him. At no point throughout the episode does Blitz doubt, even for a second, that Stolas loves him. And we know this because Blitz's walls remain down at all times. If Blitz doubted he was loved, if he had even the slightest of reservations, those walls would come crawling back up whether he wanted them to or not. It's what he's been trained and conditioned to do—it's how he's kept his heart safe ever since the accident.

But now, he knows his heart is safe with Stolas. He believes it enough to not depend on his walls to feel at ease. He believes it enough to let himself take care of Stolas and be soft with Stolas without the slightest trace of hesitation.

Look at Blitz's face. This is the face of a man who knows that even if Stolas isn't okay right now, things will get better. And when they do, they'll both still be in love with each other. This is the face of a man who can't wait for something beautiful to flourish between them, but who is in no rush to get there. He knows the road ahead is hard and painful, but he has faith in Stolas. In both of them.

Fact #6 - Stolas was happy to share a private, romantic dance with Blitz. Despite everything going through his mind, he found comfort and happiness in dancing with Blitz; in getting to have this little moment with him.

He found relief in the fact that Blitz stayed with him this time, even after Stolas told him, once again, that he didn't have to stay.

His reaction to Blitz initiating a dance between them is genuine surprise, immediately followed by an enamoured little smile at the mere notion that he gets to have this, now.

And, as they dance, he keeps smiling and leaning into Blitz, going as far as to manage a deep, heartfelt laugh at Blitz's words. This, for an unmedicated, depressed person going through one of the worst days of his life, is huge in itself. It shows that, even in the worst of times, he finds undeniable comfort and happiness in Blitz.

And, after their dance, Stolas looks at Blitz with a sobriety and soft sort of realisation that shows he's finally coming to terms with the fact that this is real. After everything he's lost, after all the fantasies he hoped for for so long and believed he'd never have, he finally gets to have this.

Despite the pain he's going through, Stolas looks at Blitz and sees the man he loves.

Notice how Blitz's eyes trail down to Stolas' mouth. And Stolas realises. And doesn't move away. Waiting, expectantly, for Blitz's next move, fully expecting it to be a kiss.

But then Blitz hugs him instead, and Stolas doesn't hug back.

And it's not because he doesn't want to be hugged by Blitz. It's not because his feelings for Blitz have changed, or dimmed, or disappeared. It's not because he regrets loving Blitz, or saving him. It's not because he doesn't want to have a close, healthy, loving romantic relationship with Blitz.

It's because of facts #1 (he's grappling with so much guilt and coming to terms with the consequences of his actions) and #2 (he's experiencing symptoms of unmedicated depression). And, above all, it's because of fact #7, which is...

Fact #7 - Stolas doesn't know how to be loved. Stolas has never had support. He has never had a shoulder to cry on, or someone to hold him when he needed it. When he's feeling vulnerable and broken, he defaults to hugging himself as a way to self-soothe, because that's the only comfort he's ever known.

And because he's never known comfort from others—because it was never allowed or safe for him to need or ask for comfort from others—all Stolas knows to do with his vulnerability is hide it. So much so that, the two times we see him begin to break down in front of Blitz before this episode, he either portals Blitz away or masks his tears and pain immediately. Even as he drunkenly rambles about wanting to be held, he still makes sure not to appear like he actually needs a hug.

So when he finds himself being held by Blitz in a warm, comforting hug, Stolas doesn't know how to respond. Because he's never had this. He's never had an opportunity to learn how to exist in someone's comforting embrace, how to interact with this kind of physical contact. He still has to learn how to feel safe between arms that aren't his own.

Simply put, Stolas still doesn't know how to hold Blitz back.

That doesn't mean Stolas doesn't want or need physical comfort. He needs it desperately—everyone does. But wanting something and knowing how to actually have it are two very different things, and Blitz knows that better than anyone, because he's wanted Stolas for a very long time, but didn't, until very recently, know how to feel safe accepting Stolas' love.

And that's why Blitz is completely understanding of the fact that all Stolas can do, all Stolas has the ability to do, is stand there and let himself be held, and let his emotions go through him. In, and out, with every breath, with every second. And get slowly acquainted with what being comforted by the person he loves feels like.

Thirty-something years of trauma can't be undone in a single hug, or a single conversation, and it's going to take time for Stolas to learn how to be present while in Blitz's arms, and how to return that emotional closeness.

But Blitz has faith in him. Blitz is willing to be patient and soft with him while he gets better. Blitz is ready to meet Stolas where he's at, because he knows, beyond a trace of doubt, that they love one another, and they're going to be okay. Even if Stolas doesn't know it yet—even if we, the audience don't know it yet—Blitz knows.

And that's just going to have to be enough for now.

And because this post got completely away from me, I shall conclude by quoting their song, because it summarises their story better than I ever could:

Truer love is hard to find. ❤️

[prince-liest]

Helluva Boss 11: Mastermind

This episode did such a great job of hammering home precisely how many shits literally anybody in the upper echelons of hell gives about imps, which is to say, exactly none. Blitz said it himself: Satan was literally never going to listen to them. It doesn't matter if they had legal means to do business via the crystal that Stolas made sure to give Blitz for precisely that purpose. Even Stolas didn't bother bringing it up in the trial when he intervened, because from the moment Andrealphus turned this into a thing, it only mattered that a goetia decided he's gonna make some drama about IMP, and killing a bunch of nobodies lets everyone break for lunch sooner than taking 30 seconds to actually listen to their side of the story.

The only person who actually spoke up in the name of justice and finding out what actually happened was Vassago, who wanted to hear Stolas's side of the story. Even the people who spoke up explicitly on behalf of Blitz (Asmodius and Beelzebub) cited, "Hey, I know that guy! He's pretty neat." as their argument because their personal opinion and enjoyment of his presence is what matters, not any kind of fairness or justice.

And then they were immediately given shit for giving a shit because they were dating the lower classes.

Because, again, why else would you even care?

[tealvenetianmask]

Just a reminder that Blitz has always been someone who takes care of others and builds them up.

Moxxie: "Do you remember what you said to me after my first day with the company?"

Blitz: "Not really."

Moxxie: "I remember. You told me I did a good job and that you were proud to work with me. I feel like you wanted to say something more judgmental, but you said that because I needed it."

I'm in the process of writing a post about Moxxie, and I stumbled on this conversation.

People are still coming out with "oh look, Blitz is finally learning to care about other people" takes. He's always cared. And he's always been good at being supportive (even if he's also shitty to the same people sometimes).

What he's finally learning is that people actually care for him back.

[criticalcrusherbot]

Messy but Meaningful: Challenging Pop Psychology’s Unrealistic Expectations of Relationships in Fandom Spaces

By Crushbot 🤖 and Human Assistant 💁🏽‍♀️

The growing tendency in fandom spaces to apply pop-psychology frameworks to fictional relationships—such as Blitz and Stolas’s relationship in Helluva Boss—often oversimplifies the complexities of real-life human dynamics. While using psychological language to analyze media can deepen understanding, it can also lead to reductive and rigid interpretations of relationships. For the sake of argument, if Blitz and Stolas were real people, the expectation that both must be fully healed, emotionally stable, and entirely self-assured before engaging in a relationship reflects an unrealistic and idealized view of mental health and interpersonal growth.

The Myth of Complete Healing

One of the most common misconceptions in pop psychology is the belief that individuals must achieve complete emotional healing before they can engage in healthy relationships. This idea, while well-meaning, is rooted in an overly simplistic view of personal development. From a psychological perspective, healing and self-improvement are ongoing processes. Life circumstances, relationships, and personal challenges continually shape and reshape our mental and emotional landscapes.

Attachment theory, for example, suggests that relationships can be powerful arenas for healing. According to John Bowlby and Mary Ainsworth, attachment dynamics are formed in early childhood but can be reshaped in adulthood through secure and supportive relationships. Blitz’s and Stolas’s relationship, though imperfect, demonstrates how mutual care and connection can provide opportunities for growth. Stolas’s willingness to be emotionally vulnerable and Blitz’s gradual acceptance of his feelings suggest that their bond is helping each of them confront their emotional barriers, even if they’re not “finished” healing.

Relationships as Sites of Growth

Instead of requiring complete emotional stability as a prerequisite for relationships, many psychological frameworks view relationships as places where healing and growth can occur. In Helluva Boss, Blitz and Stolas’s dynamic reflects this principle. Their relationship, while messy and fraught with misunderstandings, provides opportunities for them to confront their vulnerabilities and develop healthier patterns of intimacy.

This idea aligns with Carl Rogers’s humanistic approach to psychology, which emphasizes the importance of relationships in fostering self-actualization. Rogers argued that empathy, genuineness, and unconditional positive regard are key ingredients for personal growth—and these qualities often emerge in relationships. While Blitz and Stolas struggle with these elements at times, their efforts to connect and communicate demonstrate a willingness to grow together.

The Role of Imperfection in Relationships

Pop-psychology discourse often pathologizes imperfection, labeling any relationship that involves conflict, miscommunication, or emotional baggage as “toxic.” However, conflict is not inherently harmful; it’s how individuals navigate and resolve conflict that determines the health of a relationship. Psychologist John Gottman’s research on marital stability highlights that even successful relationships involve conflict. The difference lies in whether partners approach disagreements with respect, empathy, and a willingness to repair after mistakes.

In the context of Blitz and Stolas, their struggles with power dynamics, vulnerability, and communication do not automatically render their relationship toxic. Rather, their willingness to acknowledge and address these issues—such as Stolas’s attempts to give Blitz more autonomy with the Asmodean crystal or Blitz’s growing emotional openness—suggests a dynamic that is evolving toward greater mutual understanding.

Realistic Expectations for Healing and Change

The expectation that adults must be fully healed and self-assured before entering relationships also neglects the reality that personal growth often occurs within relationships. Social learning theory emphasizes how individuals learn and adapt through observation and interaction. Relationships serve as a mirror, reflecting areas for growth and offering opportunities to practice new behaviors. For Blitz, his interactions with Stolas force him to confront his fear of vulnerability and his tendency to self-sabotage. For Stolas, being with Blitz challenges his understanding of intimacy and forces him to step beyond his royal privilege to engage in genuine emotional connection.

It’s also worth noting that personal growth is non-linear. Progress often involves setbacks, missteps, and moments of doubt. Relationships do not have to be perfect to be worthwhile or beneficial. The process of working through challenges together can strengthen bonds and foster deeper connection.

Rejecting Pop-Psychology Absolutism

The pop-psychologization of fandom spaces often reduces complex dynamics to overly rigid binaries: healthy/unhealthy, secure/insecure, toxic/healing. While these frameworks can offer insights, they risk ignoring the nuance of real-life relationships. Humans are messy, imperfect, and constantly evolving—and so are their relationships. Holding fictional characters (or real people) to unrealistic standards of emotional perfection perpetuates an unhelpful narrative that growth must be completed in isolation, rather than as a collaborative process.

Blitz and Stolas exemplify the idea that relationships can be messy but meaningful. They are imperfect individuals navigating their own traumas and insecurities, yet they are also actively working toward better understanding themselves and each other. This dynamic reflects a more realistic and compassionate view of relationships, one that acknowledges growth as a shared journey rather than a prerequisite for connection.

Conclusion

Expecting individuals to achieve complete healing before engaging in relationships is both unrealistic and at odds with what we know about human development. Relationships, particularly those marked by care and effort, can serve as powerful spaces for growth, healing, and transformation. Blitz and Stolas’s evolving bond in Helluva Boss illustrates this beautifully, showing that imperfection does not preclude progress. By challenging the rigid expectations of pop psychology, we can embrace a more nuanced understanding of relationships—both fictional and real—that values growth, vulnerability, and the shared journey of becoming better together.

[helluvathings]

Some thoughts on Ozzie's response at the trial

One moment that caught my attention, and I've seen a few reactors comment on it too, is that Ozzie's defense of Blitzø's right to a fair trial is lukewarm compared to Bee's. She gives a character reference, speaking about him almost fondly, while Ozzie offers one understated line.

He speaks lightly, but isn't that the kind of phrase usually accompanied by a side-eye and a pointed, "You do have a good explanation, right?" And I've seen a lot of Ozzie call outs for not just "sharing the truth," since he "knows what's really going on."

But the more I think about it, the more I feel like his slight involvement probably makes things look worse from his perspective. Tbf, the dialogue disparity could be timing constraints and wanting to make use of Kesha. Still, I honestly suspect Ozzie knowing more than Bee would make it likelier he'd be reluctant to outright vouch for Blitzø's character even if he supports a fair trial.

I do plan to touch on a few separate points. But the BIG thing I haven't seen brought up: Ozzie is the only person in that room who may know the extent to which Blitzø's use of the grimoire has actually, undeniably endangered Hell. I feel like this fact has sort of slid from people's minds, but as a reminder:

IMP obliterated part of Ozzie's ring directly outside his club. In a setting where there are likely security cameras, and at the very least, his bouncers were shown to be in the general vicinity. And there were cherubs with high tech battle suits visibly involved. Assuming Ozzie investigated this, his additional knowledge isn't actually in IMP, Stolas's, or Blitzø's favor at all.

Rewinding to touch on what Ozzie actually knows about Stolas and Blitzø's situation:

Ozzie is aware that Stolas has feelings for Blitzø.

He could guess, if he ever thought about it, that Blitzø must’ve been getting to earth a different way beforehand since his business precedes the crystal. However, he's never told this. Depending on how much he cared to look at the particulars, it possibly didn't occur to him at the time (though if he looked into the Lust Ring attack, he likely figured it out).

He also has no confirmation that Blitzø has feelings for Stolas. Fizz has probably speculated, maybe he shared Blitzø had come to Lust for toys—but Ozzie has only seen them together at Ozzie's, when he was more concerned with helping Fizz revenge-ruin their date than drawing any relationship analysis (except in the ways that helped him revenge-ruin their date).

Ozzie may also know about the anti-Blitzø parties, or at least that Blitzø has a poor history with relationships. Fizz knew his "love life [was] a pile of shit," and that giving the stage to Verosika during House of Asmodeus would get results, so at the very least, he seems familiar with Blitzø's bad habits. If Ozzie doesn't know Stolas is different, a very possible explanation might be that Blitzø had been using Stolas’s feelings to get the book. Not "forcing himself," but not really Lust King-approved.

I.e. Ozzie can assume “not forced,” but not “mutual feelings,” or “Blitzø did nothing wrong." Blitzø has also told him one of his skills is "killing things without giving fucks," so again, the background knowledge of Blitzø isn't necessarily a good thing here.

Then after Apology Tour, Blitzø went into a depression slump and probably cut off contact with friends, including Fizz. From Fizz and Ozzie's perspective, the day Blitzø got the crystal, his thing with Stolas outwardly ended, and he likely never shared much about what happened (if he didn't deflect outright). Fizz may have noticed and commented on Blitzø acting strange, but the circumstances are ambiguous.

To summarize: Ozzie can guess Andrealphus is full of shit, and that some sort of setup is happening. But he doesn't know "the truth," in the sense he could speak up and clarify everything.

What else he possibly knows:

IMP had a massive fight with well-armed heavenly beings in the middle of the Lust Ring.

This was shown to have caused substantial damage. Loona destroyed what looked like one of his buildings, on top of other property destruction, right in front of his club. If they had security cameras, Ozzie probably knows this. Like I mentioned before, two of his own bouncers were outside, alongside dozens of witnesses. If he investigated at all, there are ways he could piece together what happened.

A frequent reaction has been, “Ozzie knows everything Blitzø did was above board, he could’ve clarified.” But Ozzie has a lot of facts that actually look awful? Depending on what surveillance caught from that fight, Ozzie very well could've connected IMP to cherubs coming to Hell. To his ring specifically.

Two conclusions to be drawn from this:

If Ozzie has recognized as much, he hasn't said anything. Which is both him already covering for IMP, but it also means he's hiding something Satan would desperately want to know.

Ozzie has a legitimate reason to be upset at Blitzø and Stolas for bringing him into this. First because Stolas wasn't up-front about the formerly illegal details of Blitzø getting to earth (let alone moments like in Truthseekers where there's already been major transgression). Then afterward, when the spillover of their indiscretion caused damage to his ring and possibly got Lust Ring demons killed.

Ozzie is involved enough that all this could cause trouble for him if he's implicated

I've seen people say he'd be immune because of his rank. But while he'd physically be fine, Mammon was already going at him and Bee about their partners. Mammon has also threatened that Ozzie would "regret revealing" his love for Fizz, in pretty clear foreshadowing. Ozzie has a big, well-known weak point.

Also, Blitzø was on trial about unlawfully going to the human world (or doing it "unwittingly" as a pawn of the evil Mastermind Stolas). And this all happens while he has a registered Asmodean Crystal on his wrist. He even tries using it to get to Stolas while they're dragging him away. The more Ozzie speaks up, the more closely Blitzø is examined, and the clearer it is that Ozzie is involved with something illegal.

The legitimacy of Blitzø's behavior on Earth is a bit dodgy as well. Remember how Verosika let Blitzø win that bet because she was wary of getting into trouble for the conspicuous monster? They’re clearly supposed to keep a low profile. If Ozzie linked IMP to the Lust Ring incident and realized they've been stirring up trouble topside, his lack of interference may indicate he's already making allowances he legally shouldn't be.

Do I think the imagery of Ozzie and the other Sins falling in with Satan during the song may go complicated places? Possibly. And Ozzie clearly did want to help after Fizz’s text and seemed to feel he couldn’t. I don't think he's exactly blameless, in the sense he's aligned with a messed up system here. I also have no idea if the writers considered any of this, or if we're ever going to see Ozzie's thoughts or feelings about the attack on Lust. Maybe that was just a cool fight scene to set up the cherub/DHORKS threat, and it won't have further relevance.

But honestly, the fact that illegal use of the grimoire brought trouble to Ozzie's doorstep makes me more willing to shrug off his muted response at the trial. Even if Ozzie isn't aware, Blitzø and Stolas's lawbreaking led to an attack on his ring. If he is aware? It’s already iffy to expect he'd stick his neck out in a hopeless situation where it’d only get scrutiny turned his way. Wanting him to do so despite associating IMP with a heavenly threat and massive property damage? That's a big ask.

Maybe overthinking, especially if it’s revealed he doesn’t have much intel on the Lust Ring attack. But I feel like Ozzie knowing more about Blitzø's situation makes it harder for him to intervene, as opposed to easier. He may even have legitimate reason to feel like IMP has been endangering Hell, but has kept quiet for Fizz's sake.

Mostly, I wonder if it's coincidence that the show made that Lust fight visually, noticeably destructive, then next time we see Ozzie, it's Bee vouching for Blitzø's character, while Ozzie's statement focuses on getting an explanation. Her defense seems to be "he's cool, I don't think he'd do this." Ozzie's is more coded like, "It's fair to see what he has to say." Like maybe he's thinking it would be in character for Blitzø to have done something illegal and ill-advised that puts Hell at risk, so he'll stick with a safer defense. And honestly, I love Blitzø... but I also get why Ozzie might be ambivalent.

[stolitzsings]

Oh god oh fuck I just thought about this part in "Just Look My Way":

"Unless it's me, and no matter what in this world I could give

It's not enough to get through the walls you've conjured up to live"

AND THEN I THOUGHT ABOUT THIS:

And now I have to go chew my own arm off

LIKE, Blitz is so open here, allowing himself to be so tender with him, and just the fact that Stolas was part of the reason he realized he had to break down those walls

And he looks so happy and relieved to be able to be soft!!!

Stolas, you were always enough 😭 And Blitz’s realization that you loved him, and that he hurt you, is why he can start opening up again