#analyzing the sins of helluva boss

[anthurak]

Continuing my analysis and theorizing on Asmodeus, Mammon and the rest of the Deadly Sins of Helluva Boss and their backgrounds, characterization and where the show might be taking them, I’ve been thinking about what their expressions of their respective ‘Sins’ might truly represent for their characters. Both in the way they express it and even the whole reason they express a ‘Sin’ in the first place.

Now assuming that all of the Sins are Fallen Angels just like Lucifer, and their presence in Hell is a result of their expulsion from Heaven, and Hell being the new home they’ve built for themselves;

What if their expression of each of their ‘sins’ is a metaphorical or even outright literal trauma coping mechanism?

Like given what we’ve seen so far of how Vivzie and her team approach and interpret the ideas of Hell and Heaven, I think it’s all too easy to imagine them framing the ‘fall’ of the seven sins to be a truly horrific event that left all of them with massive emotional and mental scars and trauma. Like getting kicked out by the universe’s most controlling, rigid, conservative and violently judgmental family.

So what if the whole reason that Asmodeus, Mammon, Beelzebub and the rest started expressing and embodying their respective ‘sin’ was as a way of processing and coping with their trauma?

And of course, there are healthy ways of dealing with trauma, and unhealthy ways as well. Which I think is the true difference between the Sins.

Basically, Ozzie and Bee found healthy ways of processing and coping with their trauma, while Mammon DIDN’T.

More specifically, we see with both Ozzie and Bee that they are able to manage their ‘sin’ (ie; coping mechanism) so that it doesn’t become harmful to themselves or others: Bee is acutely aware of and concerned when someone is overindulging to the point of self-harm, while Ozzie strongly stresses the importance of consent when it comes to sex.

Mammon meanwhile, clearly has zero management or restraint over his ‘sin’. I think it’s all too plausible that Mammon’s obsession with wealth and attention for his ‘brand’ is deep-down a way for him to distract himself from some deeply repressed pain and trauma. Thereby showing how a coping mechanism can become harmful not just for oneself, but others as well.

And the best part is that even with the little we know of them at this point, I think we can already guess that Belphagor, Satan and Leviathan could display/represent other means of coping with trauma, either healthy or harmful.

We know that Belphagor runs Hell’s pharmaceutical business, so I think we can all agree that could easily be a way to show how medication can either help or harm in dealing with trauma. Satan being the Sin of Wrath could represent how anger can be used as a coping mechanism, while he apparently running a workout app could hint to him using fitness as a coping mechanism. And Leviathan being associated with social media of course has all kinds of potential to the show the good and bad ways THAT can be used to deal with trauma.

Over the course of its run thus far, Helluva Boss has shown itself to be in large part a story about dealing with trauma, with practically all of the primary and secondary characters having arcs heavily influenced or even outright defined by their struggles with past trauma. Blitzo, Moxxie, Loona, Stolas, Fizzerolli, Barbie Wire, even more minor or antagonistic characters like Octavia, Verosika and Striker. ALL of these characters have been shown grappling with past pain and trauma, with almost all showing that they are coping with their trauma in either a healthy or unhealthy manner.

Whether Moxxie recognizing that it is his father who is at fault for all the pain he went through and not himself, Fizzerolli finding a loved one who has helped him cope or Barbie Wire simply spending a long time in therapy to show the positive ways people can deal with their trauma. Or conversely, Loona’s closed-off, angry and generally anti-social defense mechanism, Stolas trying to throw himself into a relationship he doesn’t fully understand, or just… EVERYTHING that Blitzo has going on to show the harmful ways people can deal with trauma.

So I’d say it really only makes sense that with how the show has also taken steps to ‘humanize’ the Sins, that this theme of exploring how people deal with deep-seeded pain and trauma would likewise extend to them as well.

[mintaikk]

Why sleep when I can make long essays explaining the biblical and circus elements of Hellaverse characters?

[teeth-cable]

Why Lucifer being a good person is fucking stupid:

So in the show canon Lucifer and Lilith were kicked out because they were dreamers and gave Eve the fruit of knowledge. Based off the lore of Helluva Boss Lucifer 99% is the sin of Pride. In the show Lucifer is just a quirky theatre major who just wants to reconnect with his daughter...

Ok so lets analyze why this does not make sense in the worldbuilding. Lucifer is the King of Hell, a.k.a. a place full of homicidal maniacs and various other people. And since angelic weapons can harm angels (which is stupid btw) and sinners have been stealing weapons left behind by angels... Lucifer logistically cannot be a good person because these people could just decide to try to murder him if he was too weak. He needs the sinners and populace to fear him or respect him. Since Helluva takes place in the same setting Lucifer must have put in the social hierarchy of hell, approved it or doesn't do anything about it. Which means he plays some part in Stolas and Stella being forced to wed and the imps plus hellhounds being treated like garbage.

Then we get into story construction problems. Like if Charlie and Lucifer have a good relationship instantly then almost all the problems in the show can be solved at a snap of a finger because of Lucifer's power level. Its a similar problem with Alastor but worse because Lucifer is stronger. Like Alastor tho is implied to be weakened and forced to do this so there is intrigue storywise and limits on his personality and power. Lucifer is angel and can just like idk zap the Vees. Theres no threat, risk or anything now.

Also this Lucifer may have slept with Eve which either implies he cheated on Lilith or Adam was cheated on twice and Lucifer also agreed with genocide

And what wouldve been better is Lucifer being a shitty dad or person WHICH WE HAD IN THE PILOT. Like Lucifer being awful is actually better for the previous reasons and Charlie's own character. Like Charlie is supposed to be an underdog despite being princess and has an impossible task and if her father doesnt believe in her theres another personal level to then and maybe some of the audience could connect with her. And if Charlie's dad hates her or something you could easily write in and make Charlie struggle more by having him cut off her resources. Heck if her dad is awful then you can write in how Charlie feels about being so morally different. Then slowly build up to when we see Lucifer for the first time and actually have it feel special

This just makes me missed the pilot even more. While it did have it's own problems with the worldbuilding and characters, a majority of its ideas were still believable.

A better angle for Lucifer would be if he was a morally grey character. He can still be a decent father but a terrible ruler. Of course, that angle wouldn't work because everything in this show has to be black and white, where it literally tells you in a song, "Cause the rules are black and white" despite the same show critiquing its Heaven for the same black and white thinking.

I'm not against the idea of Lucifer being a decent father because there are still other ways the show can create conflict between him and Charlie. For example, he does get her the meeting into Heaven but it's at a cost. If she's unable to convinced Heaven, she has to abandon the hotel. Or maybe he is skeptical of Charlie's idea so he makes her overcome the hotel's problems, like the Vees, alone, to prove how strong and passionate she is. Of course, if they hurt Charlie, he can easily kill them, but it can serve as a great character moment for the both of them. Charlie learning Hell is brutal, Lucifer now hating the hotel because it will hurt Charlie, and create a new conflict where Charlie and Lucifer are against each other. Or the fact Lucifer was the one who allowed the exterminations to happened and Charlie has to undo her father's actions.

I'm only focusing on Lucifer being a "good" person through parenting because almost everything else, he's a bad guy. Not only was this the same man who allowed the yearly genocide of the sinners but also he created the classist, racist social hierarchy and system in Hell, and let the pride ring become so awful, the overlords, a group of powerful sinners, are taking advantage of regular sinners daily.

[local-redhead-bookworm]

One of the few solid critiques I’ve seen of Helluva Boss and Hazbin Hotel is that the shows pick and choose which moral failings to depict as bad or as just funny.

Essay-length rant under the cut, also Hellaverse-typical TWs for abuse, SA, and general lack of morals

Disclaimers:

I’m not hating on these shows. I love both of these shows, but I’m an English major so I think it’s important for me to be able to analyze what exactly I think is not working. I’m interested in a discussion, but if all you’re here to do is spew hate with no good-faith criticisms, I will block you.

These shows do not need to teach morals. These pieces of media are both intended for adult audiences, and adults should be able to understand that a depiction does not equal support. My criticism is that this moral inconsistency is sometimes to the overall tone’s detriment.

These two shows are both set in hell. Following the usual rules of hell, you wind up there regardless of what you did, so all sins should be considered equal in that regard. Of course, we as people tend to think of some sins as less forgivable than others—namely abuse, SA, and murder. I’m making broad generalizations here, but please roll with me.

The biggest problem with Hellaverse writing is that the writers aren’t consistent on what is considered morally bad in the show. These shows both center around complex, deeply flawed people, and I find that really enjoyable from a storytelling perspective because I love nuanced, flawed characters.

There are a few notable instances where this moral ambiguity works in the storytelling’s favor. Stella screaming and throwing things at Stolas (Loo Loo Land) is something the audience is primed to see as a joke, but it is used to set up the later reveal that she is in fact highly abusive (The Circus) and attempted to have him killed (Harvest Moon, Western Energy). Stolas being casually condescending to Moxxie and Millie (Loo Loo Land) and his imp servants (Seeing Stars, Full Moon) is not heavily remarked upon, but it is later used to set up his classism being a point of contention between him and Blitzø.

However, the protagonists often exhibit similar behaviors to the villains and this isn’t treated as morally wrong, or sometimes an incident is treated as minor. This problem is most glaring in cases of sexual harassment or SA. Blitzø’s repeated stalking of Moxxie and Millie, including watching them have sex without their knowledge or consent, is treated as a joke. Moxxie being kissed by the incubi and succubi (Spring Broken) is treated as a joke. Likewise Sir Pentious being dragged into the sex room in Welcome to Heaven is also treated as a joke, in spite of the episode’s b-plot being Angel Dust confronting Valentino, who is primarily shown to be bad through his sexual abuse of Angel Dust. Angel Dust harasses Husk at the bar from episodes 1-4, and while this is connected to Angel’s porn star persona and I do seem to recall it stopping after “Loser, Baby”, it’s still not treated as a problem, just as Angel Dust being Angel Dust. Other incidents of note are the running so-called joke of Loona fat-shaming Moxxie not being a problem, whereas when Mammon fat-shames Fizzarolli it is used to signify Mammon as a bad person.

I would also like to highlight the nature of Blitzø’s and Stolas’ full moon deal. In my opinion it is a running problem of dubious consent and poor kink negotiation. Let’s cover this in chronological order for sake of ease. In The Circus, Stolas starts out describing a sexual fantasy of Blitzø, his former childhood friend and first love, sneaking into his house to “ravish” Stolas. However, when Blitzø reciprocates and feeds into the fantasy, Stolas becomes hesitant. I believe this is intended to read as him being flustered, but he is extremely hesitant until Blitzø bites him. Stolas later forges the Full Moon deal with Blitzø while Blitzø is, to keep things to the point, under duress (Murder Family). Neither of these circumstances show both parties giving full consent. Hence, dub-con. Furthermore, as per The Circus and “we don’t do words, we do sex” (Apology Tour), Stolas and Blitzø have a strong precedent for poorly negotiated BDSM and lack of proper kink safety. However, the show’s inconsistency with how it handles sexual harassment and power imbalances weakens the impact of the Full Moon deal’s transactional nature on the relationship.

I greatly enjoy Helluva Boss and Hazbin Hotel, as I enjoy flawed and complex characters. I do not expect the show to address every issue raised here with the care that should be used in real life, as this is a fictional story set in hell. However, the writers’ inconsistency, particularly when it comes to depicting power imbalances and sexual harassment/SA, leads to a muddled tone which confuses the audience to a point where it is not beneficial to telling the story.

Because I’m a nerd but can’t be bothered to format 100%, here’s my works cited:

Danny Motta. “I Was WRONG About Blitz | Blitz Vs Stolas Debate.” YouTube.

Sarcastic Chorus. “STOLAS DID EVERYTHING WRONG - Stolitz Analysis.” YouTube.

Vivziepop’s Helluva Boss playlist. YouTube.

[vixien11]

My thoughts on the new Helluva Boss episode [Spoilers!!] (doing a big ol' post for this one)

Okay here's some early take aways n ideas (I might fuck up some lore so please correct me if I do) The Song (When I See Him) I don't have too many notes, but I do like the purposeful play on words as they are switching between Blitzo and Stolas

it's funny as hell, but the facial expressions were definitely more telling then some of their words. Eye twitches, very furrowed eyebrows, wrinkles, yada yada. Overall I think this song covered all the foreshadowing and looming senses of dread we TOOOOOTALLY NEEDED.... MHM... Definitely needed more emotions about these fuckers. The Cherubs OMG the Cherubs are spiraling. Stealing and lying. It's very clear they are getting Collin to go along with it by convincing him that they "saved a soul".

I believe that Collin will eventually break off from the other cherubs. They may kick him out, or he may leave through his own volition, but he is far more of a good person then Keenie, who is snappy and impulsive, and Cletus, who is manipulative and hypocritical. Collin's main character flaws is that he is meek and quite. Those aren't exactly sins. He is a little cynical too, but so are most angels, especially when it comes to demons.

The Portal

Okay, I need to talk about this. ahem... HOW THE FUCK!?

"Wawawaaa fictional universe bububuuu... Humans have been trying to do this stuff in so many stories bluh bluhhh..." I DON'T CARE. This is power that has to be granted to lower power demons from demon royalty and deadly sins. Like- think about that! I guess government funding helps a lot, but I think the sins are NOT going to be happy about this.

Y'know who else won't be happy about the portal? Heaven. I mean, the idea of humans going to hell and tampering around while still being mortal must be fucking scary for angels. Do you remember what happened last time a living human was in hell?

YEAH. I'm bringing hazbin into this. No one BUT the humans and three banished cherubs are happy about this. Suffice to say, I think the portal will become a lot more important later on. So, duly FUCKING noted. I will be covering my thoughts on the argument at the end of the episode in a separate post, but here's some little notes I had.

1 - I love how Fizz is like "Look at my buddy! He's boutta have sex! I'm heeeelping!! And he's gonna do great. I'm so proud!!"

2 - This armor is cool. Like I want to say something more intuitive, but how am I supposed to analyze it super well? It badass armor based on I.M.P. What do you want from me? Reference scrutinization? Grow up.

3 - LOONA IS LOOKING OUT FOR HER DAD ON HIS DATE NIGHT BC SHE WANTS IT TO GO WELL!!!!

(Bonus shot of human Loona)

[aspoonofsugar]

That's Entertainment

The Hazbin Hotel's Pilot is called "That's Entertainment". The title is a tongue in cheeck joke, as the series is good entertainment, but it also references "That's Entertainment!", a song from The Band Wagon musical. This song is quite famous and it became an anthem of sorts for Hollywood as a whole. Here it is its final stanza:

The world is a stage The stage is a world Of entertainment!

Does it sound familiar? It should:

Alastor: After all, the world is a stage and the stage is a world of entertainment.

Why is there such a reference in the Pilot?

There are two reasons:

Hazbin Hotel is a series with allusions to musicals, movies, memes, fairy tales and different mythologies. All these references tie into the story and characters by commenting plotlines and arcs. So, The Band Wagon's easter egg is the same.

Both The Band Wagon and Hazbin Hotel are meta-stories. They are pieces of entertainment about making entertainment. "That's Entertainment!" (song) has something to say about musicals. "That's Entertainment" (pilot) has something to say about stories.

So, Hazbin Hotel is full of references that can be read:

On a story or character level - in the sense that they enrich the series and its protagonists

On a meta-narrative level - in the sense that they metaphorically comment on the entertainment industry

Let's analyze these two layers of reading, when it comes to some motifs and characters. Of course, let's start from one of the oldest creative minds of the universe. The very first dreamer:

Charlie: Lucifer was one of these angels. He was a dreamer with fantastical ideas for all of creation.

LUCIFER: THE GREATEST SHOWMAN

Lucifer is a dreamer both when it comes to morals (story and character level) and to creativity (meta-narrative level).

Morals - Lucifer's first big project is to share free will with humanity:

Charlie Morningstar: Together, they wished to share the magic of free will with humanity, offering the Fruit of Knowledge to Adam's new bride, Eve, who gladly accepted.

Lucifer and Lilith's plan was to give humanity knowledge, so that they could challenge the system and decide for themselves how to live. It is an ideal rooted in the faith people can be amazing, when in charge of their destiny.

Creativity - Lucifer is so passionate about "creation" that he turns Hell itself into a big colorful show. A seven-ring circus full of acts and performances happening at the same time. This is the metaphorical meaning of Hell's circus motif. This realm is the greatest shit-show of all times and Lucifer is its creator. He is the Greatest Showman. After all, Lucifer's known activities are:

Its previous shows with the Seven Deadly Sins' Troupe

A theme park called LuLu World

An App similar to Ticketmaster, which is called Lucimaster

These are all linked to the entertainment industry. Isn't it strange that the King of Hell has such a specialization? Shouldn't he have control over a more strategic part of the economy, like industry, banks or health? And yet, entertainment is Lucifer's domain because deep down Hell is nothing, but a showbusiness factory.

So, Lucifer is at his root a wide-eyed idealist, both when it comes to his political stance and to his creative process. And yet, Lucifer gives up on dreaming:

Charlie: Ashamed, Lucifer lost his will to dream.

He stops seeing the good in others and loses hope for the system and people alike to change. He can't imagine a different future than the sad and lonely present he lives in.

He is stuck creating "ugly ducklings" he himself dislikes:

Lucifer: That's it… Almost there… Now presenting… the magic-tastical back flipping rubber duck! Haha! That spits fire! Hoo hoo hoo! Hold the applause please, okay. Oh, thank you, thank you. Oh god, who am I kidding? This sucks!

Lucifer's creative block is conveyed also by some details set up in the Hellaverse. For example, Helluva Boss shows another sin, who is very active in the entertainment industry.

WHEN MAMMON STOLE THE SHOWBIZ

Mammon, King of Greed apparently breaks an established pattern in Helluva Boss. In this show, every sin is introduced by a song focused on their vice.

Asmodeus, King of Lust, has House of Asmodeus:

Asmodeus: You singing love songs in my lustful lounge? Fizzarolli: Ozzie's ain't the place for sentimental sounds! Asmodeus: What'd you expect from a proprietor like us? Fizzarolli: Your demon host, Asmodeus, the embodiment of lust! Asmodeus: Give me a thrust! Fizzarolli: Bwabwabwabwa bwaaaah- Asmodeus: Show me some lust From the groin to the bust In desire, we trust In the house of Asmodeus

Beelzebub, Queen of Gluttony, has Cotton Candy:

Hey! I'm whatchu need, I'm watchu want I got it all, a carnival I'll bring you up, I'll take you down I'm sticky sweet, stuck in your teeth Like cotton candy Cotton candy (Ah-ah, ah-ah) Cotton candy (Ah-ah, ah-oh) Cotton candy (Ah-ah, ah-ah) I'm whatchu want Not watchu need (Ah-ah, ah-oh)

What about Mammon? The King of Greed has actually a lot of songs that explore his sin. Let's think about what his debut episode is called: "Mammon's magnificent musical mid-season special (ft Fizzarolli)".

Mammon doesn't sing nor performs, but the musical is still his. Fizz, who is the main character of the episode, gets only a mention.

In other words, all the songs featured in the mid-season special are Mammon's songs. They do not directly say anything about greed, but they comment on this sin in a meta-narrative way:

Octavia: Is it true this park is just a really shameless spin-off of Lucifer's far more popular Lu Lu World?

The Sin of Greed steals others' talents, so his songs are stolen songs. Loo Loo Land is the perfect example of this:

Everybody's friendly And nobody is mean No copyright infringements ever seen I have a dream (He has a dream) I'm here to tell (He's here to tell) About a magical fantastic place Called Loo Loo Land

This song has Mammon:

Profit of Lucifer and his Lu Lu World theme park

Rip off Charlie's Inside of Every Demon is a Rainbow song

Possess Fizzarolli's body

The King of Greed is a talentless performer:

Asmodeus: Also, you are a waaaay better performer than Mammon ever was, and thaaat's just facts.

Still, he is good at marketing and is slowly stealing the showbusiness for himself. He organizes pageants, finds new talents to exploit and has convinced Hell's middle class that being a clown like him is the coolest thing ever:

Fizzarolli: It's not about that! It's getting to work with my idol. I just love that he's giving someone new the chance to be in the spotlight! He's an inspiration. Blitzo: Well he's- definitely something alright. I mean, I dunno, was it worth all our savings just to have him put on an over-hyped commercial, and then bitch about taxes, and then assault us with clowns, vomit, and pass out on stage? Fizzarolli: So worth it!

What does it all mean for Lucifer?

On a character level, it ties with Lucifer's depression and general sense of failure. He is a Seraphim, the King of Hell and a brilliant artist and performer. And yet, he can't stop one of his subjects from ripping off his ideas. Once again Lucifer's dreams are ruined. They become soulless and rotten. Moreover, the one doing this is a member of Lucifer's own Circus Troupe, which adds to the impression of isolation and loneliness Lucifer gives off.

On a meta-narrative level, greed is corrupting the entertainment industry, as the dreamer in charge of it feels unmotivated and uninspired. This is a pretty poignant and tongue-in-cheeck dig to the current state of things, where corporations are mass-producing empty stories. After all, Lucifer fits the Mr Alt Disney TV Trope:

A No Celebrities Were Harmed version of Walt Disney; expect him to be the animator of a world-famous cartoon character (frequently a Mocky Mouse) and/or the founder of Souvenir Land. Also expect an exaggerated interest in planned communities and/or creating a utopia, possibly with sinister undertones. He'll present said utopia in the form of a World's Fair-like exhibition, usually in his parks. Many of these characters go beyond parodying just Disney and fuse him with Howard Hughes, another mustachio'd early/Golden Age of Hollywood impresario and futurist. Hughes gradually became debilitated by severe mental illness (OCD and agoraphobia) and eventually was reduced to living in seclusion, obsessively carrying out odd habits.

Lucifer is an oddball with a Showbiz Empire in Hell. He is loosely an expy of Walt Disney and the old Hollywood, but he is now tired and unable to produce anything new. Luckily, there is a beautiful disney-like princess ready to help him.

HAZBIN HOTEL, THE GREATEST SHOW

Charlie is a disney princess with the twist she reigns in hell, rather than on a classical fairy tale kingdom. In particular, she resembles Rapunzel in both design and personality:

Both princesses wear their hair tied, but they let it loose when they use their powers. They are enthusiastic, able to inspire others, but also sheltered. So, they are a bit childish. Charlie is basically Rapunzel if Raps were met with a cynical world the moment she escaped the tower:

He's got a dream He's got a dream See, I ain't as cruel and vicious as I seem Though I do like breaking femurs You can count me with the dreamers Like everybody else I've got a dream

Inside of every demon is a rainbow! Inside every sinner is a shiny smile! Inside of every creepy hatchet-wielding maniac, Is a jolly, happy, cupcake-loving child!

Rapunzel enters a sinister inn, shares her dream and is validated and understood by a bunch of bandits. Charlie explains her goal to all of Hell and is humiliated and laughed at by everyone.

Despite this setback, Charlie is still a disney-like princess and throughout the first season she brings dreams to others. This is true especially for Lucifer:

The King of Hell's dreams are awaken by Charlie's Hazbin Hotel project in two ways.

On a character level, Charlie's Hazbin Hotel is the evolution of Lucifer's dream, as it is rooted in the belief human souls can choose goodness. Even after death:

Charlie: Don't you care, Sera? That just because someone is dead, it doesn't Mean they can't resolve to change their ways Turn the page, escape infernal blaze

On a meta-narrative level, Hazbin Hotel is the greatest show. It is a new series, which takes obvious inspiration from classics, both disney movies and musicals. However, it is still fresh and innovative. Similarly, its protagonist is a disney-like princess (Charlie), who inspires a Walt Disney expy (Lucifer). She is a creation (daughter) giving hope to her creator (father). This is why by the end of season 1, Lucifer finds some of his old creative drive, as he helps Charlie rebuild the Hotel:

Lucifer: Remedial creation for me... it's as easy as can be!

Charlie brings back both hope (story level) and entertainement (meta-narrative level) in hell:

Alastor: Hahaha, why does anyone do anything? Sheer, absolute boredom! I've lacked inspiration for decades. My work became mundane, lacking focus, aimless! I've come to crave a new form of entertainment! Hahaha!

She has the talent to renew a showbiz (hell), which is mundane and aimless. She has a freshness, which catches the eye of navigated entertainers:

Alastor: She's filled with potential that I could guide Rosie: I concur Rosie and Alastor: Stick with her, you'll be on the winning side

Still, why is that so? Why is Charlie such a good entertainer?

CHARLIE: THE PERFORMATIVE DREAMER (CHARACTER LEVEL)

Charlie is entertaining because:

She tries hard to keep up her smile, even if she is suffering inside. In this sense, she is a real performer

She is so dedicated to her objective, that she is ready to do anything to reach it. In this sense, she is a true dreamer

Charlie, the performer

Alastor:Just because you see a smile don't think you know what's going on underneath. A smile is a valuable tool, my dear. It inspires your friends, keeps your enemies guessing, and ensures that no matter what comes your way, you're the one in control.

Charlie is a character, who masks her negative emotions behind smiles, enthusiasm and an apparent neverending optimism. In reality, she struggles a lot with who she is:

Alastor: Welcome to the Hazbin Hotel, a misguided path to redemption! Founded five days ago by Lucifer's delusional daughter, Charlotte Morningstar! Come place your fate in her inexperienced hands, as she tries to work through her daddy issues by fixing you!

Has Charlie founded the Hazbin Hotel to help sinners or to find herself a purpose? The answer is both. Charlie's project is born from genuine altruism, but also from a selfish desire to matter.

Charlie, the dreamer

Alastor: You have a dream! You wish to tell! And it's just laughable. But, hey, kid, what the hell?

Charlie's dream seems impossible, almost a delusion. And yet, Charlie keeps pursuing it, no matter what. She sings her heart out to advertise the hotel... only to be seen by everyone as a joke. Still, she keeps going. She doesn't give up on her project.

Alastor: Consider it an investment in ongoing entertainment for myself! I want to watch the scum of the world struggle to climb up the hill of betterment only to repeatedly trip and tumble down to the fiery pit of failure!

Seeing Charlie struggle is fun because even if she fails, she tries again. She experiments new things, she learns and she teaches. She apologizes and she forgives. She never quits. So, she is an entertainer.

Charlie: I have a dream, I'm here to tell! About a wonderful fantastic new hotel!

CHARLIE, THE PERFORMER FULL OF DREAMS (META-NARRATIVE LEVEL)

Charlie puts up a performance and follows her dream no matter what. She hides within herself a selfish motivation (fiction), but earnestly pursues her selfless dream (reality). Similarly, Hazbin Hotel is a story (fiction) with a strong heart (reality).

That is because entertainment is rooted into reality:

Anything that happens in life Can happen in a show You can make 'em laugh You can make 'em cry Anything, anything can go (That's Entertainment! - The Band Wagon)

Charlie: Does getting into a fistfight with a reporter count as entertainment…? Alastor: Hahaha! It's the purest kind, my dear: Reality! True passion!

The song states anything can be entertainment

Alastor claims that good entertainment is born from genuine passion

It is the same idea declined in different ways. Entertainment is a representation of the world, of its flaws and beauties. It is fiction, but in a sense it must stay true to itself. Just like Charlie herself is both a performative dreamer (fiction) and a performer full of dreams (reality):

She is a performative dreamer because deep down she feels she must be perfect and repress her negative feelings. Only in this way she has value. She masks herself with a pollyanna persona.

She is a performer full of dreams because she has the talent to maker her dreams come true and to become a real artist in the process. To succeed, though, she should not ignore her hidden parts. She must face reality.

THE WORLD IS A STAGE AND THE STAGE IS A WORLD OF ENTERTAINMENT

When fiction and reality meet, entertainment is born. This is what Hazbin Hotel's meta-message seems to be. A story is invented, but the feelings behind it must be genuine.

At the same time, entertainment helps people better understand themselves. This may be why Hazbin Hotel is full of entertainment motifs. Here are some:

Charlie is a singer

Vaggie is a dancer

Angel is an actor

Alastor is linked to radios

Vox is a TV demon

Valentino is a director and producer

Adam is a musician, whose arc is described by the musical "School of Rock"

Charlie and Alastor's bond is commented by the musical "Annie"

For each one of these references, one could write a meta (I hope I will for some tbh). That is how much the idea of entertainment is intertwined in the story. In conclusion, it is definately true that:

The world is a stage = Fiction must take inspiration from reality or it will feel hollow

The stage is a world = Stories can help to better understand reality and make sense of it

Hazbin Hotel is a piece of entertainment about entertainment, which is best understood through the lens of entertainment. In short, it is entertainment!

[mauesartetc]

What do you think is a (big) miss opportunity in hellvua boss and hazbin hotel? (Can be characters too if you like)

I can't analyze Hazbin on the same level as Helluva as we only have a pilot and some character previews to go on. But the missed opportunity there seems to be a lack of any internal consistency in the worldbuilding. Some sinners wear clothing that's accurate to the time period they're from, and others don't (lookin' at Alastor's monocle here), and there's no rhyme or reason to the forms the sinners take. A sinner could have animal features, inanimate object features (Vox), or look relatively human, but it's unclear if their appearances are tied to the sins they've committed or if it's just random.

As for Helluva Boss, the show could have easily delivered some scathing commentary on capitalism and class warfare but doesn't even scratch the surface.

It's usually bad practice to critique a work for what you want it to be rather than for what it is (or what the creator intended but failed to get across). But here's the thing: We were promised a comedy about imps (a low-status group in this universe) trying to maintain a small business. That setup alone holds so many possibilities for conflict that haven't been explored.

What if IMP struggled to come up with the rent for their office? What if an economic shift in Hell left more sinners unable to pay IMP's rates? What if the employees all had to get second jobs? What if they liked those jobs so much they quit IMP to work there full-time? What if another group opened a competing business? How would they handle client outreach in addition to the IMP commercial? How would they network with other businesses in the area? What's the public's general perception of IMP? How desperate would Blitzo have to get to go against whatever passes for his conscience in order to save IMP?

For that matter, what specific consequences would Stolas face if higher-ranking demons discovered he's been lending out his grimoire to those classed far beneath him? What consequences would he face for actually boinking an imp, other than some temporary embarrassment at the nightclub? How much you wanna bet Season 2 never answers these questions?

[squadxx4392]

Analyzing "Just Look My Way - Stolas' Lament" - Incomplete Version

So we all know that Stolas from Helluva Boss is very, very much in love with Blitzo(The 'o' is silent, so pronounced as 'Blitz').

However, throughout the series, Blitzo seems to be oblivious. An example of this is stated in the Helluva Boss series, "Hey! Stolas only cares about having a rugged peasant raw-dog him into his mattress, it's nothing.. y'know.. it's nothing else(Season Two, Episode Six, 10:12-10:20)."

Now, shortly after another episode of the series came out, season two episode seven, to be exact, a music video came out. It was a song for Stolas which, in the first minute, everyone could tell it was indefinitely about Blitzo.

The beginning of the music video starts with Stolas receiving an Asmodean Crystal from Asmodeous, the Sin of Lust, which Stolas had asked for in the sixth episode of season two, "...he needs to access the mortal realm to carry out his work. I know your demons are some of the only ones who can traverse freely and legally. I was wondering if you could help me find a way he could, too?(Season Two, Episode Six, 7:33-7:46)."

Throughout the music video, Blitzo is being compared to the full moon, which, as per an agreement the two made in the very first episode of the series, is a reference to their full moon contract.

Basically, their 'unspoken contract', as Stolas put it, is Blitzo gets to use Stolas' grimoire for his work, and because Stolas requires it to finish his duties with the Goetia family, they have a once monthly meeting on the full moon, where Stolas collects the grimoire and they have a night of 'passionate fornication'.

This is what makes Blitzo think of Stolas as a prick who doesn't want anything more than sex from him. This was stated in season one episode seven of the show, "Stolas, don't act like what we have is anything but you wanting me to f**k you, okay? You make that really clear all the time(Season One, Episode Seven, 14:36-14:43)." And this was what Stolas has realized what Blitzo thought of their relationship.

And so, in an effort to prove Stolas truly loves him and truly cares about more than sex, he is going to attempt to give Blitzo the crystal so he isn't made to associate with Stolas as he wouldn't require the grimoire to travel to Earth.

Now, back to the music video, which is what this analysis is truly about. We are going to be analyzing the lyrics of the song, and the meanings behind them.

After Stolas starts singing, he sings, "I am a guardian/a watcher of these ancient rites/yet I find myself drawn from that path/on those dazzling moonlit nights(Just Look My Way - Stolas' Lament, 0:30-0:46)." This is a reference to the full moon escapades he and Blitzo have.

"I can give you everything you need/Or do you want to hear me plead/Just look my way/Just look my way/Is there something more that I don't know/That you won't say 'til we've both grown cold/Just say 'please stay'/Look my way(Just Look My Way - Stolas' Lament, 0:47-1:33)." Through these lyrics, Stolas shows how much he truly cares about Blitzo. He is willing to plead with the Imp to show him how much he cares about him.

[ph-cutie]

Hey, i've seen your posts about helluva boss and since i've wanted to discuss this with someone for a while i'm sending an ask. What's your opinion on the two characters, the protagonist and one of the main villains that are being demonized (pun unintended) for being against monarchy and classism/ racism against their species? I think i've only seen this issue mentioned by someone once many years ago and i'm surprised this isn't more talked about.

hiii sorry for the delayed response. I do definitely get what you're saying but what I personally find to be more distracting is that they're the only characters to address classism/racism Period. Crimson, Verosika and Fizzaroli are all successful public figures from marginalized backgrounds and they have no comment on that fact. How come Mammon ISNT at least a little racist towards the imp he made a star? Why is the relationship between Blitzo and Stolas so taboo, but the two sin lord dating lowerclass demons is fine? The start and end of this show's discussion is with the relationship of Blitzo and Stolas (+ whatever satellite characters end up roped in), I whole heartedly believe the demon racism is only a canon element in order to spice up the Toxic Yaoi, make that shot of Stolas holding Blitzo on a golden chain and then turn it into merch. And with striker, I honestly don't know what to think with him because he was a cool concept that got returned half-heartedly, the show has reached a point where it just shoots the shit so I don't really see much to analyze in him sorrey.

[chrysaliscreatorii]

Now, I’ve been hearing in passing that it seems I was not the only one that was not really a huge fan of Beelzebubs design in Helluva boss, but I THINK I can breakdown the why though.

The main complain people seem to give her it’s that her design it’s too complicated, which I think it’s more like halfway the reason, as there are other characters that have many elements as well but look remarkable, like Fizzarolli.

I think it has more to do with the fact that it doesn’t look organic, meaning, her design just looks like they chopped in the parts rather than coming together as if they were one.

Her second pair of arms are just there, the hair does not match the style and she has way to many markings, etc, etc.

But to be fair, I think the reason it’s that she just had way to many design references that they wanted to implement in her but just didn’t know how to do it, again, organically.

She was supposed to be based on the entity of the same name, but wanted to amply the pun in her name and make her a bee instead, they wanted to make note that her ring is were hellhounds come from, so she had to be a canine, they had to apply the carnival element that all the sins had so they used cotton candy and they wanted her to look like a loose party girl, so they gave her revealing cloths and many markings as if she was wearing too much make up but they also wanted to give her a crown to evoke her status, so they made her fringe look that way.

So if you think of it like that, that was a pretty tall order to follow up design-wise.

Not only that, but, and I don’t know if it was just me, but during her song, Bee looked like she was longing for something, and the reason she seems to want people to have a good time is to compensate for it. I mean, her make up even kinda looks like tears.

Then again, maybe that’s me just over analyzing things.

Also, another option is that she could be doing things for an alternate agenda, after all, she did say she can “taste” the vibe of people, so maybe she is just making others happy because it’s like a drug to her.

She did seem like a nice person, but good people can still do bad things.

[incorrect-nozaki-kun]

The gang could dress as the seven deadly sins! Here's a non-definitive list:

Kashima - pride

Seo - greed

Hori - wrath

Nozaki - envy

Mikorin - lust

Chiyo - gluttony

Sloth - Mayu

There's no sins left so Wakamatsu can go as an angel or something.

Everything about this is terrifying and NOW I WANNA ELABORATE ON IT.

Context you know the show Helluva Boss/Hazbin Hotel?

You know how when they get sent to hell it’s bc of a specific sin?

That’s literally where my brain is going so LETS ANALYZE GSNK CHARACTERS WOO ALSO I’M MOVING SOME STUFF AROUND

Kashima with Pride speaks for itself she’s pretty and smart and talented and knows she is and sometimes comments get her into hot water so yeah that tracks.

I’m giving lust to Chiyo bc…yeah. Like lust can also be non sexual like for attention or power or something but also like. Lust.

Hori. Wrath. Yeah. Moving on.

Envy I’m actually gonna give to Waka. He wants to be cool he wants to be included and he gets jealous really easily.

Gluttony I’m gonna say Mikorin. Like aside from his collecting when it comes to attention and flirting he doesn’t know when to stop but still craves more even when he’s embarrassed? Idk it makes sense in my head.

Greed I think Seo bc she just takes what she wants. Though I’m not 100% sure on it.

Sloth is Mayu. Yeah.

And idk we have Nozaki. It’s not quite a sin but he’s like. Purgatory/Limbo. Not doing anything wrong but not proactively doing anything either? Just observing.

Idk where I went with this it’s very late at night but yeah.

[anthurak]

Since Mammon’s Magnificent Musical Midseason Special released, I’ve been seeing a lot of people make a point about how Mammon is so different from Asmodeus and Beelzebub (namely that he’s a selfish, exploitative scumbag while the other two have been overall pretty nice) because ‘Greed’ is some inherently cruel/exploitative/evil quality and that there was no way Mammon could have been ‘good’, or at least ‘nice’ like Ozzie and Bee.

And I can’t help but feel that this take is missing what I think is a subtle but very KEY detail we’ve been seeing about the Sins.

Namely, that the Kings of Sin don’t seem to be bound or otherwise ‘compelled’ to any one specific way of expressing the ‘sin’ they embody.

We got hints of this with Beelzebub in her episode, with how she is both able to tell and is concerned when someone is indulging in gluttony in a harmful manner. But we’ve really seen this disconnect with Asmodeus.

Like it’s been a running gag at this point that Ozzie and Fizz are massive hypocrites for espousing some ‘lovey-dovey bullshit is for bitches and saps’ while actually being completely head-over-heels in love with each other. But let’s actually step back for a minute and consider what it MEANS that this ‘Embodiment of Lust’ CAN be a massive hypocrite about how he expresses his ‘Sin’ in the first place.

It’s clear from all their private scenes together that Ozzie does not struggle at all to express just how deeply he LOVES Fizz. He has no inherent lust-related ‘compulsion’ that he has to somehow ‘fight against’ to express his love for Fizz.

Instead the actual struggle that Ozzie and Fizz face is one of simple personal/social insecurity; feeling afraid to express their love openly around others. And with the whole ‘worst kept secret in Hell’ thing, it’s clear they weren’t even doing a good job at keeping it a secret.

In hindsight, I think we can guess that Asmodeus used to fully believe in what he was spouting in his debut episode, that lust should be all about pleasure with none of that lovey-dovey bullshit. BUT, then he met Fizzerolli and gradually fell more and more in love himself with the imp. To the point where he’s now had to reframe how he expresses his ‘Sin’, both in private and as of the latest episode publicly as well.

What this means is that there was NOTHING ever forcing Ozzie to express his ‘Sin’ in this specific way. Instead he simply chose to express his sin in this way, based on his personal beliefs about ‘Lust’. Beliefs that he’s clearly reevaluated since meeting and falling in love with Fizz.

And I think we can only assume that the same applies to the OTHER Sins as well. That the way they express their specific sin was never something they were ‘decreed’ or ‘compelled’ to do, but simply a CHOICE they made.

Which means that Mammon being some petty, skeevy, exploitative asshole ISN’T some grand ‘Embodiment of Greed’ thing, but rather simply a MAMMON thing. A choice he made likely based on simply his own personal hangups and insecurities.

I think the more we learn about the Sins, we’re going to learn that they are defined NOT by what ‘Sin’ they embody or any nebulous inherent ‘quality’ that their Sin might represent, but rather defined simply by their own personal experiences, struggles, triumphs and failures just like everyone else.

[the-loose-canon]

Hazbin Hotel Hot Take #1

Maybe this is more of a theory, but for me, as someone who loves reading into every little detail in a series or any piece of media for that matter, this might as well be canon. Also, fair warning: this is the reason I don’t ship Charlastor, so please don’t come for my ass, this is just my own theory/idea of my boy Alastor 👀 I suspect Alastor to be a bastard son of Lucifer for a number of reasons and I also have some clues from other various pieces of media that back this up/make it seem somewhat realistic. Here we go. First of all - Alastors father has not been mentioned yet, which is strange. Sure, the nuclear family doesn’t really exist anymore, thank God families have become more and more diverse, but back in the days when Alastor was a mortal, a child had a mother and a father and it was frowned upon to be divorced, be a bastard etc. So why leave Alastor’s father out when his mother is talked about? Wouldn’t you usually bring up both parents, especially back in his days? Second of all - Alastor manifested in hell, like Vagatha said in the pilot, and was immediatly much stronger and more frightening than many other demons in hell, he even managed to overpower some overlords. Sure, it hasn’t been confirmed whether or not your “sin count” on earth actually has any influence in hell, but think of it this way - as bad as Alastor must have been in his days on earth, there surely must have been people who have done far worse in life than him. So why not bring up a comparison? No, no comparison was brought up, which at least to me seems like Alastor is truly, truly outstanding. Where do his powers come from? How come they are so outstanding? And lastly - it has been done time and time again to have a “demon’s child”, and if Mary in the bible could conceive a child without sexual intercourse, I am sure that Lucifer can do so as well. It seems pretty realistic that hell has some sort of powers on the mortal plane too, especially when you look at Helluva Boss. Demons, some of them rather generic and “normal” can enter earth too, so imagine the possibilities for someone as powerful as Lucifer.  The look Alastor gives the portrait of the Magne family in the pilot, combined with just how similiar Lucifer’s and Alastors style of clothing and facial expression seems, I can def see some relation. This brings me to my last point - why I don’t ship Charlastor. This has a lot to do with my theory mentioned here, and I am going to wrap this up with another personal opinion. I get the vibe that Alastor feels the need to help Charlotte to a degree, partially because he is entertained by it, and maybe also because he feels some sort of responsibility towards his relative. Maybe even curiousity about how two sides of the same medal can take entirely different paths in life. This also explains the weird look at the portrait, maybe to a degree he is jealous, maybe amused by all of the ways this whole thing can come burning down. I can absolutely see Alastor using Charlotte as a tool to get closer to Papi Lucifer, until he eventually grows fond of her.  On that note, even if Charlotte is not Alastors sister, I still won’t ship Charlastor, because I personally see him much, much more of a mentor to Charlotte than anything else. Alastor could be the catalyst to show Charlie her true potential, which will be her personal struggle and arc in the series. On the other hand, Charlie can show Alastor that even him, who is so sure about literally everything and everyone, can be wrong, and maybe through her coming to terms with her power and her herritage, he will come to terms with the good parts of himself. I am not trying to hate on anyone who ships it, this is just my personal idea, as I spend so, so much time theorizing and analyzing every bit about Hazbin Hotel. I am Radiodust trash and I will be until the day I die  ( ͡° ͜ʖ ͡°)

[squadxx4392]

Analyzing 'Just Look My Way - Stolas' Lament' - Complete Version

So we all know that Stolas from Helluva Boss is very, very much in love with Blitzo(The 'o' is silent, so pronounced as 'Blitz').

However, throughout the series, Blitzo seems to be oblivious. An example of this is stated in the Helluva Boss series, "Hey! Stolas only cares about having a rugged peasant raw-dog him into his mattress, it's nothing.. y'know.. it's nothing else(Season Two, Episode Six, 10:12-10:20)."

Now, shortly after another episode of the series came out, season two episode seven, to be exact, a music video came out. It was a song for Stolas which, in the first minute, everyone could tell it was indefinitely about Blitzo.

The beginning of the music video starts with Stolas receiving an Asmodean Crystal from Asmodeous, the Sin of Lust, which Stolas had asked for in the sixth episode of season two, "...he needs to access the mortal realm to carry out his work. I know your demons are some of the only ones who can traverse freely and legally. I was wondering if you could help me find a way he could, too?(Season Two, Episode Six, 7:33-7:46)."

Throughout the music video, Blitzo is being compared to the full moon, which, as per an agreement the two made in the very first episode of the series, is a reference to their full moon contract.

Basically, their 'unspoken contract', as Stolas put it, is Blitzo gets to use Stolas' grimoire for his work, and because Stolas requires it to finish his duties with the Goetia family, they have a once monthly meeting on the full moon, where Stolas collects the grimoire and they have a night of 'passionate fornication'.

This is what makes Blitzo think of Stolas as a prick who doesn't want anything more than sex from him. This was stated in season one episode seven of the show, "Stolas, don't act like what we have is anything but you wanting me to f**k you, okay? You make that really clear all the time(Season One, Episode Seven, 14:36-14:43)." And this was what Stolas has realized what Blitzo thought of their relationship.

And so, in an effort to prove Stolas truly loves him and truly cares about more than sex, he is going to attempt to give Blitzo the crystal so he isn't made to associate with Stolas as he wouldn't require the grimoire to travel to Earth.

Now, back to the music video, which is what this analysis is truly about. We are going to be analyzing the lyrics of the song, and the meanings behind them.

After Stolas starts singing, he sings, "I am a guardian/a watcher of these ancient rites/yet I find myself drawn from that path/on those dazzling moonlit nights(Just Look My Way - Stolas' Lament, 0:30-0:46)." This is a reference to the full moon escapades he and Blitzo have.

"Let me hold you/Keep you close to me/I long to hear your voice/But dearest/I know better now/I must give you this choice(Just Look My Way - Stolas' Lament, 0:46-1:01)." Stolas is realizing he can't make Blitzo do something he doesn't want to do, so he's saying the choice is his to make, as it is. And he wants to be able to be close to his lover but he can't because Blitzo is just pushing him away.

"I can give you everything you need/Or do you want to hear me plead/Just look my way/Just look my way/Is there something more that I don't know/That you won't say 'til we've both grown cold/Just say 'please stay'/Look my way(Just Look My Way - Stolas' Lament, 1:02-1:33)." Through these lyrics, Stolas shows how much he truly cares about Blitzo. He is willing to plead with the Imp to show him how much he cares about him.

"This unspoken contract/A deed we forged for mutual gain/If that's all this was when you're not here/What is this rooted pain?/I don't care that you're of lower station/Or primed to sate my dark temptations/Why can't you understand?/Let me explain(Just Look My Way - Stolas' Lament, 1:36-2:07)." Stolas is shown to be in love, it's shown to be more obvious as he is directly addressing Blitzo with his feelings, even if he's not talking to Blitzo while he's saying it. The symbolism isn't as exaggerated as it was before the lyrics.

"And I'm terrified/As I cry/To make these feelings true/What's left for me/And my broken heart/If I cannot have you(Just Look My Way, 2:08-2:22)." Stolas is very obviously upset at the fact Blitzo does not seem to want him back in a romantic, and really even a sensual, sense, even though there were some notable instances where it is very obviously not true. In Helluva Boss' sixth episode of season two, Blitzo went on a tirade about the reasons Stolas doesn't like him back, as he is in denial about both of their feelings.

"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(Just Look My Way - Stolas' Lament, 2:25-2:40)." At this point, Stolas had realized that Blitzo tends to want to distance himself from people who he cares a lot about because he's afraid of hurting them. And Stolas is finally recognizing that fact.

"Is this what you feel?/Scorned by a realm that cannot comprehend/What you are/So I'll grant you this mercy/This bind/On our souls needs to end(Just Look My Way - Stolas' Lament, 2:40-2:59)." Stolas is finally recognizing Blitzo is not happy in the situation.

The entire music video is more of how his and Blitzo's relationship has evolved throughout the two current seasons and the lyrics are representing the seventh episode of the first season when Blitzo finally revealed what he felt about Stolas, "Stolas, don't act like what we have is anything but you wanting me to f**k you, okay? You make that really clear all the time(Season One, Episode Seven, 14:36-14:43)."

"I will try to make amends/For making you means to an end/So look my way/Please look my way/And if there's something more that I don't know/I'll save us both before we grow cold/If you'll stay/And just say 'Look my way'(Just Look My Way - Stolas' Lament, 3:02-3:34)." Interpreting this is Stolas is trying to restore a relationship with Blitzo and failing no matter what he does and it makes him feel like he's drowning as in the last lyric he is seen falling into water and sinking until he slumps into his desk and cries.

If it doesn't make a lot of sense as it goes on, even though it should, it will be okay. Interpreting the music video is basically just Stolas' feelings as he goes through the series with his relationship with Blitzo from start up until the point we're at in the Helluva Boss series.

To summarize, Stolas is very in love with Blitzo, but doesn't think he loves him back and vice versa. And the song and the analytics from the videos and the series itself just prove it in return. And this is why Stolas is in love with Blitzo from Helluva Boss.