Review of Hazbin Hotel series

Hazbin Hotel
Hazbin Hotel
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In Hazbin Hotel, there are two vibes. The first one is a brightly colored, occasionally seedy cartoon with offbeat characters and a fairy-tale version of Hell. The second one is a slightly remade musical production with some good tunes and witty spins on the major figures in the Bible. Within each, Vivienne Medrano, the creator, injects stagey melodrama into a 2D world that is custom-made for impromptu songs and dances. Medrano’s heart may be seen in five episodes of Hazbin Hotel through her characterization and world-building which indicate an emerging genius.

A24’s initial animated series comes to life with some necessary exposition: Charlie Morningstar (Erika Henningsen), Lucifer’s daughter in hell opens Hazbin Hotel as a place where damned souls can find their way back to goodness. Unlike most of Hell’s residents, Charlie believes in the possibility of redemption for any soul. Additionally, routine angel invasions led by Adam (Alex Brightman) – yes Adam from Eden – are escalating into more frequent horrific acts upon this place formerly known as purgatory. However, all these events are depicted in Hazbin Hotel rather lightly. In moments of change does this show thrive – and delightfully so! It isn’t hilarious or consistently funny but it doesn’t have to be; its power lies both within its concept itself and how it has been crafted.

Medrano tries her best to make readers experience all their characters’ traumas, doubts, and prejudices against others. Many demons cannot come to terms with the notion that evil spirits still try to do what they think is right albeit almost useless at times while those who accept believe otherwise about themselves forevermore regarding what they were before; Sir Pentious exemplifies this state best voiced by Alex Brightman himself too. Very soon he becomes an unlikely hero owing to his incompetence and innocence which make him endearing even when he fails. The epitome of destructive innovation, Sir Pentious is the shedding skin, Wile E. Coyote. When his clumsy inventions fail to impress Hazbin’s resident demon overlord, Alistor (Amir Talai), he sneaks into the hotel, leading to a heartfelt quest for betterment that lends early support to Charlie’s rehabilitation goals.

While there is much entertainment value in this hellish ride, it may be said that it is still growing into its concept. This show’s comedy is especially underserved at present. There are several times throughout the season when we find ourselves wanting more from the dynamic between Pentious, some egg-shaped underlings, and Vagatha who manages Hazbin Hotel. Stephanie Beatriz’s reactions as Vagatha to everything absurd around her are made for Brightman’s all-round incompetence but Medrano never seems to consider that possibility.

Angel (Blake Roman) is another character with room for improvement. In the first few episodes, he comes across as someone whose every word has a sexual connotation or innuendo and who mentions ‘Daddy’ while screaming or wailing during any conversation he happens to have. The farther into his narrative we go however, the clearer Angel’s pain becomes. We see this best through his newly formed relationship with Husk (Keith David). Their initial hatred towards each other hardens both their personalities and understanding of one another as their conversations become more intense.

In addition, the characters have been further improved by the songs, which are cleverly mixed with sadness, hope and obscenities in joyous songs about demons’ (after)life. It’s just good music, period. Adam’s hard-driving number “Hell is Forever” is a banger within the show and without, pushing Hazbin Hotel deeper into the sweet spots of Broadway fans.


Although it is not exactly hilarious, Hazbin Hotel does an amazing job of keeping us intrigued from one episode to another. Its lovably layered characters and absolutely catchy songs coupled with focused world-building might easily shoot this series to stardom. It’s still finding itself but it’s having a ball doing so. And right now we are too.

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