In Hazbin Hotel, two vibes prevail. The first is that of a vibrant, sometimes lurid animated series with offbeat characters and a whimsical take on Hell. The second is a lightly rejiggered musical production packed with catchy songs and fun twists on key Biblical figures. Within each, creator Vivienne Medrano plugs theatrical histrionics into a 2D world tailor-made for spontaneous song and dance. The heart, characterization, and world-building that Medrano delivers in the first five episodes of Hazbin Hotel suggests a nascent brilliance.
A24’s first animated series kicks off with some welcome exposition: In Hell, Lucifer’s daughter, Princess Charlie Morningstar (Erika Henningsen), opens the Hazbin Hotel as a haven for damned souls seeking redemption. Charlie clings to the belief that no one is beyond saving, which the denizens of Hell emphatically reject. Raising the temperature further are routine angel invasions led by Adam (Alex Brightman) – as in Adam-and-Eve – which are poised to become even more frequent and brutal. But Hazbin Hotel keeps all of this relatively light. The show derives life – and joy – from the few places where change is possible. It isn’t hilarious or even consistently funny, but it isn’t trying to be. Its potency lies in its concept and its messaging, and it knows it.
Medrano does her damnedest to ensure we feel all of her characters’ trauma, doubt, and closed-mindedness. Most demons can’t reconcile the dissonance of damned souls taking another stab at (marginal) goodness, but those who do are irrevocably altered. Hapless snake demon Sir Pentious (also voiced by Brightman) reinforces this. From the get-go, he proves an unlikely showstopper, an adorable blend of incompetence and earnestness who makes chronic failure endearing. The poster serpent for destructive innovation, Sir Pentious is Wile E. Coyote in shedding skin. When his clunky 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.
As much fun as this hellish romp so often is, it’s still growing into its premise. The show’s humor is particularly under-served at this point. There are plenty of instances, most of them involving Pentious, his egg-shaped henchmen, and Hazbin’s manager, Vagatha (Stephanie Beatriz), where the script fails to capitalize on the group’s rich dynamic. Vagatha’s reactions to the absurdity around her pair beautifully with Pentious’ comprehensive ineptitude, but it never feels like Medrano entertains that potential.
Porn-star demon Angel (Blake Roman) presents another opportunity for growth. The first few episodes paint him as a one-note deviant who can’t make it through a single conversation without shrieking “Daddy!” or collapsing into a submissive position. The further we dive into the character, though, the more we see Angel’s agony. His budding friendship with surly bartender Husk (Keith David) is one of the show’s biggest surprises. The two initially despise each other, but as their spats intensify, so does their understanding and acceptance of the other.
Further enhancing these characters are the songs, nearly all of which deftly weave sadness, hope, and vulgarity together in rollicking, riveting odes to the (after)life of a demon. 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.
