Oct. 29 was the long-awaited release of the first two episodes of Hazbin Hotel season 2, which was one of the many highlights of my Halloweekend. The biweekly episode rollout that Prime Video and producer Vivienne Medrano have decided upon for this series is more satisfying than the traditionally accepted once-weekly rollout, and more easily digestible than the all-at-once rollout made popular by streaming services like Netflix. Given the nature of this series, deciding to premiere just a couple of days before Halloween was a superior indie marketing strategy, riding the coattails of the holiday hype to reel in even the most apathetic viewers and keep them seated through the classic foot-in-the-door method. I believe this season got off to a stronger start than the first; spoilers ahead.
The narrative behind episode 1 of the season is split between the Vees, everyone’s favorite diabolical polycule, and our main characters back at the hotel. Vox uses 666 News to spread antagonizing publicity about Charlie Morningstar; meanwhile, our protagonists must deal with the onslaught of new arrivals who are practically climbing over each other to stay at the hotel, convinced it’s a place sinners can learn to kill angels following the events of the season 1 finale. We finally meet Baxter, the adorable little mad scientist whom I’ve been waiting to see on screen since he was first teased in BTS footage at San Diego Comic Con years ago. The episode ends on a cliffhanger involving Emily’s surprise 1-minute visit to inform Charlie of Sir Pentious’ controversial redemption and Heaven’s sudden lockdown, which all intersect brilliantly with the next episode. Chef’s kiss.
Frankly, the musical numbers we get in this episode, “Hazbin Guarantee (Trust Us)” and “Once We Get Up There,” aren’t hitting me like “Happy Day In Hell” and “Hell Is Forever” did, but I see an escalation in song quality as the season progresses.
Episode 2 follows Sir Pentious in Heaven as he’s put on trial before the Seraphim and Exorcist leaders. Even St. Peter is there, gleeful and doing absolutely nothing — which is always a pleasure. The excitement I felt getting to hear Darren Criss’ voice again was unparalleled. The divine government is in disarray following the transfer of his soul from Hell to Heaven, and internal conflict roars between Sera and Lute. I adore the direction this show is taking me; already I’m seeing schisms between angels over opposing views of revenge and redemption. The new characters like Abel and the speaker of God introduce a lot of storytelling potential, hinting at how much blood will be shed in reconciling their differences and how much this show will manage to make me laugh as that happens.
A ballad I can only describe as hatred in a bottle, the new song “Gravity,” sung by Jessica Vosk as Lute, is absolutely outstanding and already winning the hearts of the fandom, breaking a barrier between musical theater and metallic rock. I’ve been listening to it everywhere I go these last few days. Those who’ve listened may agree that the chorus’s chord progressions are reminiscent of a euphoric track from a certain 2014 album; best believe I condone referencing the pop bible to give the people what they want. The lyrics make for a profound mission statement on grief and justice with something startling about its candor. This genuinely animates me way more for the B-plotline than anything the Vees have planned, and I hope to see Lute and the other angels used to the utmost.
Overall, the pacing of these episodes is a dramatic improvement compared to that of the previous season. The 4 minutes added to the runtime were a smart move, though I would prefer a full half hour of content per episode. In terms of writing and humor, this premiere is so much funnier than the first; I’m still giggling to myself when I think of all the mind-numbingly stupid questions the reporters were berating Charlie with in the opening scene. The animation has also gotten cleaner and smoother, which is impressive given the high visual quality of the series thus far and how limited the budget is compared to Prime Video’s heavy hitters. It might be hard to notice if you’re watching the series on YouTube or a third-party platform since the quality is consequently compressed, but the palette and effects should be stunning regardless. I can’t wait to see where Hazbin Hotel and indie animation in general go in the next few years. We all have that one friend who’s definitely going to Hell; go and recommend this series to them in solidarity.
Marc Staiano is a junior in the College of Arts and Sciences. He can be reached at mcs382@cornell.edu.
