Hazbin Hotel
Nothing New: Hazbin Hotel was supposed to be the edgy new face of independent animation. But does this show bring anything new to the table? PHOTO COURTESY OF AMAZON PRIME VIDEO
A&E

Hazbin Hotel Prioritizes Profit Over Creativity

Katerina Azpiri

Hazbin Hotel is an adult animated musical comedy television series. 

The show features eight episodes that are 20-30 minutes long and follows Charlie Morningstar, princess of hell, as she attempts to rehabilitate sinners into Heaven.

Vivienne Medrano, the show’s creator, also known as “Vivziepop,” debuted the series’ pilot on YouTube in 2019 and has since gathered more than 103 million views. 

This past January, Prime Video, in collaboration with A24, an independent entertainment company, and Bento Box Entertainment, an animation company, released the first season. 

The show has risen to the top spot on the platform and earned a massive fanbase, leaving us to wonder about the future of independent animation.

In the past five years, independent animation has been on the rise, coincidentally matching the downfall of the biggest animation studio—Disney.  

If you compare the numbers of the most anticipated animated works of 2023 from independent companies and big studios, the trailer of the YouTube series Digital Circus, released on Sept. 22, has more than 24 million views, while the trailer for Disney’s Wish, released on Sept. 27, has more than 13 million views. 

Disney has been reporting record losses lately. Many believe that is due to their lack of risk-taking. The platform has been incapable of portraying a nuanced villain, solely focused on conforming every character to societal standards. As a result, its plots lack substance and compelling narratives. 

Medrano states that the 21st century is the golden age for independent animation. But has the animation industry actually improved? No.

Not working under a big studio can give the illusion of creative freedom, but filmmakers are still controlled by profits. Stories become about being digestible for viewers rather than telling the story, mirroring Disney’s struggles.

A good example is Disney’s Star Wars sequel trilogy. The direction of those movies is based on what sells, such as the owl bird that is popular in every Disney store. 

Hazbin Hotel also suffers from this. When the creative process becomes about anyone other than the creator, the art suffers. This can be seen in the personality of Hazbin Hotel’s protagonist, who is a carbon copy of “quirky girl” characters like Anna from Frozen and Rapunzel from Tangled. 

That doesn’t mean that Hazbin Hotel is a horrible show. The songs are catchy and it’s a fun watch.

However, the creativity is completely uninspired. The concept of asking whether souls could get a second chance in Hell is intriguing, but the execution felt bland. The show tried to be edgy, but by prioritizing marketability, Hazbin Hotel is ultimately a corporate sellout that plays it too safe.