Rayla: I will never be allowed back in. No matter how much I might want to. I can't tell Runaan that. I can't ruin Ethari's life any longer.
Callum: Rayla...
Rayla: Don't start. You know what I've done. I failed them all...
Callum: Oh, come on! I'm sure if we just go, Runaan will fight for you. So will Ethari.
Rayla: ...Ethari helped with it. I don't blame him a single bit.
Callum: You don't deserve this! You deserve to have your family, y-you deserve to be happy, and you deserve more than what you were given! It's not fair.
Rayla: Hey... Listen to me. I don't know what I may or may not deserve. But... they don't deserve to suffer over my choices.
Rayla: I can't make them go through my mistakes.
Callum: Are you sure?
Rayla: Yes. I made up my mind. It's for the best.
Callum: You lost too much, all your parents... you deserve to be happy.
Rayla: Hey, there's one thing I still got. It's you. And I love you, with all my heart.
Callum: I love you too.
Rayla: Although I lost my home long ago. With you, I'm always home, Callum.
Some people are baffled as to how characters could be yanderes if they are not romantic in nature. Yanderes are describing any relationship, not just the romantic ones. Love comes in many forms, so let's look at some platonic yanderes, and how platonic yanderes differ from romantic ones.
First:
The Difference between Romantic and Platonic:
Brass tracks say it's simply a difference of love type: Eros vs Philia.
Philia is the love between friends and siblings, a companionship. Eros is the desire for a deep connection, that can get very intimate. It's companionship plus some. As an Asexual, the difference between my philia relationships and eros relationship is slight (very similar). What I do with my boyfriend is stuff I don't do with my friends: cuddle (I don't cuddle my sister often), kiss on the mouth, and hand-holding (I only do that with my sister and him, all my other friends no).
Of course, when it comes to Yanderes, what drives them crazy over these types of relationships? What drives a romantic Yandere?
A Romantic Yandere believes a person they meet is their soulmate, someone who can complete them, or otherwise soothe their loneliness.
It's rare that someone feels this way towards someone just wanting to be their friend, so most likely a Yandere based on Philia already had a relationship with the person. They were/are friends, or are siblings. This person was/is very kind to them, or is a constant in their life that they are used to. They don't want to lose that, or they want to get that back.
TLDR: Romantic Yanderes are seeking completion to end their loneliness, and Platonic Yanderes do not want to lose a constant comforting presence in their life.
Now let's look at some examples of platonic Yanderes:
The first example I can think of when I think of platonic yanderes is the example of Emperor Belos from The Owl House towards his brother Caleb. Caleb raised Phillip (Belos) from a young age, always looking out for him. They became witch hunters together, and this lasted until Caleb fell in love with a witch, leaving his brother for the magical world. Eventually Phillip in desperate search of his brother, found him starting a family with a witch. Disgusted his brother is not who he thought, he attacked them in a rage and ending up killing Caleb. Unable to live without him, he kept trying to clone him with the grimwalkers, but kept killing the clones when they weren't how he wanted them to be. This kept happening as Phillip was delusional and lost the truth of who his brother was.
Another example is All for One from My Hero Academia, towards his brother Yoichi. All for One wanted everyone's attention to be on him, and believed the world was his. His younger twin brother was, in his mind, the first thing he ever owned. He wanted his brother to be on his side, to join him, so he gave him a superpower against his consent (as his power allows him to transfer them). Of course, someone against All for one managed to rescue Yoichi from where All for One had him locked up. The fact his brother was fleeing from him enraged him so he killed Yoichi so he could harness the superpower from his dead body and absorb his conciousness so he could never leave again. When he found he couldn't and the power was already given away (as was Yoichi's true power), he is obsessed with reclaiming it, even raising someone who would have have the potential to reclaim it.
There's also Yuri from Spy x Family, towards his sister Yor. It's arguable if it's romantic or Platonic; seeing as he's okay with seeing her married off, I'm making it platonic. Yor is seven years older than him and they lost their parents at a young age, so she raised him. She was a constant in his life, and he noticed how much she put into raising him. From his flashbacks and his reaction to Yor ending up with Loid Forger, I can deduce he would only be okay with her being with someone else if he could be there for the entire process of them dating and falling in love so he could live vicariously through him because marrying your sister is societly frowned upon; since that didn't happen he hates Loid for taking Yor from him.
There's Tsukasa from Toilet Bound Hanako Kun, but that's an interesting case. He's obsessed with his brother, but is okay with him doing what he wants. He wants his Amane to end up with Nene, and is also okay with killing him or his brother killing him. He sees it as a game he's playing with Amane, a voilent game where they try to destroy each other. He wants to destroy the world, and Amane to be happy, but is okay with kissing Nene in front of him, and trying to rip her limbs off. He claims to love Amane, but doesn't really understand him. Since he's bonkers, and claims to love Amane, he counts as a platonic yandere. He's trying to play games with him as a way to have a connection with him.
There's Unknown/Ray in Mystic Messenger: Despite claiming ownership of us in the regular routes, he's not a romantic yandere of us until Another story where his route can be an option. He's okay with killing us more than once, and it's more to make someone else suffer. He's more a yandere for his saviour who he sees as a mother figure. Once his saviour no longer behaves how he believed her to be, he blames the character V for taking his saviour away and kills him in the secret ending. His saviour saved him from an abusive home and convinced him with brainwashing the kind people in his life hated him so that he would be devoted to her instead, that worked a little too well for her. He felt his saviour was abandoning him, and didn't want the saviour he knew to go away. He was afraid of the constant in his life leaving him.
There's Claudia in The Dragon Prince toward her father. She was willing to do dark and vile things in order to save his life and keep the people around her close. This is what her father taught her is nessecery to do for people you love. When he decides to leave she begs him and demands him to stay. This causes her to snap for a brief period, until she decides to ask her dad what she should do now. Without her dad, she latches onto the next possible candidate who is very similar who to her father was; hates Xadia, believes in the greater good, advocates dark magic and human's potential. She becomes obsessively devoted to him, even if it means destroying the world. She just wants someone in her life who will never leave her: first it was her father, then Aaravos replaced him as a father figure.
Lastly, the most recent addition, The Prototype from Poppy Playtime, towards his adoptive sister Poppy. He was turned into the Prototype shortly before Poppy turned into Poppy. He was a test run to see if it was possible. This made him believe his entire existence was tied with Poppy's. His adoptive father then told him that Poppy would love him and they could be a family together. This made him believe Poppy was the only one who would truly love him despite what he's become. Both him and Poppy were made to be a needless type of immortal, so he believed that even after eternity Poppy would still be there. Of course, Poppy chooses to go against him, which goes against his vision of them sharing eternity. So in an effort to control her he gets abusive. He's obsessed with making others that won't leave him, maybe also perfecting Poppy's immortality so she won't die. He's very cruel in his efforts of keeping her safe and in line, and disregards everybody else's well being.
Let's look at the arcs of our two main characters in the two movies.
The theme of the first movie: It's important to try despite what's against you.
Judy's Philosophy: Anyone can be anything, and Zootopia is a place where everyone gets along.
Nick's philosophy: We are what we are, and nothing can change that.
Judy first believes that if she tries her best nothing can go wrong, she can achieve her dreams if she just tries. Yet she wants to believe she's above everyone else because she is willing to try and so she's willing to look past everyone's bias. Since she believes that anyone can be anything, she believes since she believes that, that she's doesn't have a bias towards anyone. She wants to make the world a better place but doesn't see the faults within herself.
Nick first believes since no one will cut him any slack there's no point in him trying to be honest. Since people laughed at him crying about the unfair way he's being treated, he chose to close himself off and deflect the harshness of the world back at others.
As a therapist pointed out in Cinema Therapy (Channel on Youtube, Episode: Optimism vs Cynicism in Zootopia), Nick and Judy are both right, but also both wrong. Judy is right in that it's important to try if you desire it as that's the only way to acheive it, and Nick is right that there will always be bias and obstacles. Judy is wrong in thinking that being her best self means she doesn't need to improve or take in mind people's bias. Nick is wrong in thinking there is no point in even trying or being the best self you can be. Nick is aware of the world's darkness, and Judy is aware of the world's hope. The light and dark need to balance each other out.
Throughout the first movie, at first Nick laughs at her naivete and how much she tries to be a cop thinking it's going to blow up in her face. Judy at first thinks that Nick is a no good scumbag and a jerk who didn't even try to be better. Midway through the movie, Nick finds Judy to be impressive at how she can handle big threats and be a hero, showing she does have what it takes but no one cuts her any slack either. So he sticks up for her. Judy then learns throughout the movie whilst Nick is cunning and sly, he's resourceful. Also, he did try to be better once, and it blew up in his face, thus making him what he is.
They both realize the other's merit, as well as the reasoning behind their philosophy. Nick actually starts to think there could be more for him than how people see him, until Judy opens her mouth at the press conference. That's when he realizes his philosophy again, people will see you how they see you, even the supposed people who like you. Talking with Judy after just proves his point that she has a bias against him, she's scared of him and doesn't trust him. Nick is sick of that treatment and refuses to associate with her after that.
That opens up Judy's eyes of what she did and how what she said innocently was still hurtful, that despite her self boasting, she does have a bias. Everyone is then easily swayed by what she said, and it makes things worse for everyone. Judy realizes in proving a bunny could do more, she also proved that predators are less. She proved she can be anything, bunnies could be anything, but she didn't do the same for preadators. She sees her actions have consequences and people's bias are complicated and won't go away so easy. She proved Nick right, bias doesn't go away no matter what you do, and she is just like everyone else.
Later, Judy apologizes to Nick (espeically after Judy realized 1.a bunny could go savage and is thus just like a predator, 2. The flowers affect everyone and the predator's biology has nothing to do with them going crazy.) She admits Nick was right and that she is very naive and unthoughtful ("Dumb Bunny"), and doesn't mind if he hates her for it, but she really needs his help because she's come to rely on him. Nick does forgive her, because she is naive and she admits it, but also hopeful, and he's come to admire that part of her.
At the end of the movie, Judy accepts the world is complicated and messy like Nick said, but you should still try to be better and make the world better. Nick meanwhile, has opened himself up slightly, and has accepted he could do good, especially if he's with Judy.
Now for Zootopia 2: Spoilers!!
This movie has also focused on their philosophies.
Judy's Philosophy: In order to be taken seriously by everyone you need to prove yourself to them, and the world can only be better if you're willing to risk it to do the right thing.
Nick's Philosophy: People are going to judge you and as long as you're okay with yourself you don't need to prove yourself to anyone, and if you care about someone you would do anything to protect them, even if it goes against their beliefs and desires. The world is as it is you're not always going to succeed or change anything.
Again, they are both wrong and both right.
Judy is right in that in order for things to get better you have to be couragous in trying to change things. Nick is right in that you don't have to prove yourself as long as you're okay with yourself. Of course, it seems Judy tries too hard and Nick doesn't take anything seriously. Nick has flippant "you can't win'em all" attitude, and Judy has a "bunny hero complex," to the extent she overrides his "can't win'em all" attitude a lot. She's like: "We're doing this," and he's like: "Let's not stress over it."
Of course, they are there for each other. Judy does not think they need consuling, despite her overriding him in the session, and tries to defend him from bullies. Nick always supports her in her endeavers even when he suggests against it, and defends her from bullies as well.
Judy and Nick are both wrong in their philosophies. Judy is wrong in trying to risk her life and career all the time to change the world, and Nick is wrong in going against her beliefs and desires, as least as he as he worded it. He's mostly wrong in how being a hero won't change anything.
Nick tells her at one point, being a hero won't change the world and the case they're on isn't worth dying for. Judy thinks he's being a coward in this instance who doesn't care about what she wants or helping others.
Nick admits to Nibbles that his words came out wrong and what he meant was: while he does care about helping others, he doesn't want to lose Judy in the process. He wasn't being a coward, he's just scared for her and wants to protect her.
When they reunite, they admit their faults. Nick admits he's not great with words, and he still retains the deflecting part of his personality from the first movie as he's afraid of getting hurt. Judy admits she has been railroading him and not taking his thoughts into consideration because she wants to prove herself, which she implies she doesn't need to do but wants to do. She's risking herself too much and she needs to work on it.
After the confession, Nick is reinvigorated of going after the Lynxlys with Judy because they both just survived death together. He has opened himself to taking risks, as long as he's with Judy and they can protect each other. Judy has accepted that they may not matter to everyone, but they matter for what's most important.
Sidebar: In my opinion, the first movie's main focus was on Judy's growth, her overcoming her bias and naivte. She has the ending monolouge for that movie.
The second movie is more focused on Nick's growth, he overcomes his bias, and some of his insecurities. He has the ending monolouge of the movie.
Some more details that prove this are sprinkled throughout the second movie:
In the first movie we're introduced to Judy's place, in this movie we're introduced to Nick's place.
The First movie started with Judy putting on a performance, the second movie started with Nick putting on a performance (He was the main seller of that whole undercover charade).
The directors said they were trying to make Nick uncomfortable in this movie like Judy was in the first movie. There's even a scene that mirrors the naturalist club with the reptile speakeasy. Judy recruits someone who Nick is uncomfortable with at first like how Judy was frustrated with Flash, Nick is annoyed with Nibbles.
Like how Judy saved Nick from Manchas, Nick saved Judy from the Red Line.
Nick and Judy have a falling out again, this time instead of Nick being offended at what Judy said and leaving her, Judy is offended at what Nick said and leaves him.
First movie: Nick is attempted to be given a substance that would kill Judy. Second Movie: Judy is given a substance and then they try to Nick.
Finally: Nick overcomes the bias he has in the first movie. Even off screen in the second he calls her a dumb bunny jokingly. While Judy no longer has any bias against Nick, at the end he finally says "She's not a dumb bunny." Moreover, in the end of the first movie he's still partially closed off, the end credits showing him dancing only after Judy pressures him. In the end of this movie he's dancing from the begining of his scenes of the credits, showing he's opening up more. Teasers of the first movie show him roll his eyes when Judy glomps into his selfies, and the end of the second movie show him smiling widely when she jumps on him for a selfie, which is more evidence of his opening up.
{EDIT}: In the first movie, Judy admits she loves him at the end, and at the end of the second Nick tells Judy he loves her.
(Edit): In the first movie he jokes that Judy is a bad driver at the end, and in the climax of the second Judy says thar Nick is a horrible driver.
Overall, in the first movie, whilst they both realized where they wrong in their philosophies, Judy had the most growth in recognizing bias and overcoming it. In the second movie, they both realized they were wrong in their philosophies, but Nick had more growth in overcoming his bias and fear over Judy and his own emotions.
Judy's ending monolouge in the first: Change starts with you.
Nick's ending monolouge in the second: Our differences may bring us closer together than you think.
I mentioned in another post that Nick could probably be considered a threat to Pawbert because of his ability of deduction, but I also noticed he's not much of a sleuth in these movies.
Let's start from the begining:
After the first hustle, he very accurately reads Judy like a book. Yet he ends it kind of cynically, so it's kind of overlooked. You can also argue that his deduction is from years of cynical experience.
Every interaction after that is him trolling and insulting Judy in an attempts to get her to leave him alone as well crush her as that makes her feel better about herself. As a deleted dialouge once said, "He doesn't want her to prove she can be more because it will prove he can be more and he's scared."
His next sluething instance of course is the limo, he's more joking around until he puts together whose car it is. You can argue it's because he knew the guy personally.
The most he helps with Judy's case: he takes her to naturalist club, gets her someone who can run a plate, and gives her probable cause for entering a closed parking lot. After Mr. Big, Judy's just keeping him around in case she needs him for something. At the same time, he's impressed she's gotten that far.
With Manchas, he knows what to say to get Manchas to let them talk to him, and in a deleted segment he's looking around his mail, also in a jokingly manner. Then Manchas goes crazy, and he corrects Judy on the street name. He refuses to abandon Judy when they are cornered by him and Judy saves his life a couple times. When the police show up, she counts him as an important witness, which is validating to him. Now he's sticking around with Judy because he likes her and he sees himself in her with her struggles.
His next sleuthing instance is where he realizes the traffic cams probably caught what happened to Manchas, and then when investigating the footage, he knows where the howlers would have gone.
In the asylum, he is keeping his eyes open, the first to notice claw marks but not to notice the predators.
Later after the interview, it's revealed he could read her as more than a naive bunny in their first meeting, he knew she had bias against foxes. He deduced that she secretly believed he could attack her out of nowhere, that deep down she was afraid of him.
The next sleuthing instance isn't till far later. Judy just wants him around as she feels comfortable solving cases with him by her side. He deduces at the same time as her that Bellweather is the mastermind probably spearheaded by Judy's deduction. Then you can argue he came up with the plan to pretend to go savage in case they couldn't escape because Judy wanted him to leave him behind and he told her they would find another way. In that case, he knew how to get Bellweather to talk.
So from the first movie we find he's perceptive, has connections, and knew how a criminal mind would think, not to mention he has a charisma about him when it comes taking on other personas, getting people to play his hand. Judy is the one finding clues and piecing them together and he's the one handling and reading people. Not much of sleuth, just a motive reader.
Now onto to Movie 2: spoilers...
In their partnership, Nick was the actor, playing a role so Judy can do her job. He knew they were on thin ice with the chief, and was content on standing back like he wanted as a means to stay with Judy. He knew what would make him mad and is used to people not respecting him. Yet, when Judy needs him he comes calling, even if he doesn't agree.
In this movie he's less of a troll, and more of a jokester. When investigating the van, he's not. When Judy finds an open door, he is correct to say that anyone could have left it open, but incorrect in the fact it had nothing to do with the snake (Pawbert probably left it open).
In the Gala, he helps Judy blend in so they don't get spotted and helps her get into the area to investigate the journal by reading the room and knowing exactly who could get them in. Later he finds the scales and realizes Judy was right, but to be fair it was very obvious. He follows that trail correctly to find the snake, so I'll give him that.
Again, next he realizes at the same time as Judy that the Lynxlys are horrible people and the snakes are being framed. Also again, it was pretty obvious.
This movie went out of it's way to make Nick uncomfortable. He doesn't know the area and can't charisma his way around people like usual. Afraid of heights and water, he is very uncomfortable, just being dragged along for the most of it. Not sleuthing, just convincing Judy to leave.
His major sluething of this movie doesn't happen until the climax, where he realizes that the Lynx Judy was travelling with did something to her. You could say it was obvious when he pulled out the weapon, but someone dimmer might think he mistakingly thought Nick was someone untrustworthy or something. When Pawbert pulled out the weapon, he could immediately put together Judy was betrayed by the lynx and was probably in danger at that moment. Pawbert lies and says Judy is dead, which Nick believes until Gary says she's still alive. For some reason Nick fights for his life until then, probably because basic fox instinct, also didn't want him to win.
Once he finds out Judy is alive and safe, he is reinvigorated in solving the case, probably because he's just really happy she's alive, also he wants to screw over the Lynxlys for putting them through that. Judy kinda gave him a quick run down of what was going on and he quickly accepted Gary as a friend.
In the end, he's just helping to chase down Pawbert. He plows down a maze, jumps into him with Judy and trips him, also handing nibbles a log to beat him up, but other than that Judy and Gary are doing most of the fighting and wrangling. He's just willing to be there for her.
So not much sleuthing from Nick in this movie, not even much reading people. He makes a big deduction after Pawbert betrayed Judy by reading Pawbert, but that's it. I feel like in this sequel, Nick is taking a more active role in their partnership, actually risking himself couragously (in the water and in heights), and actually fighting a bit. Before, he just was there for Judy, in a disgruntled passive way. Now he's there for Judy in an active enthusiastic way. He becomes willing to fight for what he believes in, which is Judy, and that is probably what Pawbert found so dangerous.
Directors pointed out that Pawbert deliberately bumped into Judy and someone else pointed out he was present in the shipyard when Judy and Nick were there. They've already pointed out how machiavellian he is, I'm just going to go into it a little deeper and figure out his steps one by one.
The Shipyard is obvious: he was trying to get Gary access to the party. That's when he notices Judy and Nick are there, and that Judy takes the van that Gary is in. It's quite possible she might figure out what's going on, but he doesn't do anything more, probably hoping he doesn't notice anything.
The Gala where he bumps into Judy on stage, a place he's not allowed to be. He probably saw Judy snooping around on stage around the journal and figured she might be onto them. So he intervenes, and figures out exactly what she's doing there, and he's correct in his hunch. Judy Hopps is onto them, and she already uncovered one conspiracy she might uncover another. He's ushered off the stage before he can figure out exactly what she knows; in order to figure out if she was a threat to his family or he could use her in his schemes. The Audience gets a foreshadowing of his intentions when he says '[he's] trying to be [a lynxly]."
After the Gala, he's already ready to get Gary out of there. They stay out of sight, because now everyone knows about Gary, but they also tail Judy and Nick secretly in an effort to get the journal back.
After getting the journal back, Gary probably tells him that Judy says that they believe him and want to help. Pawbert knows that Judy and Nick are also wanted fugitives so convincing them to come with them will be easy, and also Judy(as well as Nick) is very resourceful considering she uncovered a conspiracy. So he decides to recruit her and temporarily get her out of danger.
He probably would have tried to take Nick with him too if the ZPD weren't there, and the house wasn't literally splitting in two. He didn't show to have any problems with Nick, didn't even hear how Nick was uneasy with everything or was jealous of him. Ironically it probally saved Nick later as he attacked the group easiest when their guard was down. The only way Nick might've survived that was if he was untrusting of the lynx the whole time, which might have actually been the case.
He takes Judy and Gary to his hideout in the Sahara, to uncover the Journal's secret. He tells Judy everything will be okay once they do this, because she needs to be on her A-Game, also maybe he likes her and wants to reassure her. He asks her how much she knows and she tells them "The snakes were framed, because of a secret in Ebeneezer lynxly's journal, unsure why he would keep a secret for a snake." He tells her, "That's not exactly the case." That's all she needs to figure out the truth, "A snake invented the weather wall, not a Lynxly, the journal belongs to her instead." Then Pawbert tells her the rest of the truth, which he doesn't need to do, but he does. I feel this is beause he was already going to dispose of her when she realized the truth, so knowing the rest wouldn't hurt. Telling her is essentially signing her death warrent.
Judy does end up helping them, she comes up with the idea of how to find the original patent, which Pawbert needs to know so he could destroy the final piece of evidence against them. Also she's willing to take poison dart for them later, so it helps to have someone self sacrificing in the group.
Once Nick arrives inside the Weather Wall, Pawbert decides the other two have fulfilled their purpose and he can dispose of them before the group gets too big. If I were him I would have waited until we found the patent to betray everyone, but I digress.
He did like Judy and felt she could sympathize with him, but a scheme is a scheme and his family's reputation comes first.
He then decides he needs to take out Nick, because he's a loose end. How much of a loose end is he? He found out from Judy how much Nick already knew at his hideout, and considering how fast Judy could figure out the truth who's to say Nick couldn't? Especially if Nick found out Judy was poisoned; he did see her enter with a Lynxly and if a lynxly's body is not found... Pawbert could try to lie like he did with Nibbles and get Nick to leave town thinking either Gary was evil all along or the police (or his family) caught up with them, but again, he could easily figure out the truth and probably find a way to prove Pawbert killed Judy (and Nibbles), heck he might try to stop him once he realizes the truth. That's also probably the reason he killed Nibbles too, thinking she might figure out the truth for similar reasons. He is a part of the power duo, Pawbert probably saw him as an equal threat as Judy, as for Nibbles he was probably just on a killing spree (She's a conspiracy theorist).
The last thing he does that seems tactical is where he tells Nick Judy is Dead. This is after Nick realizes he's no good; Pawbert is hoping to make him so full of despair it's easier to kill him, seeing as his guard can't be lowered. Luckily, it doesn't work.
After this his efforts and actions just seem desperate as he has just survived death and his plan was foiled in disposing of the group so he knows he only has a limited amount of time before they come to stop him. It's a race towards the Patent, the more they stand in his way, the more violent and crazy he gets.
That's the entirety of Pawbert's machinations. In the end I could say he was a desperate machivallian figure, so desperate for recognition that's he's willing to make risky choices at the end to prove himself.
I've noticed that in Hazbin Hotel, in each episode they have 2 songs (obviously), but of those two, one is a song for drama/plot and the other is a song for fun.
The fun ones tend to be like: simple message, more memorable lyrics, fast paced, the characters are enjoying themselves, has a catchy beat.
The Drama/plot ones tend to be like: hard to describe concept, intense feeling behind the song, song that changes a character in their arc/sets a scene, slow paced, maybe not as memorable lyrics, ballad.
Remember, these songs are styled off of Broadway songs, fun songs are there to describe a character, drama songs describe a scene or part of the story, the character's feeling in that moment.
Let's look at some examples;
Overture: The Opening act so to speak...
Happy day in hell: Drama song, Starts slow moving into a ballad, this song sets the scene and plot of the entire show, how Charlie has hope and optimism despite the terrible landscape, people and circumstances around her.
Hell is Forever: Fun song, Details Adam's character and establishes him as the villain, certified bop with a catchy beat. It could be argued that it establishes the ordeal of the season, but that's in the last 30 seconds, and more importantly, Adam is singing this to have fun and throw his weight around Charlie.
Radio Killed the Video Star: We meet our secondary antagonists and the plot moves forward.
Stayed Gone: Fun song, Made to establish the rivalry between Vox and Alastor, but that was established before hand. This is mainly a song of Alastor and Vox going at each other. It also has a fast pace, and is memorable quippage between the two characters.
It starts with Sorry: Drama song, Slow paced ballad establishing sir Pentious being accepted into the group.
Scrambled eggs: Showcases the other overlords, and hints at things to come down the line (I.e Alastor's scheming and the killable angels)
Respectless: Fun Song, Another Quarreling song with a fast pace, and characters moving to the rhythm, words having a bouncy effect.
Whatever it takes: Establishing Vaggie and Camilla's characters as well as their parallel, you might argue that makes it fun. Of course, the song is slow paced (ballad), and the characters are singing about how the desire to protect the ones they love (intense emotion), as well as their worry about what may come.
Masquerade: An episode covering Angeldust and his tragic life. This one was hard to determine, neither are ballads.
Poison: This song might be considered fun, as I've seen many covers and it's fast paced, good song to dance to. However, it also has Angel being very upset with his situation.
Loser, Baby: This one is slow paced, and has Angel comes to terms with the fact that he's not alone in his situation. However, he also is much happier than the song before.
I've got to say in the end though, I think Poison is the fun song, as it details an already prevalent situation describing Angel's life. Loser, Baby is the song for Drama as it details a main part of Angel's arc going forward (the begininng is like a ballad).
Dad beat Dad: An introduction to Charlie's father and previously mentioned Daddy's issues.
Hell's Greatest Dad: Obviously Fun song, it's a quarreling song, also borrowing elements from "Friend like me," Showcasing Lucifer's power as King and showing the main two men in Charlie's life compete for her attention.
More than anything: Obviously Drama song, very ballad song, this is where Lucifer and Charlie get into the deep seated reasoning behind their actions, showing how much they care about each other, by the end Lucifer decides to support Charlie's endeavors.
Welcome to Heaven: Introducing the other side the afterlife, the home realm of the antagonists, Charlie makes her case, and we learn the truth of Vaggie's origins.
Welcome to Heaven: Fun song, introducing everyone to the atmosphere that is heaven. How is this different from "Happy day in Hell"? It is faster, has a faster pace, and you can tell the voice of Saint Peter, Emily and Sera are enjoying themselves whilst singing, especially Darren.
You Didn't Know: Drama song, mainly slow paced, as truths are revealed and ethics are questioned. Mostly a ballad, except for Adam and Lute with aggressive words and rhythm, Much longer than the other song.
Hello, Rosie: Approach to the innermost cave, smoothing out the final wrinkles before the final act. Bonds are firmly established and a game plan is made.
Out for Love: Fun song, fast paced, establishes what we already know, Vaggie is and should be driven by her love for Charlie, as Camilla was driven by love for her daughters. Vaggie gets her wings back, but they don't play a huge role in the plot and are not discussed in the song.
Ready for this: Drama Song, starts slow and ballad-y, and not as fast paced as "Out for love." Mainly a song to attempt to recruit the army needed to fight the angels, as well as establish her cementing her drive to fight to protect her home. Also hints at Alastor's intentions, but that's negligible.
The Show must go on: The Final act... This one was also hard as both are ballads.
More than Anything reprise: Seeing as this is a reprise of a drama song, it might be drama as well as the characters detailing intense emotions, however the song is quite short and details what we already know.
Finale: This is mirrored to another Drama song, being "Happy day in Hell," but everyone seems to be enjoying themselves, of course it is longer.
In the end, I put "More than anything reprise" as Fun, because it doesn't give us anything except something for shippers. "Finale" I ended up classifying as the drama song because it is setting the final scene, and hinting at what's to come. It also showcases how far everyone has come, which is also plot related.
Part 2 of Hazbin Songs! I've noticed some episodes have more than two, and one actually has only one, so this might get tricky. For this season, let's just say each episode has at least 1 song for drama.
New Pentitous: The second opening act episode.
Hazbin Guarentee (Trust Us): This song is the drama song as it establishes the main MO of our protagonists and antagonists, setting up the arc of the season.
Once we get up there: Fun song, no ballads and everyone knows they're going to lose in the end anyway. Just a fun song to show the goal of main antagonist.
Storyteller: Part 2 of the opening act, showing what's happening in heaven during the first episode. First episode to have 3 songs instead of 2.
Like You: It's a fun song, a little hard to keep up with. Basically trying to sell all the pluses of heaven.
Sera's Confession: Beautiful song, full of ballads, reflecting of Sera's remorse and fear, highlighting her character arc for the season.
Gravity: Not sure for this one, but I'd have to say a drama song, as some parts of the song are reminiscent of ballads and explains Lute's hidden desires, moreso than the rest of the episode where she said she just wants to kill all sinners this song says she wants Charlie to pay and wants to kill Vaggie.
Hazbin Hotel: behind closed doors: This is the first confrontation between our protagonists and antagonists.
Speedrun to Redemption: Fun song, as the audience we know this isn't going to work, this is just Charlie losing her marbles and trying to prove a point.
Piss (a love song): This is the drama song, I think the showwriters knew they wanted to make the audience aware of it's genre by adding (a love song), because you wouldn't think it's a love song from the title. It's two people realizing their love through a ballad.
It's a Deal: Alastor begins his master plan.
Don't you forget: This song seems fun but it starts with a ballad, also establishes what Rosie has commanded of Alastor within their deal.
Clean it Up: A fun song where Nifty describes what she loves of the hotel which doesn't actually help Charlie.
Don't you forget reprise: This song is for drama as it caps off act one, and establishes that although a prisoner now, Alastor is not helpless.
Silenced: This episode is a major belly of the whale once it's finished. It really amps up the villains before their eventual defeat.
Vox Populi: Fun song, as Lucifer can't do anything, it's mostly Vox and Lucifer verbally attacking each other.
Vox Dei: This is the drama song, as Vox uses the ballads of this song to declare Holy War.
Scream Rain: Acts as an apothesis of the story where our heroes get their confidence back, but also as an approach to the inmost cave as the villains are preparing for their final push. This episode is tricky as each song has an element of fun to it.
Love in a Bottle: Husk talking about losing his troubles and getting lost in drinking and gambling.
Losin Streak: Angel singing to the patrons of the casino.
Easy: Chaggie makeup and sex song.
If I had to narrow it down I would say Love in a bottle is the closest thing this episode has to a drama song. Despite Losin Streak having all the ballads, it's Angel singing to the patrons and playing a role. Yuri fans would want the Chaggie song to be the drama song, but the lack of ballads, singing about an already established point, it's fast beat for a sex song, kinda denies it's chance of being a Drama song (also they're just singing how things will be easy because they fell in love which doesn't establish anything). Love in a bottle could be fun, but starts with Keith David ballads, singing how "[he'll] leave [his] troubles behind [him]" highlighting Charlie, Angel and Alastor, also referencing a previous song with Loser, Baby, which I established as a drama song.
This episode was a breather before the darkest hour.
Weapon of Mass Destruction: Begining of Act 3. Vox makes a show of force against Heaven and everyone is scared, except Alastor and Lucifer to Vox's face. Our heroes make a plan to go against him. This time they all seem like Drama songs. It could be the case where episode 6 had only fun songs so episode 7 and 8 could have only drama songs. Either interpretation works.
Brighter: Vox's Villain song, talking about his origins and motivations.
Live to Live: Pentious comforts Sera and gives insight on good and evil and human nature, as well as forgiveness and atonement.
When I think about the Future: A reprise of every song, a recap of everything happening before the main event, where everyone is and where they stand.
If I could give them seperate genres, What I think about the future is the recap and summary which people would need before the final act. The other songs could be considered fun in comparison.
Curtain Call: The finale is at hand for the second time around.
Hear my Hope: Everyone bands together to save everyone and save the day, almost everyone gets a part in this, similar to the finale song. Of course with finale, that song was "Return with the elixer," this song is the "Resurrection" part of the story. The heroes rise to win despite the hardship (similar to This Wish reprise in Wish).
Of course that song, being the final song and the only one of the episode is the drama song.
As you can see, I have some problems with this ship, (a little bit because it's yuri, but not for the reason you think).
Let's go into it:
Vaggie doesn't have much of a character outside Charlie. She's written similarly to love interests written in the past for men. I believe that people overlook this because it's a yuri ship and if it was written straight they would have more problems with it.
I think it would have been better if the couple didn't start together, that way we could have seen Vaggie outside of her relationship with Charlie. People might argue she does have a character, but I'd argue it's only a tiny bit.
Let's go deeper: In the pilot, people mistook Charlie and Vaggie as friends, and Vaggie had more of a character then. She was cynical and agressive, concerned about the patrons (even if it was a small number). Once the show officially starts, all motivations seem to center around Charlie.
She's concerned about the meeting with heaven, she's mainly concerned for Charlie's safety. She makes a commercial for Charlie. Wants to attack Pentious because he threatened Charlie's hotel, and spares him because Charlie wants her to. Then wants to kill him again because he's a threat to the hotel again.
Manages the trust exercises because Charlie asked her to and then gets concerned Charlie doesn't trust her. Tells Husk to go after Angel because Charlie is worried. She did tell Charlie to assert her dominence, but it's argueable if that's her own character or her helping Charlie get Angeldust back. Same can be said with her suggesting Lucifer's help.
She doesn't want to go to Heaven but her trauma doesn't come up too much, it's more a problem that Charlie will find out about her past. In the court room she's the emotional support for Charlie.
When they get back, Vaggie is not concerned about what the others think and thinking entirely about Charlie, even if she did tell everyone what was going on. She tells everyone they can leave if they want, but when they get back it's Charlie who's mostly happy they stayed so it was more Charlie's thoughts that Vaggie echoed. She goes to Carmilla Carmine on Charlie's behalf, and she tells her to fight for Charlie.
During the fight they are side by side, she supports her before the fight, and the fight with lute is mostly highlighted by the fact that Lute will kill Charlie when they are done.
Season 2: Vaggie is running the hotel, because Charlie needs a break and the support. Vaggie calls out Charlie for trusting a chat with the Vees, but her main concern is that Charlie isn't listening to her or trusting her. She goes to Lucifer for help, but mostly for Charlie's sake. They get in a fight, but the next episode Vaggie forgives her, they have sex and make up.
The issue is as soon as Vaggie fell, it seemed her and Charlie got together. She didn't have much time to be on her own in hell and discover herself. She got her wings back for Charlie's sake, the only thing she really did for herself was decide she wanted a new name.
It makes her a weak character in my opinion. Vivzie said in original drafts they wouldn't start together, and I think they should have gone with that route. That way we can understand why Vaggie believes and supports the hotel and not just because she believes in Charlie.
If you want to hear how I think other ships do things better, you can keep reading.
Here's a ship I didn't watch but have looked into: Catadora.
I don't like it because it's toxic, but it's not weak. Adora is finding her identity outside the horde, and Catra is trying to assert her dominance because in her childhood she was made to feel like a screw up.
For rule of thumb, if they don't start together, they will probably be well written characters of the ship. Also protagonists tend to have their own storyline outside of romance. So going forward, the Protagonists will be spoken for.
My favorite Ship of all time: Hicstrid.
Astrid has been critiqued for being a satelitte love interest, but she has her character outisde of Hiccup. She wanted to be the best, be recognized as a warrior. That still sorta persists in the second movie where she competes in Dragon racing in her spare time. It's the third movie where that goes away, her hint at character is questioning wether Hiccup should leave Berk as Stoick left it to him. She did care a lot about Stoick. In Gift of the Night Fury, she shows she cares about the people of Berk and wants to cheer them up. In the show she shows that she wants everone well trained, every place well barricaded, and her family and friends safe. She's a protector, even if Hiccup doesn't agree with her actions sometimes. (I.E He didn't turn the edge into a fort, and told her off for failing her team just so she can stay behind) The difference between this and Chaggie is this is Astrid's first thought (protection) and Vaggie always looks to Charlie first (She didn't outfit the hotel with barricades until the end).
Basically, if they have a character without being in a relationship, then they are more stongly written.
Rayllum: The showwriters weren't even planning on them getting together, but figured they had good chemistry. Rayla is trying to find her moral ground and do right by the world, Arc 2 she is trying to help her family and do right by the world, that and her relationship with Callum but at least it's not her entire focus.
Still Dragon Prince, but Clauderry: He's also introduced as a boyfriend and constantly supports Claudia. He'd suffer from this if he wasn't trying to support Viren on the sidelines and didn't make Goofy Goo for himself. He also admitted he's not entirely ok with Claudia's magic or her being cruel, in fact he even ends up leaving her for it.
If the relationship has some stakes it would be more realistic. Vaggie wasn't okay with Charlie hyperfixating, but her issues mention the hotel as a collective which also includes Charlie. I think it's unrealistic they'd have sex and makeup considering all the harm Charlie did. Vaggie can forgive her sure, but maybe when everything is okay again they can get intimate, just have them dance. It feels like Vaggie is an object or pet for Charlie's comfort.
Back to Helluvaerse, Moxxie and Millie: They are so lovey dovey, since Moxxie obviously has his character fleshed out, let's look at Millie. She has a barbourous streak, and loves violence, and just wants to be supported; she loves her job as an assassin. She was that way before she met Moxxie and still is that way.
If being in a relationship doesn't erase their character it's good writing.
Another show with queer ships, Owl House: Lumity:
They didn't start together, but it was always planned. Amity always gets flustered around Luz but didn't like her at first. Amity had her issues with her family and Willow, and that still persists even after a relationship with Luz starts. She still tries to be a good friend to Willow, her Mother is still overbearing (goes against her for all her friends), her father ignores her (not just for the girlfriend thing) and her siblings mess with her (that got better because of Luz).
Huntlow: Willow had her arc with Amity and self acceptance, and Hunter's journey was discovering who he was. It's not even confirmed if they get together so they have these characters all on their own.
Going Further, Steven Universe: Stevonnie:
Connie had issues with a lack of friends and her overbearing mother, and had interests in books and doing well in School. She helped Steven experience normalcy and wasn't a fan of certain things he was okay with. She wasn't okay with marrying when he had no direction.
If we switch to Live Action, there's Ghosts(US):
Issac and Nigel: Nigel almost suffered this, but we find out he really enjoys watching ants, and he has a body count. He also believes in the british monarchy and can be quite petty at times. Issac does leave Nigel, and Nigel still seems to circle around Issac with the Chris thing, until Nigel admits recently Issac needs serious help.
Most of the rest of the couples of that show have their own charcters before starting anything.
Back to Hazbin Hotel: HuskerDust:
Angel has his abuse from the vees as a part of his storyline, and Husk is dealing with the hand dealt to him, with Alastor and being forced to play therapist bartender.
That's the type of Dynamic relationship I want to see, if it's static like Chaggie it's boring, never mind that Vaggie is obviously a satelitte love interest.
Lucifer fan here, and yes I'm upset about the reveal. It makes sense, sinners are his punishment, he can't get rid of them.
Of course it makes further sense to consider he is like the genie from Aladdin, and what were the genie's 3 rules:
Can't kill anybody
Can't make anyone fall in love
Can't bring back the dead.
considering that, that probably describes his relationship with the sinners: Can't kill anyone=can't kill sinners, can't Manipulate feelings=can't make them like him, can't bring back the dead=can't bring back sinners who cease.
I'm a little surprised they're not going with "it's surprising what you can live through route," maybe that will come up later.
If I think about it, everyone loves Lucifer's part in Vox Populi, so I don't think we're too torn up about this reveal truly. What we do hate is the fact Lucifer was humiliated and couldn't get one up on Vox. If Lucifer could get away with terrifying him it probably would have been fine.
In another note, why is heaven so afraid of Lucifer? Lucifer can't coral sinners, but he can hurt everyone else. Why did they let him be able to still hurt angels if they're scared of him? Also he literally can't leave, and the sinners don't do as he says, why did they think he could get them to do anything? It's like being afraid of a person you chained down and gagged.
P.S Vox plans to use his power to fight heaven, but how is he going to be their main weapon if he can't leave? Their weapon would be stuck in hell.
Also good luck trapping him, he can't do anything to you, but you can't do much to him either. Rembering the fight with Adam, lucifer is a slippery guy. Even if was chained down or caged up in angelic steel, he could probably teleport or shapeshift and get out. It isn't like silver and demons, it just can kill them.
Maybe they'll threaten to go after Charlie. It's not technically going after her, Lucifer doesn't know about the deal with Alastor, and they might bring up how Lucifer can't do anything to them if they do.
Based on what we've seen already we can speculate how the other arcs are going to be aired.
Season 1 part 1: Introduction arc, Admissions Interview Arc, Eden Beginings arc, Secret Police Arc, Stella Star Arc.
Season 1 part 2: Doggy Crisis arc, Midterm Exams Arc, Campbelldon Tennis Arc, Imperial Scholars Mixer arc,
Season 2: 8 side adventures (Follow Papa and Mama, Bond's strategy to stay alive, Damien's Field Research Trip, Mission and Family, The Elegant Bondman, The Heart of a Child/Waking Up, The Pastry of Knowledge) Cruise Adventure Arc, 3 side adventures (Berlint in Love/Nightfall's Daily Life, Part of the Family)
So far, that's two filler segments of Season two, rounding it off nicely by establishing the family. Now let's see what we can deduce about future seasons going foward.
Edit: The mole arc is actually apart of season 3
Season 3: Berlint Panic/The informant and Nightfall (Why start the season off with franky? hence the filler segment to reestablish the family) Loid's Past Arc, Behind the Scandal/The path to imperial scholar, Friendship Schemes Arc, Red Circus Arc, Short Mission 10 (Anya and Ewen connect over space travel and Damien gets jealous),
Going Forward: Most of the Mole Arc.
Season 4: The end of the mole arc, Loid vs Yuri, Loid's Spy Wars Episode, Aaron vs Bond, and Anya making her name plate, then term finals arc, Love and war arc, and then most of the Term break
Season 5: Term Break arc (Desmond may be a mind reader), Poacher Hunting Arc (Yor realizes her feelings), The arc we are on right now
This is where things might take a darker turn, at the end of season 1, he met Desmond, at the end of season two is a bit of a breather, end of season 3 Yuri gets onto Loid breifly, Season 4 probably re-establishes the family (a bit of a breather), season 5 ends with Authen recognizing Anya in a moment of Lucidity and something maybe happening to Henderson.
Runaan: You mean to tell me that you, without hesitation, lept off the tallest mountain in Xadia to almost CERTAIN doom, because of the tiny chance that you could pull of an incredibly difficult spell to save my daughter
Callum: Of course!! What was I supposed to do, just let her die??
Runaan:...
Runaan, to Rayla: Sweetheart, I say this with the greatest possible love and respect, if you do not marry that boy within the next two years, I'll marry the two of you myself.
"Season 4" Rayla: Apologizing won't work, so I'll give him space. Keep my distance... why is he always a few feet away?
"Season 5" Rayla: Hey! My bestie said I could do what I want... I'm gonna sneak into places with him!
"Season 6" Rayla: You did bad things for me? 🥺 I love you, I do. But no more bad things that hurt you for me.
"Season 7" Rayla: I haven't seen my Hubby in two minutes, I swear I will destroy everything and everyone here if my Hubby isn't saf- Oh, he's next to me.
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