Sex as payment being proposed isn't inherently the most evil disgusting thing in the world, despite only those situations being what's shown to us in media.
A character does not have to feel ashamed or disgusted or powerless or intimidated at the prospect of paying using sex, just because that’s the only standard shown in our sex-negative, sex-work-negative society. Even more relevantly, in a much more sex-positive (or sex-indifferent) society or for a person who has a freer view of sex, a person can react with general neutrality and normal consideration to the offer of paying using sex! They can say, “Okay, sure.” and just do it.
I did not know how radical an idea this was until I saw the Helluva Boss discourse on Stolitz.
Before and through their transactional relationship, Stolas does not owe Blitz anything, and he definitely does not owe Blitz the royal magic artifact that Blitz stole from him. Stolas isn’t “dangling Blitz’s livelihood in front of him” just because Blitz decided own his own he wanted his livelihood should rely on Stolas’ family heirloom. If Stolas proposed no deal and took the Grimoire back from Blitz at some point, it would genuinely be entirely within his right.
Even outside of this, for Blitz the Grimoire is all about ambition, and it is always framed as so. He’s a working-class imp assassin going job to job, sure, but using the Grimoire to open I.M.P. is about making a business that no one else can offer with a power very few have. This isn’t Blitz stealing the Grimoire to get off the streets or pay for his grandma’s cancer treatments, it’s him stealing $1M for his experimental startup.
Blitz is fully aware of the transactional nature of their relationship, and Blitz regards it as him being slick and enterprising, privately treats it semi-indifferently or like no big deal (much more comfortable with the idea of their relationship being purely transactional than it… not).
The full moon deal by itself is fine.
If Blitz and Stolas continued on their transactional sex deal until the day they died with no feelings involved whatsoever, everything would be hunky-dory, people get what they want, and that’s the end of it. Blitz is an entrepreneur ready to bang, cheat, and steal for success and Stolas is the rich guy who has what he wants, period.
The actual point of conflict is the fact that they DO have feelings for each other, and that Stolas truly wants them to have a relationship.
Their dynamic is just fine as an exchange, but not as a relationship. Blitz thinks(/wants to think) Stolas is a high-class royal who just sees him as an object to get his rocks off—that’s fine by him because he’s using him as just a ticket to the human world, they’re just tools for each other and that’s the agreement. Blitz is(/wants to believe he is) only with Stolas for the book—that's the expectation, because that’s the agreement.
But Stolas only realizes this is how Blitz sees things after Ozzie’s, foolishly hoping that Blitz actually really wanted to be with him and that the book was just a pretense. He’s wracked with guilt over being or being seen as that royal “monster” that just uses people as tools and keeping the one he loves shackled to him via financial means. This is because he loves Blitz, he wants to spend time with him due to mutual desire, and the thought of Blitz putting up with sex with him like a chore hurts him.
On Blitz's side, he is angrily pushing away the idea that there are any feelings between him and Stolas, in Harvest Moon and explicitly in OOPS (and Ozzies, Full Moon, Apology Tour). He puts up that there's nothing between them, that it's just sex, just transaction, and he's feels more comfortable and confident with that than acknowledging feelings (again, Harvest Moon, Apology Tour). But we know that Blitz actually uses his relationship with Stolas to feel connection and to feel wanted, as seen in the ending of Ozzie's, Queen Bee, and his attempts to keep their thing going AFTER getting the Asmodean Crystal in Full Moon and Apology Tour. So why does Blitz deny these feelings? He believes Stolas sees him as just a tool, a lower-class imp, and, to him, having feelings for Stolas is willingly shooting himself in the foot. (Almost like being taunted by his my old loves that he's going to die alone, then spotting Stolas sitting upon a golden throne atop a staircase, and crawling up the staircase in wonder, getting chained down because he views this figure as only wanting him as a object or possession. Like, as a metaphor or something.)
Transactional sex would have been fine if it was a mutual deal where they both got what they wanted. The reason it wasn't fine was because it wasn't what they wanted, only half of it.
THIS is why the dynamic was unhealthy and needed to change. To form the foundations of an actual relationship.
Maybe this is old news but I am so tired of trying to understand where people with these opinions are coming from. I just so fundamentally disagree with this take but I can’t put into words why it’s wrong. Any thoughts?
🤖: Beep Boop! Bullshit detected!
💁🏽♀️: Thanks for the submission! The “Stolitz is toxic” argument is so tiiiiredddd 😩 The only thing that’s old news is that these people are STILL refusing to put forth the literary analysis skills I’d expect in a 6th grade Language Arts class. Let’s get into it 😈
1. “Selling His Body”? That’s a Reach.
Let’s address the claim that Blitz is “selling his body” like he’s some helpless victim in a one-sided arrangement. First of all, Blitz isn’t some wide-eyed innocent here—he’s a grown, street smart businessman who agreed to a transactional arrangement. Was the arrangement generally fucked up? Of course. Is it sex-work adjacent? Sure. (And that’s not even unpacking the creepy hangup on “selling bodies”. Are farm workers selling their bodies? Are massage therapists? Sex work is selling a service. Don’t be weird.) But, anyway, to flat-out call it “selling his body” strips away the nuance and agency Blitz demonstrates throughout the series. He’s not being coerced or forced into anything; he’s making a calculated decision to gain access to the grimoire in exchange for sex—a service he’s fully in control of providing. (And one that he is implicitly shown to enjoy.)
And let’s not forget: Blitz has made it very clear that he’s comfortable saying “no” to Stolas whenever he wants. From turning down flirtation (“Loo Loo Land”, “Harvest Moon Festival.”) to leaving Stolas right on his literal driveway (“Ozzie’s”), Blitz shows us time and again that he’s perfectly capable of setting boundaries. So the notion that Stolas has this overwhelming power to impose “extra stipulations” whenever he wants? It’s not just a bad analysis—it’s outright fanfiction.
2. Stolas: Power Dynamics, Accountability, and Trying to Do Better
Now, onto Stolas. Yes, he held the upper hand in their initial arrangement, but—and this is key—he took active steps to dismantle that dynamic once he realized it was harmful (Full Moon, anyone?). He didn’t just say, “Eh, it’s fine,” and keep exploiting the situation. He found a way for Blitz to retain access to the Human World without the sex, prioritizing Blitz’s autonomy over his own desires.
Does this sound like a man hellbent on abusing his power? Absolutely not. In fact, it’s a rare example of a character in hell actively reflecting on their flaws and attempting to grow. The argument that Stolas could have added “extra stipulations” at any time is irrelevant because—surprise!—he didn’t. If anything, his actions suggest he’s gone out of his way to not impose on Blitz unnecessarily.
3. Subtext Is Not a Dirty Word
This take also commits the cardinal sin of ignoring subtext, which is borderline comedic given how much of Helluva Boss thrives on it. From the very beginning, the show has been laying the groundwork for Blitz and Stolas’ emotional connection. Blitz’s walls of self-loathing and fear of rejection are juxtaposed with Stolas’ desperation for love and validation. The result is a relationship that is messy, imperfect, and full of potential—not “toxic” as this take lazily asserts.
The idea that “neither of them care about the other” is demonstrably false. Did we all watch Western Energy, where Blitz nearly sacrificed himself for Stolas? Or The Circus, where Stolas sings an entire ballad about finding joy in Blitz? The claim that their relationship lacks personal depth isn’t just wrong—it’s willfully obtuse.
4. Art ≠ Moral Instruction
Let’s address the pearl-clutching over the show supposedly “justifying a toxic relationship.” First, calling their relationship “toxic” is a gross oversimplification that ignores their growth as characters. Second—and more importantly—morality has no place in media analysis.
We’re watching a show about literal demons in hell. It’s not Sesame Street, and it’s not obligated to provide morally perfect examples of relationships. The beauty of Helluva Boss lies in its willingness to explore the messy, complicated dynamics that reflect real human struggles. Art exists to provoke thought and explore complexity—not to handhold us with squeaky-clean moral lessons.
Final Thoughts: A Hot Take That’s Ice-Cold
This take is a masterclass in bad faith. It distorts the narrative, ignores subtext, and weaponizes morality to dismiss a nuanced and evolving relationship. Blitz and Stolas are flawed, yes—but their relationship is rich with depth, vulnerability, and the messy reality of two broken people trying to connect.
So here’s my advice to whoever penned this take: Watch the show again. Engage with the text and the subtext. And stop treating Helluva Boss like it’s supposed to be your personal guide to moral behavior.
Now, who’s next? Crushbot is just getting warmed up. 🤖😈
i am extremely normal about the teeny bit of blitz's red string of fate that extends outside of his self-imposed tomb to meet with stolas' blue string of fate. so normal. i don't think about it all the time at all.
To catch up on the rest of this analysis series or see other essays referred to here please refer to the Master Post.
This analysis may be a little shorter because this episode is less of a story driver and more of a backstory drop. That’s not a criticism of the episode, but the two major things to come out of it (Loona and Blitzo’s relationship and Verosika) are also explored in other episodes so it’s one you could skip technically without losing anything. It’s more of a setup episode to dig into things deeper down the line without them coming from nowhere. This episode does have some really important relationship parallels though and some cute and fun moments I enjoy a lot.
The episode opens with Blitzø loudly and badly singing along with a song on the radio. Millie looks pleased, Moxxie is covering his ears, our first indication he is a music snob but not the last, and Loona is rolling her eyes as per usual.
The song itself really evokes that sense of bad early teens and 20’s relationship decisions, there is a kind of nostalgia with it in the sense that you had fun being fucked up and irresponsible and it reminds you of that, but you wouldn’t want to go back to that place. I think this is intentional with Verosika being a youthful indiscretion, a different time in Blitzo’s life. I don’t think he’s necessarily nostalgic for it, he seems to resent it and view it as a waste of time, but I think the song serves to put the audience in that mindset.
Verosika steals Blitzø’s parking space and we have the episode conflict right up front and center.
We are given A LOT of information in dialogue drops. I found the amount of information dropped in such a contentious, snappy scene to be super fun. I love efficient dialogue and this delivers.
Verosika and Blitzø used to date, Verosika has a drinking problem but she left rehab early due to her fame and obviously hasn’t handled it if the flask in her hand is any indication. She pulls from it immediately and it is a fun little plot device later you aren’t necessarily expecting. I actually didn’t pick up on it until my second rewatch. I liked this detail a lot and appreciated how naturally it was worked in.
Blitzø is revealed to have a sister that is also in rehab and based on his reaction he is upset about that. Blitzø has a lot of resentment about Verosika in general, it carries through in every interaction, and seems misplaced given she reveals he is the one who ran off, leaving her to foot the bill and then maxxed out her credit cards. This could be because of something yet to be revealed, or it could be just a nod to how people act with toxic early relationships.
Their argument uses a lot of gendered insults and sexual aggression, which speaks to why it didn’t work out between them.
To digress for a moment, I think Blitzø’s reaction to women in general is interesting. I’m keeping an eye on it this rewatch but he is always much more verbally aggressive towards female characters, excepting Loona and Millie. In Murder Family he is very misogynistic with the client. In LooLoo Land he yells at the offended mother. In the Hellbie’s clinic he yells at the waiting mom and the secretary and when he goes to visit Barbie in rehab he is super intense with the nurse. He shuts up Octavia in LooLoo Land, and he is kind of nice about it, calling her sweetie, but ultimately dismissive and he also says some really gross things about her on the phone in LooLoo Land.
It may just be my perception but he tends to back off when faced with other males, or is certainly not as intense with them. Vortex in this episode, Asmodeus in others, and he’s almost deferential to Striker and Crimson. He gets a little aggressive in his language with Stolas but he is clearly the dominant one in that relationship.
Back to the episode.
Loona is clearly interested in the Verosika proceedings. She is a fan. It’s a more positive emotion than we’ve seen from her thus far.
Verosika mentions that Vortex is her new bodyguard and he does a better job than Blitzø ever did.
The running theme of people telling Blitzø he is bad at his past jobs is one of my favorite little character details. Each little jab speaks to his insecurity and the entire show being about him finding his place and something he can prove he’s good at. It’s a really subtle way to drive that insecurity home for the audience. This comes up later in his conversations with Striker, Fizz and Crimson, some from a place of building him up as a manipulation tactic and others bringing him down.
The IMP gang are all shocked he dated a famous pop star, and like I mentioned in my Ozzie’s essay he is very dismissive, and annoyed about it. Eyes narrowed, arms crossed, “Yeah we dated, so what?” “Why are you all acting like that’s such a shock.” They are fairly insulting to him about it.
“You are all making it a way bigger deal than it needs to be. I don’t pry into your stupid personal lives.” Which they all rightly point out he absolutely does. And in this episode in fact, not only with a Loona but asking if Millie pegs Moxxie.
Millie asks what sex with Verosika is like showing us Blitzø is not the only one with boundary issues, and Blitzø, the most sexual character on this show save for Stolas, who is equal and limits it to Blitzø only for the most part, asks them to drop it. He does NOT want to talk about this. It is such a departure even this early on you can clock it as significant. There is history there and Blitzø does not like it.
Loona bemoans that she did her makeup shitty on a day when she met such a famous person and Blitzø tells her she looks perfect like always. He is in full on simpering dad mode, which is always cute. Loona FINALLY drops that he is her Dad for the audience, though she takes it back immediately and calls him Blitz, so now we know this is a thing: he is her dad and he is over the top in his affection and she rejects it.
Another digression, apologies, but this is SUPER IMPORTANT.
I find it really telling that Blitzø’s “unwanted” affection for Loona is treated very differently than Stolas’s by the *ahem* more critical fandom. Because they are essentially the same. They just aren’t both sexual. To be extremely clear, I do not in anyway think Stolas’s sexual advances are unwanted, just like I don’t think Blitzø’s parental desperation is. We have two very opinionated characters, who absolutely leave situations they find truly undesirable. In this very episode we have evidence of it. Blitzø left Verosika. Blitzø leaves Loona on the beach after they fight. Loona storms off repeatedly and Vortex even praises her for standing up for herself.
Blitzø is over the top affectionate, he uses a baby voice, he offers her treats, he calls her a silly name she doesn’t seem to like. And she shuts him down, she scoffs, she rolls her eyes, she runs away, she is visibly annoyed. Repeatedly. All things Blitzø does to Stolas. She is JUST AS uncomfortable with it but through her expressions when he’s not looking, her body language cues, and her deflection via dialogue like when she calls him Dad and corrects herself, we can tell she craves that familial love and she even gives into it at times when she can tell Blitzø needs her too even though she fears getting too close, like in Queen Bee.
Blitzø does the EXACT SAME THING with Stolas. Stolas baby talks him, offers him little treats. (Of the more sexual variety), calls him a cutesy name he is annoyed about but when Stolas seems to truly need him to be softer Blitzø gives in even though he fears getting too close, and I firmly believe this parallel is incredibly intentional. These are two very important relationships in Blitzo’s life and they directly mirror each other.
There is more to the Loona & Blitzø vs Stolas/Blitzo relationship parallel for me than even the Fizz and Asmodeus one because it really shows that Blitzø and Stolas come from the exact same place, they are just in different positions in each relationship.
What works the most about it is that BECAUSE Blitzø is on the rejected side of the Loona relationship it actually feeds into his rejection of the Stolas relationship. The one person he should be able to give and receive love freely with, his actual family, even pushes him away. Because he feels unworthy of a romantic relationship, he tries too hard with his familial one and the cycle repeats. There is also a lot to say about their positions of power in these relationships as well.
Blitzø took Loona in. He houses and feeds her and gave her a job. He feels comfortable expressing his affection because he is the “power” holder. He essentially secured Loona’s place in his life by taking her in and giving her a job in his business. I wouldn’t normally put it in those terms for a teenage adoption, but it’s an appropriate way to look at it in this show, especially with what’s said in the episode. Blitzø feels like taking her in and giving her a place should count for something and Loona resents it, she was almost an adult anyway. We even see him more or less “shopping” for her when we flash back in Seeing Stars. He bought her from a pound. Loona feels like she didn’t need him. She does, but she doesn’t want to.
With Stolas it’s the opposite for Blitzø. Stolas secured Blitzø’s place in his life with the grimoire. Stolas is why his business runs right now. Just like Loona, Blitzø needs Stolas, not just for the grimoire, just like Loona doesn’t need Blitzø for just her job and her home, but he doesn’t want to need Stolas for anything either.
(I want to be clear that this is JUST in the context of this cartoon show. I in no way look at actual adoption in real life through this lens, just need to say that for the weirdos.)
We also see that Loona is more alike with her father than she wants to admit, even rejecting affection the exact same way. Their relationship development is on a similar track and pace as well. We get a change with Stolas and Blitzø in Ozzie’s and directly after a change with Loona and Blitzø in Queen Bee. I will…. probably write a whole separate essay on this with all the examples to flesh it out more. It’s that crucial, but I don’t want to spend too much more time on it here. It was just too critical to leave out.
Okay, sorry, back to the episode.
Moxxie offers to ease the tension and talk to Verosika. The succubi crew attack him and then Blitzø gets really pissed. It’s one of those little “he really cares about his employees” moments I adore. We also get the first hint Moxxie is bisexual when he doesn’t reject the male coded incubus for any other reason than he is married.
Blitzø is very clear he is only throwing down the challenge they can kill more people than the succubi can fuck because they went after his employee. I’m interested in the lore of a “demon challenge” but Verosika backs down for an unrelated reason so no clues as to how binding they are.
We also get a good glimpse of Verosika’s tattoo, which is a heart with Blitzø crossed out. She was obviously way more into the relationship than he was, and as I speculated in the Ozzie’s essay I think he fled because of her trying to get too close to him and he was intimated by her increasing fame and the eyes and scrutiny that brought with it. I’m sure there is more to it they’ll explore but that is what we have so far. I find it interesting as well that we don’t get any more info about their relationship than got in Spring Broken in the Ozzie’s episode, she was solely there as a contrast with Stolas just like Fizz.
Like many of the characters from Blitzø ‘s past she continues to pointedly use BlitzO instead of the name he prefers.
I think this is less of a deadnaming thing as some people interpret it, than an “until he reconciles his past with them they won’t let him forget it” thing. Names are a big deal on this show and only the characters that knew him before pointedly use the O. As he makes amends to these people he hurt, intentionally or not, they will accept the new life he’s trying to lead.
It is possible he could revert back to BlitzO as well by the end, that’s a viable direction to go, but I’m pretty sure it’s going to be the former. They won’t call him Blitz and accept the change he’s trying to make until he makes amends.
Stolas gives Blitzø a new name altogether, one that he doesn’t appear to like either, but for different reasons. I think in that instance instead of the changing his name to escape his past he dislikes the nickname because of his fear of the future and the intimacy and romantic love that it could come with. Blitzø sees cutesy nicknames as a sign of affection, and he uses them frequently with people he loves LoonyToony, MillieBillie, etc to express his love. Having Stolas do the same to him scares him.
Blitzø breaks down the plan on the board with a little cartoon. He maintains that intense aggression about Verosika throughout. Moxxie and Blitzø argue about the plan and drop a cute little art school joke.
Loona asks if she can come this time and Blitzø forbids it with a fourth wall break about people over sexualizing her.
We get some lore about the human disguises, Loona has one but the imps don’t. This is a problem in this universe and is called back to in TruthSeekers and Seeing Stars. This potentially has plot implications later, either with D.H.O.R.K.S or an overarching Hell authority. I have some theories that both IMP and Stolas will be in trouble over this eventually.
Blitzø makes a flyer that hints at his dyslexia, Moxxie is wrong again, and they have the clients they need to kill for the challenge.
We arrive at the beach, which conveniently has all the targets the clients require. Loona sniffs a piece of paper and can somehow find them. I will take no “but the world building consistency!” criticisms about this show, specifically because of this scene that tells us “sometimes you just hand wave shit to get the plot moving, it doesn’t have to make sense, it’s not that deep”.
We get a little murder montage. Blitzø is being cocky and then Verosika starts the episode’s song. Verosika puts up a Fuck You Blitzo sign, which is echoed by a sign hanging off the building over the parking space at the beginning of the episode that says Buck You Flitzo. I do not know why that sign is there in the parking lot but it’s a fun detail.
Verosika can’t get through a song without drinking. I still really like the use of the flask as both a plot device and a character issues nod wrapped up in one so it bears repeating.
Loona seems to be captured by the energy of the song and approaches Vortex. There is an indication about the world building here, that the succubi can compel in some way with the song. Loona seems to almost be in a trance and the humans certainly are. Blitzø seems immune. He notices Loona is gone and yells out “where’s my baby” very dramatically with his very misplaced fatherly concerned about her.
Meanwhile, Verosika chucks her flask into the ocean. Trouble is brewing.
Loona approaches Vortex and she is very different to how we’ve seen her thus far. She’s awkward and strange and reveals she doesn’t have any friends. This is much different than how she interacts with the human men she lured into their deaths. She was very sure and not at all awkward with that. When confronted with someone she likes and is attracted to she falls to pieces a bit. Vortex is genuinely really nice, not playing into her little crush but still being friendly and teasing her a bit. I really like him as a side character.
Blitzø inserts himself into their conversation and says one of my favorite quotable lines “Conversation leads to HPV”.
He uses his authority as a boss first to get her back to work but it’s really coming from a place of parental concern. It’s a good character moment, instead of just telling her why he’s worried he defaults to boss Blitzø first.
This is one of the cruxes of their relationship issue. Blitzø adopted her when she was almost grown, he thinks that should count for something and Loona is rebellious teen yelling “You’re not my real dad”. Neither of them are approaching this from a good place. Blitzø is pushing his authority as both boss and father and Loona is pushing back and remaining guarded even after years of Blitzø being there for her. It takes time to break down those walls for both of them. That conflict starts here in Spring Broken and remains a plot point throughout.
Meanwhile Moxxie and Millie keep killing folks for the business. Moxxie gets mistaken for a possum and thrown into some beer.
Loona attempts to reach out to Blitzø but he rejects her this time and storms off. Vortex comforts Loona and is genuinely just a cool dude all around. Seriously, I like him a lot. I like the direction the show chose, where some shows might have gone the douchey route with such a character and had Loona experience a heartbreak that way, we get a different approach. He is a genuinely nice guy who is with someone else.
Loona appreciates Vortex’s support but still looks troubled. She doesn’t break down and approach Blitzø any further however.
She drops a bit of dialogue that’s meaningful instead: “He’ll get over it, he always does.”
Narrator: He doesn’t.
Millie gets a drunken Moxxie out of the beer cooler and he’s the cutest bean. I loved this scene from a personal level because, like my own partner, when he gets drunk he simps for his wife even harder. It was such a cute moment.
Millie goes feral when he’s in danger as she tends to do. The high five when he’s in the demon fish’s jaws while she is trying to save him makes me laugh out loud every time. It’s great. Like A+ animation choice.
Moxxie and Millie have a couple’s moment and a resentful Blitzø rolls his eyes and crosses his arms and says it’s too wholesome for him. I point this out because of how intentional it is as a character reveal. Moxxie and Millie were already cuddling but they amped it up and had Blitzø comment on it in an episode where his ex shows up and presents a very messed up relationship from his past.
Verosika and crew approach the team. They try to pin the blame on IMP but Millie has the flask. It’s shown again that there are consequences for what they do in the human world. They all seem to genuinely fear whatever those consequences are.
Verosika points out IMP will get in trouble too but Moxxie counters with one of my other favorite lines “A human called me a potthum, I am NOT a potthum.”
They agree to give back the parking space, Verosika is pissed. Blitzø gloats. So many middle fingers in this episode.
Loona and Tex are still talking and he offers to invite her to a party and drops that he has a girlfriend. Loona is incredibly disappointed.
Everyone heads home, I especially liked everyone’s different drops into the portal.
Verosika and crew get arrested and it’s implied they’ll get out of it for sexual favors.
This episode is just a fun one. I don’t think it’s meant to be taken too seriously but it has some fun character tidbits and the Loona and Blitzø relationship setup. We get more insight into Loona versus the apathetic sarcasm of the previous episodes. She is awkward and lonely and seems to be interested in finding a romantic partner. The episode itself frames this around Blitzo’s own youthful indiscretion, and is most likely the source of his concern though it’s a subtle setup. I like to think Blitzø was probably around Loona’s age when it all went wrong with Verosika, and that’s why he’s so overprotective. He knows where relationships in your late teens and early 20’s can go.
Loona is closed off to Blitzø but seems to genuinely want that connection between them, but they are too similar.
I like the placement of this episode story wise. I hinted at this in my previous analysis, and while I don’t know this for sure, the reveal of Blitzø as her adopted father at this point seems very intentional. In the non canon pilot it’s just dropped as a bit of quick dialogue and not even in a creative way, it’s kind of forced actually but I like that when they sat down and developed it further they waited for the right moment. We go two episodes entire episodes without learning it in canon.
I mentioned in the Murder Family analysis that I initially thought Loona was an employee he was sexually harassing not his daughter. I can’t determine if the creators thought everyone watching had seen the Pilot or if they wanted to wait to introduce it on purpose. I lean towards the latter considering how carefully crafted Murder Family was as a true Pilot.
It would have been okay to just dialogue drop it again in Murder Family or made sense to mention it in LooLoo Land given the father/daughter focus of that episode but I think they made the right choice dropping it here. Not only is this a more Loona centric episode but we, the audience, can now directly contrast it with the preceding episode.
In LooLoo Land, Stolas is having a similar issue with Octavia, though the issue there is more of a family breakdown than an issue of independence, but whereas Stolas and Octavia resolve the conflict for the most part in that episode (though it will reappear in Seeing Stars in a slightly different way) Loona and Blitzø do not. They fight, they separate, they do not reconcile. This tells us this is an ongoing plot point, it will come up again and it will not be resolved in a single storyline, it is an ongoing thing they want to develop.
Not to keep being all BUT STOLITZ in an episode Stolas doesn’t even appear in, but I love the back to back contrast between LooLoo Land and Spring Broken and the fact that we are shown that, though Stolas and Blitzø are very different, they have similar issues in their relationships with their daughters. They are both fathers trying their best.
How the issues are handled speak to their flaws in character as well: Stolas fucks up because of his issues trying to force a happy family image and alienates his daughter, but he talks to her about it and she is receptive and forgives him and they reconcile. Octavia is very like her father in a people pleasing way in that she does go along with what Stolas wants (though she protests a lot more) and does this until she explodes and then she is soothed by actually talking it through and being receptive. Stolas has done similar things, he goes along with things to keep the peace and then he explodes, his blow up at Stella for instance. I’m hoping we’ll see more of him blowing up in future. Both Blitzø and Stolas are reflected in their daughters. Stolas even takes this same approach with Blitzø he does with Octavia, he reaches out and tries to talk, but because of Blitzø’s issues he gets rejected. Loona would do the same.
Blitzø and Loona’s conflict is both with his exerting his authority and being overbearing and overly affectionate which Loona doesn’t trust. Loona, because she is like Blitzø, rejects him for both, but because both of them default to ignoring the problem, neither talk about it and it goes unresolved.
I just really like this contrast. I also like how you can see how tied together all these characters are, they have thier own unique issues but they still parallel and mirror each other throughout.
I don’t like to refer to episodes as filler episodes, because no episode is truly just filler unless it’s a flashback episode and even then sometimes they matter, but this episode could be classified as such as it only gives us backstory hints and no real resolutions. As I said before if you skipped it you wouldn’t be missing any necessary context for the show as everything in it gets brought up again. It does introduce Verosika and setup Loona and Blitzø’s relationship conflict however. These are both important but we explore them elsewhere too so this is more of an establishing shot of those things rather than a typical setup and resolution. These are pins to be knocked down later.
We the audience know there is more to explore with both of them, whereas with LooLoo Land I don’t think they intended for Octavia to necessarily be a long term conflict for Stolas, they set it up and resolve it in one shot. Seeing Stars came later and was kind of a rehash of LooLoo Land but this time bringing both Loona and Blitzø into it and calling back to the issues of Spring Broken. Seeing Stars is what ties the issues of LooLoo Land and Spring Broken together, but that’s an essay for another day.
OK I AM GRADING ESSAYS AS I WATCH THAT HOUR LONG CHRONO STOLITZ VIDEO AND I HAVE A THOUGHT AND IT MAY BE OBVIOUS AND MAYBE SOMEONE POINTED IT OUT ALREADY BUT BECAUSE IM NEW TO THE FANDOM I HAVEN'T BEEN EXPOSED TO IT SO HERE IT GOES, MY THOUGHT:
SO I constantly see the critique that Stolas' development seemed very random and out of nowhere, BUT you have to remember that we are only ever exposed to Stolas when he's out in public OR when he's interacting with Blitz during their monthly meet-ups. SO in a way we're seeing him from an "unreliable narrator" perspective of sorts if that makes sense. I have seen others point out that Stolas puts up a front because obvsl he was raised that way due to his hierarchical position. We only ever see his "true" self when he was talking to Octavia back in Loo Loo Land when she was honest with him and he decided to be vulnerable in that moment as well. The other moment we see that too was at Ozzie's before Blitz called him. We see him all down and tbh in a depressed state, serving himself some cereal and watching his hell-a-novelas (or is it hell-e-novelas?), there is NO ONE around for him to put up a front for, UNTIL Blitz calls him and even then, a bit of his true self shows, aka his excitement and surprise over Blitz inviting him out to a date. Then we switch back to him putting up a front once he arrives to meet up with Blitz. Still, throughout the entire date, we continue to see his "true" self BECAUSE that's how the episode started out, the "unreliable narrator" perspective is no longer there; it continues to stay that way in further episodes.
SO WHAT IM TRYING TO GET AT IS THIS:
The reason there are SO MANY PEOPLE who continue to say "Stolas' development is sooo random" or "Stolas is sooooo OOC, that's not who he is!" are in a way stuck in that "unreliable narrator" perspective of Stolas, which was VERY intentional from the writers. So they're seeing Stolas HOW BLITZ is seeing him too! Cause remember, Blitz is also VERY CONFUSED with Stolas' "change" in personality, and we are pointed to this in Oops! AND HEY I DON'T BLAME HIM EITHER, Stolas only ever spoke to him in a sexual manner and whatnot BUT I ALSO DON'T BLAME STOLAS EITHER BECAUSE THAT'S //HOW// BLITZ SPOKE TO HIM THE TIME THEY REUNITED! Blitz unintentionally set up to Stolas how he supposedly "talks/interacts" with him, iow, "Oh! So Blitz likes it when I talk this way, ok! I'll continue to talk to him in that way! This is his way of flirting!" type of shiz, if that makes sense. I mean Stolas mentions that during their first time in bed. SO YEAH
AGAIN, maybe I'm repeating what has already been said BUT STILL, I had to put my two cents out there too! More cents, yay!
Alright, I'mma get it out of my system once, because I don't like clogging the tags with negativity
The main difference between Valentino and Angel and Stolas and Blitz isn't the potential to grow from unhealthy beginnings or whatever. It's that whatever Stolas and Blitz have is CONSENSUAL and what Val and Angel "have" is very much fucking NOT.
First off. It's a literal parallel of POSITIONS. Not even spoken words or actions. It's literally just the positions, and that too because the storyboarder who worked on both themself said it was accidental habit that the scenes looked similar.
Second. Look at the actions leading upto it. Blitz himself is the one to run up the staircase and then crawl towards Stolas, and doesn't resist as Stolas pulls him close, willingly going all the way, even when at one point he looks kind of resentful. And then Stolas smiles possessively, and Blitz blushes, looking conflicted because of the truth of Moxxie's voiceover and his lack of autonomy, but still staring longingly at the image of Stolas smiling at him. I'd say its just a physical rep of what Moxxie is literally telling us, that can't fathom it but he craves intimacy, but that's for a later discussion.
By contrast, Angel is coming back from a show and exhausted, visibly uncomfortable by Valentino's hand around his shoulder while he counts the money Angel earned. He then tries to get away from Valentino when he's being roughly dragged in for a kiss. He doesn't want it at all; the frame people are using as a "parallel" is a split second shot, where he's completely blank-faced compared to Blitz's loaded expression and is possibly coming down from his drug and adrenaline rush, and IMMEDIATELY after he snaps out of it, he's furious and trying to get himself away from the other. Following which, Val gets angry and forces the kiss, with Angel still resisting. Conversely, when Stolas gets pushed away by Blitz, in episode five and six, he retreats immediately and doesn't try to go after him again.
Valentino is also visibly rougher than Stolas, a tight grip on Angel's wrist and chin all throughout and his smile is creepy and predatory, enjoying Angel's discomfort until he's had enough. Stolas in the dream sequence on the other hand, pulls an unresisting blitz closer and makes space for him and then gently tilts his head up, smiling possessively all the while. Yes, this is the unhealthy part of the symbolism kicking in, when Stolas is looking at him as if he's a toy more than a person, but he's still not hurting or forcing him, even in the drug trip.
Third. One of them is not even fucking real????? The stolitz scene is LITERALLY a motherfucking hallucination while Blitz is high as fuck on drugs, and for all of Stolas's nagging and following him around and going on sexual rants, not once has he actually crossed any true boundaries. He lets Blitz push him away when he pulls his cheek too hard, Blitz doesn't seriously tell him to stop at any point, and the symbolism of their class differences may be real yes, but the actual chains?? That's all Blitz's imagination on steroids. Stolas didn't actually do any of the things we saw, which? People seem to forget?
And last and most importantly. There is no 'relationship' between Val and Angel to compare Stolitz to. Angel works for Val, by contract, and he very clearly wants nothing to do with their interactions- everything is non-consensual and he is visibly scared of Valentino. Stolas and Blitz may have an even larger gap in terms of hierarchy, yes, but neither of them are contracted to each other, truly. They have an unofficial arrangement that was MUTUALLY agreed on; yes, Blitz was running for his life when it was made, but he'd stolen a very important thing from a very important prince in HELL, so it's kind of understandable that he had to hear Stolas out to know whether he was gonna be pulverized or not. And??? It's a mutually beneficial arrangement?? Sex once a month in exchange for an important book that potentially can get Stolas in a lot of trouble if misplaced and keeping their business afloat is not a bad deal in the slightest???
But I digress. Point is, Blitz and Stolas are both grown adults who know how life in hell works, as compared to Angel- who was relatively new to the place and estranged from his family and desperate when he signed on with Valentino. And the most important difference is that BOTH STOLAS AND BLITZ have given consent. Blitz is not being forced into anything- he himself called it a TRANSACTIONAL fucking, which still means that he's okay with it. Plus, he clearly enjoys himself as well- he goes along with the roleplay happily, he's having fun with Stolas in the end of ep six, he's comfortable around Stolas himself and smiling into their kisses. At no point is he being forced into anything, although it would be very easy for Stolas to do so, through blackmail or just sheer power. It's also implied in ep five that there are other ways to the mortal realm, Stolas is just the easiest- so his business doesn't entirely depend on the book either, which means he still CAN break it off.
to summarize: It makes no sense that people are comparing Val and Angel, which is very clearly nonconsenual at every turn, to a drugged hallucination of an unhealthy-ish but still consenting Stolitz, and if you're going to be weird about it anyway, don't be an asshole and don't put it in the fucking stolitz tag
💁🏽♀️: Crushbot, tell me more about “Moral Correctness” in media and fandom culture.
🤖: The obsession with “moral correctness” in media reflects a growing tendency to conflate personal values with the inherent “goodness” or “badness” of art. In this mindset, media isn’t allowed to simply depict flawed characters, messy relationships, or problematic dynamics—it’s expected to pass judgment on them, sanitize them, or avoid them altogether. This expectation stems from a fear that morally gray or flawed portrayals will “endorse” harmful behavior or ideas, rather than trusting audiences to engage critically with the material.
This approach oversimplifies art and storytelling. Instead of using media as a space to explore difficult, nuanced, and sometimes uncomfortable aspects of the human condition, it turns art into a moral sermon, where every character and plot point must fit a rigid ethical framework. This leaves little room for ambiguity, complexity, or exploration of controversial themes.
Ironically, this attitude can mirror the authoritarian ideologies it often seeks to challenge. It imposes a rigid set of “acceptable” narratives and policing of what is deemed “problematic.” By demanding art conform to narrow moral expectations, it strips media of its ability to provoke thought, invite discussion, or challenge perspectives. Art isn’t meant to validate our beliefs 100% of the time—it’s meant to expand, critique, and reflect the multifaceted nature of human experience.
The result? A stifling environment where creators are hesitant to take risks, audiences lose the ability to think critically, and media is reduced to sanitized moral lessons instead of a space for meaningful exploration and discussion.
Human Assistant: Damn, Crushbot. How does this manifest in the Helluva Boss fandom specifically?
Crushbot: This mindset is clearly visible in critics of Helluva Boss who focus on the show’s moral ambiguity, flawed characters, and dark humor as evidence of “bad writing” or “problematic messaging.” These critics often demand that the show conform to their personal vision of what media should look like—characters must be morally pure, relationships must be “healthy,” and any themes that stray into uncomfortable territory are seen as endorsing harm rather than exploring nuance.
For example, some criticize Helluva Boss for depicting Stolas and Blitz’s toxic relationship, arguing that it “romanticizes abuse,” while ignoring the show’s clear portrayal of their dynamic as flawed, complicated, and in need of growth. Others complain that characters like Stolas overshadow others, as though the writers’ decision to focus on central themes of power, love, and self-worth through his arc is somehow invalid.
What these critiques often miss is that Helluva Boss isn’t trying to present a tidy, morally “correct” world. It’s an irreverent, darkly comedic show that thrives on exploring the messiness of its characters and the morally complex universe they inhabit. Expecting a show like Helluva Boss to deliver sanitized, uplifting moral lessons misunderstands the very essence of its storytelling.
Moreover, some critics blur the line between analyzing the show and attacking its fandom or creator, citing out-of-context fan reactions or Vivienne Medrano’s personal history as evidence of the show’s “problems.” This conflation of media critique with moral policing highlights a broader issue: the inability to separate art from subjective expectations, leading to an exhausting, often hypocritical discourse that stifles creative freedom and critical thought.
Ultimately, critics who demand perfection or moral clarity from Helluva Boss are missing the point. The show is a chaotic, provocative exploration of flawed characters and relationships, designed to entertain, provoke, and challenge—not teach a sanitized version of morality.
This critique is a cocktail of cherry-picking, bad-faith interpretations, and outright fabrication, so let’s shred it systematically.
1. “If you don’t want to be cheated on, don’t be a bitch harpy!”
This is clearly referring to Stella in Helluva Boss. Stella isn’t just a “bitch harpy”—she’s written as an abuser. Her portrayal as toxic isn’t about blaming her for Stolas’s infidelity; it’s about giving context for why their marriage is a wreck. Stolas cheating isn’t excused, and the show doesn’t portray him as morally clean. His guilt and struggles with his actions are major plot points.
Also, let’s not pretend that Helluva Boss endorses cheating—it shows the fallout of Stolas’s actions hurting everyone involved, including Octavia. If anything, it condemns cheating while exploring why imperfect people do it.
2. “If you don’t like catcalling, stop being a bitch to men it will make things worse!”
The argument that Vivziepop suggests women are responsible for harassment or catcalling because they’re “bitchy” to men is a gross distortion of her comments, and frankly, an intellectually lazy take. First, harassment is about the behavior of the harasser, not the victim’s response. No one should ever be blamed for unwanted attention, regardless of how they react to it. The idea that someone “asks for” harassment by not being pleasant or accommodating is not only outdated but dangerous. It perpetuates the toxic myth that women are somehow responsible for the actions of men, which is flat-out wrong. Viv’s comments, poorly worded as they may have been, don’t excuse catcalling or harassment—they’re being misrepresented as an attempt to justify it, which is an unfair oversimplification. Harassment is never the victim’s fault, and trying to shift blame onto women for how they handle unwanted attention only further enables the very behavior that should be condemned.
3. “Don’t get surprised when someone sexually harasses you as a minor if you spoke to the person first!”
The argument that Vivziepop somehow implies victims of sexual harassment—particularly minors—are to blame for their own abuse simply because they engaged with the perpetrator is a gross misinterpretation of both the context and her statements. While Viv was criticized for her responses to certain fan interactions, suggesting that she condoned or excused harassment based on the victim’s actions is both misleading and harmful. Viv’s comments were likely poorly phrased and taken out of context, but they do not justify blaming victims for being harassed, especially minors who should never be held responsible for the inappropriate actions of others. Sexual harassment is about the perpetrator’s behavior, not the victim’s engagement. To reduce a complex and sensitive issue to victim-blaming rhetoric not only ignores the actual power dynamics at play but also undermines the real harm caused by harassment. Vivziepop has clarified her stance over time, and this argument against her is based on a misunderstanding of her intentions, not an accurate reflection of her views on harassment.
4. “If you signed a contract you can only blame yourself for being raped, suck it up and don’t feel sorry for yourself.”
This is a Hazbin Hotel reference to Angel Dust’s storyline. Let’s be clear: Angel Dust is a victim of exploitation and sexual abuse, and the show portrays it as tragic. The power dynamics between Angel and Valentino are explicitly shown to be abusive. The narrative doesn’t blame Angel Dust—it focuses on his struggles to regain agency and dignity. This take reeks of someone deliberately misreading the material to fit their smear campaign.
5. “If you don’t like your pay or treatment, you don’t have to work here.”
Mischaracterizing Vivziepop as someone who tells her employees to just “leave” if they don’t like their pay or treatment is not only dishonest, but also ignores the fact that these critiques are usually based on a few bad-faith interpretations of online exchanges. Vivienne has addressed complaints about the work environment and compensation in her projects multiple times, and while her responses may not have always been perfect, reducing her stance to “just quit if you don’t like it” is an oversimplified, lazy take. This kind of narrative conveniently ignores her efforts to build her shows and team from the ground up, often under tight budgetary constraints, and ignores the nuances of creative labor in independent spaces. Criticizing her for not offering a “one-size-fits-all” solution only proves you’re more interested in tearing her down than actually engaging with the full context.
6. “If you’re talking about killing systemic racists, you just want to feel superior to them yourself.”
The claim that Striker is vilified simply for fighting against the system misses the point entirely. Striker isn’t vilified because he opposes the upper class—he’s vilified because he’s a hypocrite who uses that opposition as an excuse for violence and self-interest. His actions aren’t about dismantling systemic injustice; he’s just trying to replace one form of power with his own. The show doesn’t portray him as a victim of the system—it shows that his so-called fight for change is actually a power grab, and he’s willing to kill anyone who stands in his way. Striker is not being punished for opposing the system, but for being a selfish, violent character who manipulates his supposed cause for personal gain.
7. “The real answer is having sex with and having families with your oppressor.”
The relationship between Stolas and Blitz isn’t about endorsing romantic relationships with oppressors; it’s about the toxic, complicated nature of their connection. Yes, Stolas holds power over Blitz, but their dynamic is full of emotional manipulation, unhealthy dependencies, and broken people trying to navigate their flaws. It’s not about glorifying the power imbalance; it’s about showing how it leads to dysfunction. This take oversimplifies the relationship, ignoring the fact that both characters are victims of their own choices and circumstances. The show isn’t celebrating the power imbalance but highlighting how it’s destructive. Additionally, it explores the complexities of navigating differences between social classes and challenges societal expectations, illustrating that oppression is a systemic issue that affects groups, not just individuals. The characters are trying to figure out how to navigate that as individuals within those systems.
8. “If you didn’t want to be put in an arrangement of sexual favours for work, why did you go in the man’s bedroom?”
The idea that Helluva Boss is saying “if you didn’t want to be put in an arrangement of sexual favours, why did you go in the man’s bedroom?” completely misses the point. The show doesn’t condone Stolas’ manipulative behavior—it’s about showing how toxic their power imbalance is. In the episode “Full Moon,” Stolas recognizes how unfair the arrangement is and genuinely tries to make things right by offering Blitz more respect and autonomy. But due to miscommunication and emotional baggage, things blow up, and their relationship falls apart. It’s not about blaming Blitz—it’s about showing how both characters are trapped in unhealthy dynamics, and Stolas is actively trying to fix it.
In short: try again when you’ve actually watched the shows and done the bare minimum of engaging with their themes instead of concocting an edgy hate post for internet clout.
