These are what we call the 'YMMV items.' Things that some people find in this work. We call them 'your mileage might vary' because not everyone sees these things in the same way. This starts discussions in the trope lists, a thing we don't want. Please use the discussion page if you'd like to discuss any of these items.
Freud Was Right: Albert is way too interested in his mom's private life. And Haydée is in love with her father figure precisely because he's her father figure. Plus Andrea's antics.
For Albert, that was the Count's manipulation on most part, though. The Count needed him to start doubting his parents so Albert would rely on the Count further. After Albert realizes, his interest quickly vanishes. In fact, he goes as far as blaming her for the entire ordeal.
For Haydee, this is more explicit in the original novel—in Gankutsuou she never says that she thinks of the Count as a father figure (however she has known him since she was about 7, so he was partly responsible for her upbringing, and one could argue that the trope still applies even if it isn't outright stated).
Ho Yay: The relationships between Albert and Franz and between Albert and the Count are dripping with all sorts of subtext, even if nothing untoward ever takes place (except for an almost-confession by Albert and later a very dramatic kiss in the end, though that was only on the cheek). And to a smaller extent, it looks like Andrea and the Count are going to end up with some sort of dramatic ho-yay, but no. Though Andrea may have 'all kinds of talents' as advertised, he's much happier to go after his own sister. And mother.
In fact, the Joji Nakata (the Count) said in an interview that he and Jun Fukuyama (Albert) played some of their scenes together as if they were love scenes.
Magnificent Bastard: The Count himself. Sooner or later, everyone in the story dances to his tune...
The Count is this trope defined. His magnificence is matched only by his bastardliness.
He's Magnificent because he's such a Bastard.
Moral Event Horizon: Arguably, when the Count kills Franz by mistake while trying to kill Albert in a brutal and gory way in front of his mom. The fact that Albert and Franz are barely more than children doesn't help. Interestingly, this marks a significant difference with the novel, where Mercedes not only knows about his plan to fight Albert in a duel, but begs him and eventually convinces him to spare her son.
Andrea seducing and bedding his own mother, then threatening to rape his half sister, and finally poisoning his father.
At one point he even implies that he's even going to rape Haydée, however the count steps in and nothing actually happens
And lets not let Héloïse Villefort off the hook here. She seems perfectly normal in her first few appearances, with a warm motherly appearance and pleasant smile. She is the stepmother of Valentine and is the second wife of the crown prosecutor Villefort. She is the biological mother of her young son Edward, from her first marriage. Valentine is to inherit all of the fortune, leaving her stepmother jealous because Edward doesn’t get a single penny. So when the Count seduces her and innocently introduces her to toxicology and gives her a deadly ring which releases a deadly poison Héloïse becomes murderous and tries to poison Valentine and her husband, as well as inadvertently almost poisoning Albert and poisoned one of the servants of the Villefort household. And she does all this while maintaining her angelic motherly facade up till near the end of the series when her husband finds out what she's been doing and points out that she's nothing more than a murderous insane woman. She tries to deny his accusations before she breaks down and collapses to the ground, finally giving in to her insanity. Her husband then puts her in an insane asylum for the rest of her life. Plus the scene where she masturbated while thinking of the Count and the poison ring he gave her. In essence, she was also getting off to the thought of killing her stepdaughter and husband.
It's heavily implied that she was poisoning Valentine long before Count entered the picture; her garden is full of poisonous flowers and Valentine is quite sickly even when she's introduced. She just didn't have the guts to go all the way.
I got the impression she was just trying to poison Valentine slowly because the sudden death of someone in their mid teens would certainly raise some suspicions. Eugenie's mother even mentions that there are rumors that Heloise is beating Valentine, so naturally this would only strengthen those suspicions.
Jullian Danglars crossed it when everything does wrong, and he abandons his family to the public backlash to escape and make a new life for himself, confirming that he doesn't care about them, and all his actions, like marrying off his daughter, were all self serving.
Narm: The opening song of the anime "We Were Lovers" is a beautiful moving piece. However, when the singer says the word 'love' (in the line "I just pray that you will love me and trust me") it becomes hilarious due to the way he stresses the L in love.
He also hits the wrong note at one point
...More like a lot of points. The emotion that the singer puts into the song is great; but accurate notes would be nice too
Aside from the song, the series occasionally goes overboard with dramatic situations and cliched lines, especially where the Count is concerned. An example is Albert's duel with Maximilien, which is heralded by Bertuccio blowing a conch and spiced up by the fact that there are sharks in the water below.
The duel is extremely narmtastic. Aside from the conch and sharks, there's Albert's outfit—a pirate costume with the words ALBERT PIRATE as part of the jacket's Unmoving Plaid.
Wangst: Franz (especially with his death scene and the episode that came after it). He did suffer beautifully, though.
Albert spends most of the story as a whiny brat, and eventually refuses to acknowledge the count's very legitimate grievances against his father, as if his own bruised ego is the only thing that matters. Luckily, he gets better.
Wimpification: Fans sometimes paint Franz as a more tragic, wangst-y character than he actually is. While most of his characterization does revolve around Albert, he spends much more time calling Albert out on his stupidity or trying to foil the Count than pining over his unrequited love.
The Woobie: Albert during the latter half of the series, definitely. And arguably the Count in some specific scenes.
Eugenie. Her entire life, she's been the daughter of the slimiest of the Count's targets. She's initially unhappy with her engagement to Albert, but even after they work out their feelings, Albert sees fit to spend more time with every other major character than her (though it is justified, as the plot needs to move). But then her engagement with Albert is broken off and replaced with an engagement to Andrea/Benedetto. Not only does she have to endure his presence, he threatens to rape her, and he stops her from resisting the marriage by threatening Albert. Meanwhile Albert's been completely unconcerned with her, flying around on spaceships with the Count. And while Albert does rescue her from her marriage to Andrea/Benedetto, he makes her leave to New York on a plane, not to see him again for another five years (willing as she might have been), and their reunion is implied. And the worst part about this is how well she takes it all. It's hard not to feel sympathy imagining what kind of feelings she's hiding.