The "always a witch" trope is a common theme seen in many works of literature and film that revolves around the concept of individuals being born with magical powers or being part of a magical world. In this trope, the protagonist or main character is usually a witch or wizard who discovers their powers at a young age or later in life. The main idea of the "always a witch" trope is that the protagonist's magical abilities are ingrained in them from birth, making them different from the rest of society. These powers can be inherited through bloodlines or bestowed upon the individual through some other means, such as a curse or a divine intervention. The protagonist may struggle with their powers at first, trying to understand and control them, before eventually accepting and embracing their magical heritage. Often, the "always a witch" trope is used as a metaphor for personal growth and self-discovery.
Often, the "always a witch" trope is used as a metaphor for personal growth and self-discovery. The protagonist's journey becomes a metaphorical exploration of their own identity and place in the world. As they learn to harness their magical powers, they also learn important life lessons about the responsibilities and consequences that come with having such abilities.
Always a Witch - Season 1
Title: Always a Witch / Spanish: Siempre Bruja
Episodes Reviewed: Season 1
Creators: Ana María Parra 👩🏽🇨🇴 based on the original story by Isidora Chacón 👩🏽🇪🇸
Writers: Ana María Parra 👩🏽🇨🇴 and Isidora Chacón 👩🏽🇪🇸
Directors: Liliana Bocanegra 👩🏽🇨🇴 and Mateo Stivelberg 👨🏽🇨🇴
Technical: 1/5
UGH. Eres una decepción, Siempre Bruja. Te odio!
That is my message to Always a Witch. We were rooting for you! WE WERE ALL ROOTING FOR YOU!
With that out of the way, let’s back up a little. In Netflix’s much-anticipated addition to the witchy television trend, seen in reboots like Chilling Adventures of Sabrina or Charmed, Angely Gaviria plays Carmen—an Afro-Latina slave from 17th century Cartagena who gets transported to present day after being burned at the stake for witchcraft. However, despite seeing all of the modern marvels we have in 2019 (including a society that has abolished slavery) she wants to go back to save her master with whom she had fallen in love with.
Gone are all the Black diaspora’s expectations about what a show like this could explore. Gone is our hope to see a powerful Black woman in charge of her own life. Instead, we get a series that celebrates colonialism and slavery to such a degree that our lead, the only Black woman in this main cast, wants to be a slave again. WHAT IS THIS?
The focus on slavery is, of course, extremely problematic. But the the show also feels convoluted and boring. As one can expect from a telenovela, there are tried-and-true dramatic devices such as characters who “die” but come back for whatever reason. But glaringly, the story and character motivations just don’t make sense. If you’re going to offend me, at least be articulate about it.
For example, Carmen never reacts to the future in a believable way. Instead of being confused or afraid of cell phones, she simply looks at them with mild concern. It doesn’t matter what the tech is—cars, hospitals, or the internet—Carmen only ever seems bored by all of the advancements around her. Contrast this to a show like Sleepy Hollow, which went out of its way to show how Ichabod Crane and Abbie Mills reacted to being out of their time. Whether it was Ichabod stuck in the 21st century or Abbie in the late 18th century, both expressed believable awe, fear, and confusion. Meanwhile, Carmen’s antipathy shows how the writers don’t care about her inner life. She’s just a passive participant in the events that surround her.
Between the un-engaging story, the simplistic treatment given to Carmen’s characterization, and the heinous interpretation of slavery and race relations, Always a Witch just becomes an exercise in lost potential.
Gender: 1/5
Does it pass the Bechdel Test: YES
Carmen is supposed to be the headliner of this show. But instead of taking charge and making her own decisions, she spends her time being reactionary and beholden to men. For example, when she has the opportunity to escape to the future, she doesn’t seize it and improve her life. Instead, she only appears to visit 2019 to run an errand for the warlock Aldemar (Luis Fernando Hoyos). In return, he promises her that she can return home to save her lover, Cristóbal (Lenard Vanderaa).
Speaking of Cristóbal, it’s so confusing that we’re supposed to like him. He literally bought Carmen at an auction to work in his family’s home. This puts their relationship in a very messed-up place, especially considering how house slaves were often subject to sexual abuse by their masters. Instead of calling it what it is—rape—these masters would give these slaves titles such as “mistress” or “bedwench,” thus institutionalizing their crimes under the guise of consensual pleasure when it was anything but consensual. Always a Witch completely muddles that distinction, making Carmen’s love for Cristóbal seem healthy when in reality, because of such lopsided power dynamics, it could never be so.
Overall, it’s painful to see the erasure of slavery’s reality as Carmen and Cristóbal carry on their eyeroll-inducing romance. To put a Disneyfied spin on human trafficking is gross and shameful.
Race: 1/5
As mentioned above, Colombian actress Gaviria plays the only Black woman in the main cast. Meanwhile, Dubán Andrés Prado, who plays one of Carmen’s modern-day friends Daniel, is the only Black man. Why is there such a lack of Blackness on a show supposedly centered around an Afro-Latina protagonist? Keep in mind, white people are the minority in real-life Cartagena, making up only about 1 in 5 residents. Yet we see an outsized number of white characters in Always a Witch.
In her journey, Carmen constantly has to find white people who know more than her, or who are somehow affiliated with magic. Even though Carmen herself can perform helpful magic, she hardly ever uses it except in service to white characters.
This alludes to the main problem with Always a Witch overall: It presents Blackness from an uninformed white perspective, rather than from the Afro-Latino angle so many of us crave.
Even in the modern timeline, racial dynamics are overtly problematic. White characters are written with confidence and vitality whereas Carmen meekly subjugates herself over and over again. For example, to pay for boarding at a hostel, she offers her services to the white owner by saying she can cook, clean, and be a nursemaid to her teenage grandson Johnny Ki (Dylan Fuentes). It never seems to cross Carmen’s mind that she could explore her newfound freedom and choices that would have never been available to her in the past.
Instead of being declarative in stating that slavery was unequivocally bad, Always a Witch jumps through hoops to depict slaves and slaveowners coexisting without incident, except for a few burnings at the stake. This fallacy is personified by Cristóbal’s character, the benevolent slave-owner stereotype who treats his slaves like one would treat their family pets. Never is the practice of owning human beings critiqued itself.
Furthermore, when the writers do show the brutalization of slaves, they balk at owning up to the fact that white colonizers were the ones doing it. We’re led to assume that cruel slave-owners like Cristóbal’s father were the exception, not the norm. As for the stake burnings, those were perpetrated by some amorphous, minority group of politicians and clergy rather than a societal crime enabled by the general white populace.
There is one small bright spot, however. During one of the episodes, Carmen and her friends go on a field trip to a marine conservatory where they meet Kankawimaku (Nelson Camayo), an indigenous conservatory leader who speaks on the importance of preserving aquatic life. But he only appears for about five minutes, and we never see any of Colombia’s other minority groups again. Thanks to this microscopic representation, Kankawimaku comes off as a tokenized spiritual guide and doesn’t actually add to the inclusiveness of Always a Witch.
LGBTQ: 2.5/5
Carmen’s friend Daniel constitutes the only queer character on Always a Witch. His backstory is neither negative nor positive for representation; he’s just a college-aged kid who feels incomplete because he doesn’t know the whereabouts of his former love, who also happens to be male. Since it hasn’t been made clear if this subplot ties into the larger story, I found it difficult to care about its outcome.
Despite that, Daniel’s character proves one of the better parts of Always a Witch. As a confident Black man who never falls into gay stereotypes, he’s a small mercy for a show that has otherwise stereotyped Blackness to the fullest extent.
Mediaversity Grade: F 1.38/5
On the one hand, the show does make space for Afro-Latino actors just by existing. But overwhelmingly, it represents a lost opportunity.
Always a Witch could have expanded roles for Black women in science-fiction and fantasy; it could have diversified the genre of telenovelas by showcasing an Afro-Latino storyline; and with colorism and racism still rampant in Latin America, Always a Witch could have been a game changer. Unfortunately, all of this hinged on the show’s ability to tell Black stories. Instead, Always a Witch merely approximates them from a white perspective.
The focus on slavery is, of course, extremely problematic. But the the show also feels convoluted and boring. As one can expect from a telenovela, there are tried-and-true dramatic devices such as characters who “die” but come back for whatever reason. But glaringly, the story and character motivations just don’t make sense. If you’re going to offend me, at least be articulate about it.
The "always a witch" trope also often deals with the theme of acceptance and prejudice. Just like in many real-world scenarios, characters with magical powers may face discrimination and fear from those who don't understand them. This can create conflict and tension in the story, as the protagonist tries to prove themselves and show that they are not a threat but rather a valuable member of society. Overall, the "always a witch" trope is a popular and enduring theme that captivates audiences with its exploration of magic, self-discovery, and societal issues. It allows for rich character development and storytelling, as the protagonist navigates a world both familiar and fantastical, ultimately embracing their magical heritage and finding their place in the world..
Reviews for "The Role of Witches in Folk Medicine and Herbalism"
1. Jane - 2/5 stars - Always a witch seems like just another cliché supernatural romance. The plot feels predictable and unoriginal, with a protagonist who falls in love with a mysterious and brooding supernatural being. The characters lack depth and development, making it difficult to form any emotional connection with them. Overall, the show fails to bring anything new or innovative to the table and feels like a rehash of other similar shows in the genre.
2. Mark - 1/5 stars - Always a witch is nothing more than a watered-down version of popular supernatural dramas. The storyline lacks originality and fails to engage the audience with its predictable twists and turns. The writing feels lazy and uninspired, relying on tired tropes and clichés to drive the plot forward. The acting is mediocre at best, with lackluster performances that do little to elevate the poorly written script. Overall, this show is a prime example of wasted potential and a disservice to the genre it aims to emulate.
3. Sarah - 2/5 stars - Always a witch falls short in delivering a captivating and engaging storyline. The supernatural elements feel forced and superficial, lacking the depth and complexity that is needed to truly immerse viewers in the world of witchcraft. The love story that unfolds feels contrived and lacks chemistry, making it difficult to invest in the relationship between the main characters. Additionally, the pacing of the show is uneven, with some episodes dragging on while others feel rushed. Overall, Always a witch fails to live up to its potential and fails to stand out among other supernatural dramas.