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Always a Witch
SpanishSiempre Bruja
GenreFantasy
Romantic comedy
Created byAna María Parra
Based onYo, bruja
by Isidora Chacón
Written by
Directed by
Starring
Country of originColombia
Original languageSpanish
No. of seasons2
No. of episodes18
Production
Executive producers
  • Mateo Stivelberg
  • Liliana Bocanegra
Producers
Production locations
Camera setupMultiple-camera setup
Running time32–43 minutes
Production companyCaracol Televisión
Original release
NetworkNetflix
ReleaseFebruary 19, 2019 (2019-02-19) –
February 28, 2020 (2020-02-28)

Always a Witch (Spanish: Siempre Bruja) is a Colombian television series starring Angely Gaviria, Sofia Bernal Araujo, Dylan Fuentes, Valeria Henríquez, Carlos Quintero with Lenard Vanderaa. The plot revolves around Carmen Eguiluz (Angely Gaviria), a witch and slave from 1646, and is set both in the 17th-century and present-day Cartagena, Colombia.[1] It was ordered direct-to-series, and the first full season premiered on Netflix streaming on February 19, 2019.[2] It was renewed by Netflix for a second season, which aired worldwide on February 28, 2020.[3] The show is dubbed in English for English speakers.[4]

Premise

[edit]

In Always a Witch, Carmen Eguiluz (Angely Gaviria) is accused of witchcraft and is set to burn at the stake, according to the way of the Inquisition in 1646 colonial Colombia. While imprisoned and waiting for her execution, Carmen makes a deal with the wizard Aldemar, which makes her able to time-travel to 2019 in exchange for a favor. She won't be able to use magic there though, since it would make Lucien, a powerful but evil wizard, aware of her presence.[5][6][7]

Reception

[edit]

The series has received mixed reviews from critics. While some praised the show for having a strong black female lead character, others have criticized the enslaved/enslaver romance, and the lead character's willingness to return to the 1600s, thus returning to being a slave, just to be with her enslaver's son.[3][8][9][10][11]

Cast

[edit]

Main

[edit]
  • Angely Gaviria as Carmen Eguiluz, a powerful witch from the 1640s who is propelled forward in time to 2019.
  • Dylan Fuentes as Johnny Ki, Carmen's best friend and confidante in 2019.
  • Sofia Bernal Araujo as Alicia, Carmen's friend in 2019. In 2020, she begins delving into witchcraft herself.
  • Valeria Henríquez as Mayte, León's girlfriend and one of Carmen's friends in 2019.
  • Carlos Quintero as León, Mayte's boyfriend and one of Carmen's friends in 2019.
  • Sebastián Eslava as Esteban, Carmen's, León's, Alicia's, Mayte's and Daniel's professor in 2019.
  • Lenard Vanderaa as Cristobal De Aranoa, Carmen's lover in 1646.
  • Luis Fernando Hoyos as Aldemar the Immortal, a powerful wizard held captive in 1646. (Season 1)
  • Oscar Casas as Kobo, a pirate from the late 17th century who finds himself in 2020, and who has a mysterious connection to Alicia. (Season 2)

Recurring

[edit]
  • Cristina Warner as Isabel de Aranoa, Cristobal's mother in 1646.
  • Edu Martín as Fernando De Aranoa, Cristobal's father in 1646. (Season 1)
  • Juan Manuel Mendoza as Detective Pablo Corcel
  • Verónica Orozco as Ninibé
  • John Alex Castillo as Braulio
  • Constanza Duque as Adelaida
  • Mayra Luna as Hilda
  • Norma Nivia as Ximena Gamez
  • Dubán Andrés Prado as Daniel
  • Matthew Moreno as Oscar
  • Felix Mercado as Rogelio
  • Indhira Serrano as Dr. Luisa

Episodes

[edit]
SeriesEpisodesOriginally released
11019 February 2019 (2019-02-19)
2828 February 2020 (2020-02-28)

Season 1 (2019)

[edit]
No.
overall		No. in
season		TitleDirected byWritten byOriginal release date
11"A Leap in Time"Liliana BocanegraAna Maria ParraFebruary 19, 2019 (2019-02-19)

In Cartagena, 1646, Carmen Eguiluz is accused of witchcraft during the Spanish Inquisition and sentenced to burn at the stake. However, prior to burning, she travels through time to the year 2019 where she is taken to a hospital. The hospital staff are concerned by the burns on her feet and contact the police. Detective Corcel arrives believing Carmen may be a victim of the Fire Killer, who has murdered several young women in Cartagena. She escapes before being questioned, and begins searching for someone named Ninibe. She evades the police by hiding in the former De Aranoa home, now a hostel, and meets Johnny Ki, the owner's grandson. She then goes to the University and finds Ninibe, a biology professor, and gives her a green stone. Ninibe promises to return Carmen to the past, but before she can, she is attacked by a shadowy being and vanishes. Carmen is captured by the police.

In a flashback to 1646, Carmen is sold on the slave market. She is purchased by the family of Cristobal De Aranoa and the two fall in love. However, they are caught by Cristobal's mother, Isabel, who accuses Carmen of bewitching her son. Cristobal tries to defend her from the mob and is shot by his father. Carmen is thrown in prison where she meets a wizard, Aldemar the Immortal. He offers her a deal, he will save Cristobal if Carmen travels to the future to find a woman named Ninibe and break Aldemar's curse. He warns her that if she uses magic, she will summon the evil wizard Lucien.
22"A University Witch"Liliana BocanegraAna Maria ParraFebruary 19, 2019 (2019-02-19)
Carmen is interrogated by Corcel, and is eventually released. A university student, Alicia, is also questioned as she was seen arguing with Ninibe shortly before the latter's disappearance. At the hostel, Johnny Ki sees Carmen levitating in her sleep and takes a video. Carmen follows Alicia to the University, believing her to be the disciple mentioned by Ninibe. She joins the class, now taught by Esteban. She joins Alicia and Daniel at a welcome party for the biology students and discovers she can see memories by touching people's skin. She follows Alicia to Ninibe's home where Alicia is trying to download files from Ninibe's computer. However, they are interrupted by another woman and Carmen helps Alicia escape. Alicia reveals that she is being blackmailed by her ex-boyfriend, Angel, with an incriminating video and that she had gone to Ninibe for help. Carmen gives Alicia a potion to make her ex-boyfriend forget their relationship. However, the potion fails and Angel sends the video to Alicia's close friends. Carmen meanwhile has a vision of Ninibe in a forest, and discovers a burned skeleton. She writes a letter to Cristobal and tucks it in the gap above the window where they used to leave each other messages. Johnny Ki confronts Carmen about being a witch and says he needs her help.
33"Ouija"Louis MilitoJason Ning & Jenn KaoFebruary 19, 2019 (2019-02-19)
44"Stolen Shadow, Witch Forgotten"Matt Earl BeesleyIldy ModrovichFebruary 19, 2019 (2019-02-19)
55"The Festival of Candela"Tim MathesonSheri ElwoodFebruary 19, 2019 (2019-02-19)
66"The Ritual of Forgetting"Mateo StivelbergJason NingFebruary 19, 2019 (2019-02-19)
77"Lucien"Mateo StivelbergAlex KatsnelsonFebruary 19, 2019 (2019-02-19)
88"1646"Mateo StivelbergJenn KaoFebruary 19, 2019 (2019-02-19)
99"The Time Portal"Mateo StivelbergChris RaffertyFebruary 19, 2019 (2019-02-19)
1010"The Final Trip"Mateo StivelbergAlex Katsnelson & Mike CostaFebruary 19, 2019 (2019-02-19)
Carmen and her friends decide they must stop Aldemar. Meanwhile, Aldemar returns to the Time Portal with Ninibe so he might travel and find other great witches and wizards and learn their secrets, however the green stone is gone and Ninibe begins to suspect she is being used. Aldemar attacks and bewitches Daniel who tells Carmen that Esteban escaped and she will never see him again. Mayte and Alicia infiltrate Ninibe's Women's Circle in hopes of finding clues to Aldemar's or Esteban's whereabouts. There, Alicia witnesses Ninibe threaten Sandra into returning the Book of Shadows. Ninibe then bewitches Mayte and Alicia. Carmen uses the Ouija board to contact Esteban but finds Aldemar instead. Aldemar claims that he will set Esteban free if Carmen delivers the green stone. Carmen concocts a plan to capture Aldemar unaware that several of her friends are now his unwilling agents. Aldemar confronts Sandra about the Book of Shadows, but when asked for more time he turns her to ash to Ninibe's horror. Meanwhile, Leon reveals the truth of Carmen's origins and Aldemar to Detective Corcel, and Aldemar meets with Carmen to retrieve the stone. There, Aldemar reveals that Esteban escaped by joining him and attacks Carmen when she refuses to do the same. However, when Aldemar attempts to burn her alive, Esteban turns against him and receives a mortal wound. Johnny Ki steals Aldemar's shadow, freeing Daniel, Alicia and Mayte from his spell, and he dissolves into ash. Carmen, whose powers have returned, heals Esteban, and Corcel, who witnessed the entire showdown, leaves to take Ninibe into custody. Ninibe, however, proves she is not the Fire Killer with a video of Aldemar killing Sandra and Corcel is forced to let her go. Carmen uses her powers to allow Johnny Ki to say goodbye to his parents, gently rebuffs Esteban, and prepares to return to the past. Before she can, Cristobal arrives through the Portal and Carmen realizes that Johnny Ki has gone back in time to try and save his parents, mistakenly going to the 17th century. It is revealed that Johnny Ki has been captured by pirates, who take him aboard a ship to an unknown location.

Season 2 (2020)

[edit]
No.
overall		No. in
season		TitleDirected byWritten byOriginal release date
111"Someone Like Me"UnknownUnknownFebruary 28, 2020 (2020-02-28)
Carmen and Alicia find Johnny Ki in the 17th century, cavorting in a band of pirates, but he begs them for more time in the past. Carmen gives him two days, and returns to the present. The group celebrates his impending return at their favorite bar, where Carmen's palm reading skills attract the attention of another group of students: Amanda, Miguel, and Tomas. Esteban warns Carmen to be careful about advertising her skills, but she admits that she wants to find another lineage witch to open a secret chapter of the Book of Shadows. When Leon complains of being overworked, Carmen makes him a potion to help, but Daniel steals it and starts distributing it. Johnny Ki returns to the present-- with Kobo, the leader of the pirate band, and does not tell Carmen.
122"Leeches"UnknownUnknownFebruary 28, 2020 (2020-02-28)
133"Antares"UnknownUnknownFebruary 28, 2020 (2020-02-28)
144"Mr. Hyde"UnknownUnknownFebruary 28, 2020 (2020-02-28)
155"A Crack in Time"UnknownUnknownFebruary 28, 2020 (2020-02-28)
166"From Student to Master"UnknownUnknownFebruary 28, 2020 (2020-02-28)
177"One Last Wish"UnknownUnknownFebruary 28, 2020 (2020-02-28)
188"Impossible"UnknownUnknownFebruary 28, 2020 (2020-02-28)

Release

[edit]

The first full season consisting of 10 episodes premiered on Netflix streaming on February 19, 2019.[12] It was renewed by Netflix for a second season, which started airing worldwide on February 28, 2020.[3]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Always a Witch

View on Grokipedia
from Grokipedia
(Spanish: Siempre bruja) is a Colombian supernatural drama television series produced by exclusively for , centering on a 17th-century who time travels to modern-day Cartagena to avert her lover's execution. The plot follows Carmen Eguiluz, portrayed by Angely Gaviria, a mulatta slave and practitioner of in 1646 colonial Cartagena, who faces burning at the stake for her forbidden romance with her master's son; aided by a mysterious wizard, she leaps forward in time to retrieve an artifact capable of altering events, while navigating contemporary society and confronting dark magical adversaries. Premiering on January 4, 2019, the series ran for two seasons comprising 20 episodes, blending elements of , romance, and fantasy with historical themes of and persecution in the ; it received mixed , earning a 43% approval rating on based on limited reviews and an average user score of 6.3 out of 10.

Premise

Core Plot and Setting

(original title: Siempre Bruja) centers on Carmen Eguiluz, a 19-year-old Afro-Colombian who practices brujería as both a slave and a witch in 1646 , during the Spanish colonial period. Sentenced to at the stake by the for her romantic involvement with a white man—a union forbidden under the era's racial and social hierarchies—Carmen invokes a powerful spell to propel herself forward through time to the year , aiming to prevent her lover's execution and return to her original timeline. The narrative unfolds across dual settings: the oppressive colonial Cartagena of 1646, marked by the transatlantic slave trade, the Tribunal of the Holy Office's persecution of suspected heretics and practitioners of African-derived spiritual traditions, and the vibrant, modern Cartagena of 2019, where grapples with contemporary technology, social norms, and urban life while evading detection. A central facilitates the time displacement but binds to specific conditions for reversal, introducing conflict with a antagonistic wizard who seeks to exploit her powers across eras. The series employs magical realism to intertwine Afro-Colombian witchcraft elements, such as herbal conjurations and spirit invocations, with verifiable historical contexts like trials in the . Inspired by Isidora Chacón's 2015 novel Yo, bruja, the premise establishes a framework of interdimensional travel constrained by magical and temporal rules, spanning 20 episodes over two seasons without resolving into full historical revisionism.

Central Themes

The series examines the of and enslavement through the Carmen Eguiluz's experiences as an enslaved Afro-Colombian woman in 1646 Cartagena, where accusations of lead to threats of execution by the , contrasted with her pursuit of autonomy via to 2019. This motif highlights causal mechanisms of historical , including forced labor and judicial , and the role of magic in disrupting those chains, as seen in efforts to guide enslaved individuals toward free settlements like , established in the early 17th century as the first such community in the Americas for escaped Africans. Witchcraft emerges as a hereditary source of empowerment for marginalized figures, particularly targeted during colonial inquisitions, enabling acts of resistance such as and evasion that defy persecutory authorities. The narrative contrasts this with historical realities, like the 1620 Cartagena trials of enslaved Africans for "diabolical ," portraying brujería not as malevolent but as a neutral force amplifying agency amid systemic disenfranchisement. Cultural adaptation underscores identity reconfiguration, with 17th-century characters confronting modern Colombian societal shifts, including technological advancements and egalitarian norms, which expose the unidirectional flow of time and irreversible historical ruptures. Romantic dynamics probe transcendence of racial, class, and temporal barriers, intertwined with power imbalances from colonial hierarchies, while magical interventions reject fatalistic , affirming choice-driven alterations to predetermined paths.

Production

Development and Writing

The series Siempre Bruja (internationally titled Always a Witch) was developed as Netflix's second original production in , announced on December 7, 2017, in partnership with . Created and head-written by Ana María Parra, known for prior telenovelas such as Cuando Vivas Conmigo and La Nocturna, the project drew inspiration from Isidora Chacón's 2015 novel Yo, Bruja, adapting its core premise of a young Afro-Colombian navigating persecution and supernatural elements into a serialized format blending with fantasy. This adaptation incorporated real historical contexts of witchcraft accusations against in 17th-century Cartagena, emphasizing causal ties between colonial , indigenous mysticism, and survival narratives over purely fictional invention. Parra's writing process structured the narrative as a telenovela-style serialization, featuring episodic cliffhangers and romantic subplots interwoven with magical realism and time-travel mechanics to heighten dramatic tension and appeal to global audiences via Netflix's algorithmic distribution model. Co-writers including Diego Vivanco contributed to scripting the 19-episode arc across two seasons, prioritizing constraints of local production logistics—such as Colombia's established telenovela infrastructure—while aligning with Netflix's expansion into Latin American originals to diversify content beyond U.S.-centric narratives. Key creative decisions focused on rooting the supernatural elements in verifiable Afro-Colombian folklore, like brujería practices, rather than generic Western witch tropes, to authenticate the protagonist's agency amid historical oppression without romanticizing enslavement. Development advanced with pre-production scripting completed ahead of principal photography starting in May 2018, reflecting Netflix's strategy to leverage regional talent for cost-efficient, culturally specific content amid its broader Latin American slate including Narcos. The first season's 10 episodes were finalized for a February 1, 2019, Netflix premiere, with renewal for a second season confirmed shortly after launch based on initial viewership data, underscoring the platform's data-driven greenlighting over traditional network pilots. This approach constrained expansive world-building to practical effects and location authenticity, prioritizing narrative propulsion through serialized revelations tied to the source novel's themes of forbidden love and temporal displacement.

Casting and Filming Locations

Angely Gaviria, a actress of Afro- descent, was cast in the lead role of Carmen Eguiluz to portray the time-traveling witch central to the series' narrative. The ensemble featured other performers, including Sofía Araujo as Alicia Dangond, Dylan Fuentes as Johnny Ki, and Sebastián Eslava as Esteban, reflecting the country's demographic diversity with representation of Afro-Latino and actors. This casting approach prioritized local talent from , aligning with the production's emphasis on authentic cultural elements in a story set across historical and contemporary contexts. Principal filming occurred across multiple sites in , with Cartagena serving as the primary location to capture both the for 17th-century sequences and modern urban settings for the present-day timeline. Additional shooting took place in and Honda, Tolima, utilizing the varied landscapes to depict the series' dual temporal settings and enhance visual authenticity. Production by commenced in May 2018, spanning several months to accommodate the logistical demands of location-based shoots in these regions.

Cast and Characters

Main Cast

Angely Gaviria portrays Carmen Eguiluz, the central protagonist, a young Afro-Colombian witch enslaved in 17th-century Cartagena who time-travels to to avert her lover's execution and confronts threats. Lenard Vanderaa plays Cristóbal Aranoa, Carmen's romantic interest from the colonial era, the son of a wealthy who owns her, complicating their relationship due to social taboos. Verónica Orozco acts as Ninibé, a contemporary witch in Cartagena who aids in navigating modern life and battling dark magic. Dylan Fuentes depicts Johnny Ki, 's loyal friend in the present day who supports her adaptation to the and her quests. The principal actors are primarily Colombian, reflecting the series' production in Cartagena.

Recurring and Guest Cast

Sofía Araujo portrayed the recurring role of Alicia Dangond, a student and close ally to Eguiluz in modern-day Cartagena, who assists with navigating contemporary life and subplots involving and relationships; she appeared in 19 episodes across both seasons. Dubán Andrés Prado played Daniel, a supporting friend entangled in group dynamics and minor conflicts among the younger cast, recurring in multiple episodes of season 1. Valeria Emiliani recurred as Mayte, a fellow witch providing aid in magical confrontations and personal arcs, contributing to the ensemble's exploration of inherited powers. Guest appearances bolstered historical subplots, particularly those depicting Inquisition-era tensions in 17th-century Cartagena. Actors such as those portraying inquisitorial enforcers appeared in flashback sequences to heighten the stakes of Carmen's , emphasizing persecution motifs without overshadowing the core narrative. guest-starred as Ninibe in key episodes, advancing intrigue around lore and alliances. The production employed an ensemble of around 50 supporting performers to evoke the expansive feel of Colombian telenovelas, with roles distributed to sustain ongoing subplots like familial ties and societal adaptation.

Episodes

Season 1 (2019)

Season 1 consists of 10 episodes, released simultaneously on worldwide on February 1, 2019. The episodes have runtimes between 38 and 43 minutes, averaging approximately 40 minutes each. Directed primarily by Liliana Bocanegra and Mateo Stivelberg, the season depicts Carmen's transition from 17th-century Cartagena to the modern era, her initial struggles with contemporary society, and the emergence of a persistent antagonist tied to her past. The episode titles and runtimes are listed below:
No.TitleRuntime
1A Leap in Time38 min
243 min
341 min
4Stolen Shadow, Witch Forgotten39 min
5The Festival of Candela38 min
6The Ritual of Forgetting39 min
739 min
8164642 min
9The Time Portal38 min
10The Final Trip41 min
Narrative progression centers on Carmen's time travel in the opening episode, her adaptation to 21st-century Cartagena including university life and social interactions in subsequent installments, and escalating conflicts involving magical elements and historical ties introduced early in the season.

Season 2 (2020)

The second season of Always a Witch consists of eight episodes and was released worldwide on on February 28, 2020. It expands on the supernatural and temporal elements introduced in the first season, with Carmen Eguiluz's gaining public visibility through virality, which draws scrutiny and amplifies risks from inquisitors and rival forces like the . The narrative deepens historical connections to 17th-century Cartagena's witch hunts, including efforts to avert executions tied to Carmen's lineage, while introducing new magical perils such as power-draining rituals and identity-concealing spells. Characters navigate modern university dynamics, interracial tensions, and attempts to break curses enabling , culminating in partial resolutions to core conflicts without a announced third season, marking the series' conclusion. Key developments include enhanced character arcs, such as supporting roles adapting to 21st-century norms and confronting personal losses, alongside escalated confrontations with ancient wizardly adversaries. The season addresses feedback from the prior installment by reducing certain repetitive tropes, focusing instead on causal consequences of magic in contemporary society, like ethical dilemmas over public spellcasting and alliances with historical figures reimagined in the present.

Episodes

  • Episode 1: "Someone Like Me" – Carmen's magical abilities trend online, boosting her influence but alerting threats; aired February 28, 2020.
  • Episode 2: "Leeches" – Accusations arise at university over perceived harm from witchcraft, straining relationships; aired February 28, 2020.
  • Episode 3: "Antares" – Exploration of celestial and ritualistic magic ties into broader historical vendettas; aired February 28, 2020.
  • Episode 4: "Mr. Hyde" – Dual identities and moral splits emerge amid pursuits of forbidden knowledge; aired February 28, 2020.
  • Episode 5: "The Festival of Iemanjá" – Cultural rituals intersect with witchcraft, revealing alliances and betrayals; aired February 28, 2020.
  • Episode 6: "From Student to Master" – Power transitions challenge hierarchies in magical and academic spheres; aired February 28, 2020.
  • Episode 7: "One Last Wish" – Desperate invocations push toward curse-breaking climaxes; aired February 28, 2020.
  • Episode 8: "Impossible" – Final confrontations resolve key temporal and adversarial arcs; aired February 28, 2020.

Release

Initial Broadcast and Netflix Premiere

Siempre Bruja, produced by as a Netflix original series, debuted exclusively on the streaming platform with its first season on February 1, 2019. All ten episodes of the season were released simultaneously for global , bypassing traditional television broadcast schedules. The series launched under its original Spanish title Siempre Bruja in Spanish-speaking markets, with the English-language title Always a Witch used elsewhere, accompanied by and dubs in multiple languages to facilitate international accessibility. Netflix promoted the premiere through trailers highlighting the show's time-travel narrative set against Cartagena's historical and cultural backdrop, including a date announcement video released on , 2018. These efforts underscored the production's ties to Colombian heritage, featuring Afro-Colombian representation and local filming locations. The second season followed a similar Netflix drop model, premiering worldwide on February 28, 2020, with eight episodes available at once. This release strategy aligned with Netflix's standard approach for original content, prioritizing subscriber retention through immediate full-season access over episodic airing.

International Distribution

Always a Witch, known as Siempre Bruja in Spanish-speaking territories, is distributed internationally exclusively through Netflix's streaming platform, reaching subscribers in over 190 countries where the service operates. The series launched globally on the platform without regional broadcasting deals or traditional TV syndication, relying on Netflix's direct-to-consumer model for accessibility. Produced in Colombian Spanish as the original language, the show includes an English dub alongside subtitles in multiple languages to facilitate viewership in non-Spanish markets. Dubbing efforts, handled by studios such as Spliced Bread Productions for English, supported broader adoption, particularly in English-dominant regions. No significant regional edits, , or content alterations have been reported across territories, preserving the original narrative and production intent. As of October 2025, international availability remains unchanged, with both seasons accessible via subscriptions worldwide, bolstered by the platform's algorithmic recommendations that prioritize user engagement metrics over geographic promotion. The distribution strategy emphasized Latin American markets, leveraging the series' Colombian origins for organic traction in Spanish-speaking countries, though global reach was algorithmically driven rather than through targeted campaigns.

Reception

Critical Response

Critics gave Always a Witch mixed reviews upon its 2019 release, with aggregating a 43% approval rating from seven reviews for the first season, reflecting divided opinions on its blend of time-travel fantasy and elements. awarded it two out of five stars, praising the visibility of an Afro-Latina lead character in a Colombian production but faulting underdeveloped plotting and inconsistent character arcs. Reviewers frequently highlighted the series' strengths in representation, particularly Angely Gaviria's portrayal of Carmen Eguiluz as an empowering Afro-Colombian witch navigating modern Cartagena, which generated excitement for centering underrepresented voices in Latin American media. Remezcla critics noted the lead's expressive and the focus on amid magical challenges as engaging draws for audiences seeking diverse fantasy narratives. However, these positives were tempered by critiques of pacing issues, with episodes criticized for rushed transitions between 17th-century origins and contemporary settings that undermined world-building and emotional depth. Flaws in narrative tropes also drew , as outlets pointed to formulaic teen romance elements and superficial handling of temporal displacement, where the adapts to 2019 Cartagena with implausible ease, diluting tension and realism. Remezcla contributors described the overall execution as generic despite its premise, lamenting missed opportunities to explore character motivations beyond surface-level conflicts. The second season, released in February 2020, received sparse additional coverage but echoed these sentiments without notable shifts in critical consensus.

Audience and Viewership Data

The series garnered strong initial traction in Latin American markets and U.S. audiences, topping SVOD rankings among viewers and leading TV Time's user engagement charts shortly after its February 1, 2019, premiere. has not disclosed official global viewership metrics for "Always a Witch," though its renewal for a second season in 2020 implies adequate early performance to justify continuation. Subsequent audience demand analytics from Parrot Analytics reported demand at approximately 0.1 times the average for TV series , indicating limited sustained global appeal relative to comparable content. User-generated ratings reflect moderate engagement, with IMDb assigning an average score of 6.3 out of 10 from 2,919 votes as of recent data, where reviewers frequently cited its bingeable format and appeal to teenage and demographics despite acknowledged production shortcomings. No large-scale fan petitions for a third season materialized, and the series concluded after two seasons without renewal, underscoring insufficient momentum to extend production amid Netflix's content decisions. The show received no major audience-driven awards or nominations in viewership categories.

Controversies

Portrayal of Slavery and Interracial Romance

In the first season of Always a Witch, premiered on Netflix on February 1, 2019, the central plot revolves around Carmen Eguiluz, an Afro-Colombian woman enslaved in 17th-century Cartagena, Colombia, who practices witchcraft and falls in love with Cristóbal, the son of her enslaver. This interracial romance drives the narrative, with Carmen agreeing to time travel to the present primarily to save Cristóbal from execution after their relationship is discovered, rather than to escape her own enslavement or burning at the stake for witchcraft. The depiction includes scenes of flirtation during Carmen's time on the auction block and Cristóbal offering her conditional freedom papers tied to marriage, framing their bond as a forbidden passion amid colonial racism. Critics widely condemned this storyline for romanticizing a slave-enslaver dynamic, arguing it perpetuates a trope that downplays slavery's inherent and trauma by prioritizing emotional attachment over systemic . Outlets such as described it as a "tone-deaf erasure," noting Cristóbal's initial inaction in helping escape and his inability to comprehend her rejection of without matrimony, which ignores the power imbalance where under duress cannot equate to genuine mutuality. and others highlighted how the trailer’s emphasis on their embrace and Cristóbal’s shooting for loving a woman inverts historical causality, suggesting interracial desire as the primary conflict rather than the brutality of bondage itself. Backlash surfaced immediately post-premiere on and in reviews, with Latino-focused commentary in Remezcla compiling viewer concerns that the "offensive meet-cute" at trivializes the auction's dehumanizing reality. While acknowledging rare historical instances of such relationships in colonial —often exploitative unions between enslaved women and white men—the portrayal's lack of subversion risks normalizing imbalance as romance, potentially eroding awareness of slavery's causal harms like familial separation and psychological domination. The second season, released March 2, 2020, sought to rectify this by confronting the theme more explicitly, exploring its lingering effects on Carmen's agency and relationships in the . Some responses framed the arc as an attempt at , with Carmen's enabling her to challenge historical constraints, though detractors argued it insufficiently retroactively critiques season one's uncritical framing. A minority of commentary praised the inclusion for depicting an Afro-Latinx lead navigating taboo-breaking narratives, but the consensus viewed the trope as insensitive, prioritizing plot momentum over rigorous depiction of trauma's indelible scars.

Cultural and Historical Accuracy Critiques

Critics have debated the series' portrayal of brujería, noting that while it draws from the historical of Afro-Colombian women accused of in colonial Cartagena, the depiction often prioritizes supernatural fantasy over authentic cultural practices rooted in African diasporic traditions. The Inquisition tribunal in Cartagena, established in 1610, conducted numerous trials against enslaved individuals for alleged brujería, frequently conflating African spiritual rituals with demonic pacts, as documented in cases like that of Paula de Eguiluz, who faced three trials between 1622 and 1630 for invoking spirits and using herbs in ways interpreted as sorcery. These events reflect real tensions under Spanish colonial rule, where an estimated 100,000 enslaved Africans passed through Cartagena's port by the mid-17th century, many subjected to scrutiny for non-Christian practices. However, the fusion of verifiable historical witch hunts with overt magical realism has drawn accusations of superficiality, with reviewers arguing that the show reduces complex Afro-Colombian spiritual histories—such as syncretic elements blending African, Indigenous, and Catholic influences—into a simplified vehicle for time-travel romance. For instance, depictions of brujería emphasize innate powers and spells that align more with modern fantasy tropes than the era's documented accusations, which centered on herbalism, , and perceived threats to rather than elemental control or curses as portrayed. This approach has been critiqued for projecting contemporary attitudes onto 17th-century figures, such as protagonists displaying egalitarian views on race and autonomy atypical of the rigidly hierarchical colonial society, where enslaved individuals lacked legal personhood and Inquisition proceedings reinforced racial and religious hierarchies. On the positive side, some observers commended the series for elevating marginalized narratives, including the rare centering of an Afro-Colombian bruja as a empowered , thereby spotlighting overlooked aspects of colonial-era resistances against oppression. Yet, detractors, including cultural commentators, highlighted a lack of depth in exploring these elements, suggesting the historical setting serves primarily as atmospheric backdrop rather than a rigorously examined context, leading to a portrayal that verifiably evokes but does not accurately reconstruct the socio-cultural realities of brujería under .

Legacy

Cultural Representation and Impact

Siempre Bruja, known internationally as Always a Witch, marked a milestone in by featuring Angely Gaviria, an Afro-Colombian actress, as the lead character Carmen Eguiluz, a time-traveling witch from 17th-century Cartagena. This portrayal positioned the series as one of the first originals to center a Latina in a fantasy narrative centered on , thereby increasing visibility for Afro-Latino identities in typically dominated by lighter-skinned or non-Latino leads. The show's emphasis on brujería—rooted in Afro-Colombian cultural practices and inspired by historical accusations of witchcraft against enslaved Africans—reframed tropes through a non-European, Latin American lens, highlighting rituals and spiritual elements tied to traditions in . The series contributed to broader discussions on Afro-Latina spirituality in popular culture, coinciding with a rising interest among younger audiences in ancestral practices like and brujería, as evidenced by media coverage linking the show to real-world trends in cultural reclamation. Released during in 2019, it amplified narratives of Afro-Colombian resilience, drawing from the novel Yo, Bruja by Isidora Chacón and prompting conversations about underrepresented heritages in global entertainment. Netflix's production of the series as its second Colombian original supported local content creation, aligning with the platform's $175 million investment in since 2014, which facilitated infrastructure like a office and encouraged further Latin American fantasy exports. Despite these advances, the representation faced limitations in fully decoupling Afro-Latino witchcraft from conventional romantic dependencies on non-black characters, potentially reinforcing familiar media dynamics rather than innovating them entirely. As of 2025, the series remains available on , sustaining streams and influencing ongoing visibility for Afro-Colombian stories in international media, though empirical data on direct follow-on productions remains anecdotal amid Netflix's expanded LatAm slate.

Influence and Comparisons

Siempre Bruja draws parallels to the time-travel romance structure of Outlander, but inverts the temporal direction by featuring a 17th-century witch transported to contemporary Colombia, blending historical fantasy with modern adaptation challenges. Promotional materials explicitly positioned the series as "Outlander in reverse meets The Craft but millennial," highlighting its fusion of temporal displacement, supernatural powers, and youthful romance within a Latin American context. Unlike U.S.-focused witch narratives such as Charmed, which center white, contemporary American siblings combating supernatural threats without deep historical or regional cultural ties, Siempre Bruja emphasizes Afro-Colombian heritage and Cartagena's colonial legacy, offering a non-Western lens on witchcraft rooted in syncretic African and indigenous influences. The series contributed to Netflix's early expansion of Latin American originals, announced in December 2017 as the platform's second Colombian production following District 9 wait no, actually as part of growing investment in regional supernatural content. This positioned it amid a trend toward diverse, non-U.S. fantasy, preceding other LatAm entries like Mexican thriller Control Z (2020), though no direct causal lineage or spin-offs emerged from Siempre Bruja. Its portrayal of a powerful Black witch has been noted in discussions of Afro-Latino media, providing a counterpoint to Hollywood's typical Eurocentric magic depictions and influencing niche conversations on cultural specificity in global streaming fantasy. Empirically, Siempre Bruja achieved niche rather than transformative impact, with no major international awards or franchise extensions reported, underscoring its role as a regional experiment in genre hybridization over a market-dominating benchmark. This limited ripple contrasts with broader successes, yet it exemplified early efforts to localize witchcraft tropes, fostering subtle precedents for subsequent diverse originals without spawning imitators or academic citations beyond representational analyses.

References

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