Aricles Annex - Xena: Warrior Princess Magazine Articles

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PanGaia #25 - Autumn 2000

article by Jennifer Ricard, paintings by Tamara Guion

Witchcraft is not new to American TV programming - from 1964-1972, Samantha Stevens (played by Elizabeth Montgomery) delighted audiences in the hit comedy series Bewitched. Bewitched played witchcraft for laughs, but introduced many themes common to later generations of TV witches, including the concepts of "family magic" (Samantha inherits her powers from her parents, and passes them along to her offspring), "the secret identity" (Samantha has to keep her powers hidden from the "mortal" world), and "fish out of water" (raised as a witch, Samantha is frequently unable to cope with normal daily tasks if deprived of her magical powers). Probably the most important contribution of Bewitched to real-life witches was simply the idea that magic and witchcraft were innocuous; not once during its 8-year run did Samantha refer to Satan or appear dangerous in any way; in fact she was clearly the most intelligent, loving person on the show, which still has devoted fans decades later.

In recent years, Wiccans, witches, and other Pagan characters have made a big comeback on television. From Buffy's magic-wielding sidekick, Willow Rosenberg (Buffy: the Vampire Slayer) to the three Halliwell sisters (Charmed) to the ditzy teenage Sabrina (Sabrina the Teenage Witch), an increasing number of highly-rated shows have embraced Pagan-flavored storylines - not to mention the magical multiverses of Xena Warrior Pnncess with its unusual, but not entirely unfriendly, take on classical Pagan mythology and the sympathetic treatment of occult themes on The Others.

Television is often cited as a reflection of society, so perhaps this recent upsurge in magic on television indicates a greater acceptance of Paganism in mainstream culture. But how realistic are the portrayal of Wicca and Paganism on these shows? Let's take a look.


Sabrina, the Teenage Witch

Sabrina The Teenage Witch is a situation comedy series that follows the experiences of a 16-year-old girl who moves in with her aunts and discovers that they (and she) are all witches. They live in an old house with a talking black cat called Salem. The series debuted in September 1996, but the character of Sabrina first appeared in the Archie comic series in the late 1960's.

Sabrina is true to its roots: silly, but harmless. All of the usual cliches apply, except, notably, that unlike the old comic series, Sabrina's witchy aunts dress and act reasonably normally and don't stand out with warts and pointed noses. Sabrina is fun because the angst and difficulties of normal adolescence situations are blunted, twisted, and somewhat alleviated by Sabrina's magical lifestyle. But Sabrina clearly comes directly out of the same "play witches for laughs" mold as Bewitched, and it's not clear if the writers and producers are aware of the existence of modern Wicca or Neo-Paganism; if so, they studiously ignore it.


Charmed

Charmed is the first television drama (as opposed to comedy) dedicated to the concept of the "Good Witch." The story centers on the lives, heartbreaks, and adventures of three sisters: Prue, Piper, and Phoebe Halliwell, who suddenly discover that they are the "Charmed Ones," legendary protectors of the innocent.

Following the long-traditional plotline in mainstream media, Charmed presents witchcraft as a hereditary (genetic?) birthright: the three sisters are witches because their late mother, Patty, as well as all their ancestors, were witches. While the concept of hereditary witchcraft is a familiar one, this is not the traditional Craft taught by a mother to her daughters but supernatural powers (to freeze time, see the future, and use telekinesis, among others) that suddenly appear by virtue of reciting a simple spell ("Something Wiccan This Way Comes"). While this works for laughs in comedies, in a more realistic, dramatic setting it bothers me: where are the years of study and hard work that practitioners of every form of occultism and magic throughout the ages have struggled with? Charmed portrays magic as something easily obtained (with the right genes, I guess) and just as easily lost or stolen by every passing warlock. Sadly, just like Bewitched and Sabrina, Charmed promotes a basic misunderstanding of what it means to be a witch. These women aren't spiritual practitioners, but genetic freaks (albeit good ones); they have more in common with fantasy creatures like elves or dwarves than with real-life witches, like, say, Starhawk.

I was also disturbed by the disrespect with which the heroines treat Ms. Stedwell, a character who seems closer to a real-life witch. Ms. Stedwell casts simple protection spells as opposed to the grandiose, special-effect-enhanced magic that the Halliwells control; this, it seems, makes her inferior. "She's a witch, I mean, not a magical witch but a witch practitioner nonetheless," mince the sisters hauntily in "Ms. Hellfire." Portrayed as someone both silly and slightly out of touch with reality, this character is hardly flattering to the Craft.

Constance M. Burge, the creator of Charmed, puts effort into realism (if one ignores the extravagant special effects, of course) and I can't help but wonder where she gets her information. Any careful viewer with knowledge of modern Wicca will observe imagery from the Craft that appears in the show; the everpresent Book of Shadows, passed down to them from a long line of witches in their family, contains not only spells but also all the knowledge collected over centuries. It is rather refreshing that the show's creator recognizes that there is more to witchcraft than spellwork. There also appears a reference to the Wiccan Rede ("An harm it none, do as you will") which clearly recognizes the fact that witches follow a moral code. The show presents "warlocks" as witches who have failed to follow the Rede; while not the traditional karmic punishment, this plot element does demonstrate that witches do not generally go around cursing people without consequences to themselves. The writers recognize the numerological significance of the number three, and in fact, make it a major part of the plotline. Finally, of course, there is the familiar, a brown cat named Kitt (a refreshing change from the stereotypical black cat).

The writers are a lot less interested in Wiccan thealogy, though the word "Wicca" appears in perhaps 25% of the series'episode titles. The Goddess is usually ignored or, in the case of Kali ("The Fourth Sister") and Hecate ("The Wedding From Hell"), vilified, and other aspects of modern Wicca (following the seasons, Sabbats, women's mysteries, or even the male aspect of divinity at all) are pretty much glossed over or ignored completely.

One problem of many modern real-life witches is addressed in nearly every episode of Charmed - the need for secrecy. The three sisters have "mundane" lives with jobs, friends, and lovers but they must keep these lives completely separate from their true identities as witches. Of course, this isn't exactly a new plotline: remember how Darrin Stevens was always trying to explain the weird things that happened at his house to his incredulous boss, Larry Tate, or his nosy neighbor, Mrs. Kravitz? But unlike Bewitched, in Charmed the "secret identity" motif isn't played for laughs, but as a terrible complication, almost a tragedy. Like many Wiccans who fear revealing their religion, the conflict between their mundane and magical lives puts a horrible strain on the sisters. This becomes clear in such scenes as the one where Piper freezes her boyfriend Dan so that she can tell him who she really is without any consequences or when Prue discovers that Andy could never accept that she is a witch ("The Truth is Out There... And It Hurts"). Real-life witches still in the "broom closet" may identify closely with the conflicts in these characters'lives.

Upon close examination, Charmed is pretty positive; evidently based on at least a surface understanding of Wiccan practices, it usually gives its viewers a positive image of witchcraft. Unlike Samantha Stephens, our heroines' powers are not all-encompassing; the Halliwell sisters have to cook their food, get to work, and perform normal human functions without the benefit of magic, and their trials and tribulations are played for empathy, rather than for laughs.


Buffy: the Vampire Slayer

Joss Whedon, creator of this cult hit about a teenaged girl "chosen to fight the vampires, the demons, and the forces of evil" did not waste any time introducing witchcraft to his show. In the second episode of the series, entitled simply "The Witch," a bitter former cheerleader switches bodies with her daughter and casts disfiguring spells on several cheerleaders in an attempt to reclaim her glory days. Black cat, curses, spell books, and bubbling cauldrons - throw in some warts and a flying broom, and you'd have a perfect example of the stereotypical evil fairy tale witch.

Catherine is not the only example of the corrupt magic practitioner presented on the show. Ethan Rayne, a worshipper of Janos, has made three appearances on Buffy in the past four years and each time managed to spread his own brand of chaos.

Whedon balances these stereotypical images of the evil, curse-casting magic user with the introduction of the popular Jenny Calendar. Jenny (or Janna) is a gypsy and a techno-Pagan, presented as Rupert Giles' love interest and the school's computer science teacher. Jenny is a powerful ally to Buffy and her friends, and seems the very image of the modern, real-life neo-Pagan: intelligent, caring, and wise, yet a regular human being with faults and failures. She does not have the supernatural magical powers attributed to most TV witches. "I don't have that kind of power," she comments in "I Robot, You Jane." Her magic consists of prayer, healing (she keeps a rose quartz in her desk), and binding (notably in the aforementioned "I Robot, You Jane.") Regrettably, Jenny got killed off in what many viewers consider some of the most heart-wrenching scenes in the series ("Passions").

Of course, you cannot talk about Wicca on Buffy without mentioning Willow and her little "coven" (Amy, Michael, and Tara), introduced in the second season. It is very telling that a protagonist, "the best of all of us" ("Doppelgangland") would become a witch. While Whedon makes it clear that he does not see magic as something to toy with (the chaos that ensued when Xander attempted to use a love spell for revenge gives a prime example of this), he portrays Wiccans as good people.

Many issues near and dear to Wiccan hearts have been beautifully addressed on Buffy. An episode entitled "Gingerbread" in which witches (including Willow) are accused of the ritual murder of two young children shows Willow, Buffy, and Amy being burned at the stake by their friends and family. They are saved in the nick of time, but for once viewers saw the Burning Times and, symbolically, all religious-based discrimination, from the witch's point of view.

The show also addresses the ethical problems inherent in the use of magic. The problems of love spells and imposing one's will on another appear in the episodes "Bewitched, Bothered and Bewildered" and "Something Blue." Both spells spring from heartbreak and lead to utter chaos. Like any witch in the real world, Buffy's Wiccans must deal with the consequences of their actions, and in the end realize that having power does not always mean that one should use it. Buffy does not portray magic as an easy fix to all of life's problems. You can almost hear the rule of three in this particular moral lesson: what you do comes back to you threefold.

Finally, Buffy, unlike any previous television show, treats Wicca as a religion, rather than as a supernatural talent. While the plotline does emphasize the matter, the power of Buffy's witches seems to be religious; all the witches have called upon goddesses (usually from the Greek pantheon) in their spells and there seems to be an effort to incorporate these beliefs in everyday life, as opposed to using their powers only for special effects.

While mentions of warlocks, "black arts," and the occasional Satanic invocation ("Wild at Heart") still appear, Buffy has come a long way, presenting an image of the witch that is, for the most part, positive and beneficial to the Pagan community.


Angel

Why include Angel in an article on Paganism? Angel isn't focused on witchcraft but follows a vampire who seeks redemption by saving the people of Los Angeles from various demons. We encounter frightening sights as vampires, half-demons, and secretaries who cannot file - but nary a Pagan in sight. Despite this obvious lack, this Buffy spin-off has a magic all its own.

Seeing one's future can be painful; usually the pain involves seeing something that one does not wish to see. However, for Doyle and Cordelia Chase their powers cause them literal pain. These mismatched friends, who act as Angel's sidekicks, experience migraine inducing visions given to them by the mysterious "Powers That Be." These messages from the gods (higher powers?) bring to mind auguries and divination, both common in pre-Christian eras.

The introduction of the Oracles ("I Will Remember You") emphasizes this link. Oracles, such as the one at Delphi, were a primary part of classic Pagan religions; considered a direct link between a god and the people: the oracle would interpret the will of the gods by means of various signs in nature. In Angel Oracles are portrayed as far more supernatural than they actually were in ancient Greece (mysterious siblings in togas and blue paint) but then who can resist the irony of a gateway of lost souls under the post office?

However, the real question is not whether an association between pre-Christian, Pagan practices and this show exists (clearly, it does) but rather, what the creators of the show are trying to say about these practices. The messages are mixed: although generally used for the good of humankind, Doyle's and Cordelia's visions bring incredible pain. Similarly, the Oracles usually come across as aloof and arrogant, although they are also capable of great compassion. These practices do not appear to be encouraged - "If that was my gift, I would return it," as Cordelia puts it in "Lonely Hearts" - but the show does not portray them as something evil either. Unlike Buffy, few spells appear on Angel. Furthermore, those spells that the characters do cast are alchemical in nature; that is, they mainly involve the mixing of ingredients, not deities of any sort. Despite a certain cookbook approach to magic, the scriptwriters seem to realize that while combining exotic components and mindlessly chanting Latin sentences might be a part of spellwork, much more is involved; for example, the ghost-banishing spell in "Room with a View" was completely useless unless Cordelia had the courage and inner strength to face her tormentor. Magic may not be a religious experience on Angel, but it still takes a lot of heart.


Xena: Warrior Princess

Xena differs from other Pagan-oriented shows, in that the action takes place in a time period (unspecified, but ranging approximately from the 4th century B.C.E. to the 1st century C.E. ) when Paganism was both accepted and widespread. Many of the episodes (like those in Hercules, Xena's predecessor) deal with Greek legends and the Olympian pantheon. Many Pagans are very fond of the Warrior Princess, although one might wonder why, since Xena often seems embroiled in battle with the gods and goddesses. But this show offers more than meets the eye.

For the most part this show represents the Pagan gods as selfish plagues on humanity that one would rather get rid of than worship. Ares, God of War, is clearly intended as an antagonist for Xena and as such is a more complex character than the other gods; most of the other Olympians are portrayed as simply trying to do what they think best and appear to care about the people who worship them. Athena weeping over her dying warrior/ priestess is a prime example of this ("Amphipolis Under Siege"). Ares may be violent and occasionally cruel, but he is the god of war, just as Aphrodite, for all her flirting and egoism, plays her role as goddess of love rather well.

The ancient Greek gods and religious practices are not the only ones presented to the viewers. The Amazons, a frequent part of the show due to Gabrielle's status as an Amazon princess, are closely tied to their traditions (seemingly a form of shamanism); very little that they do does not reveal their religion. Over the past five seasons, we have seen rituals for life, death, victory, or simply celebration. In these rituals the Amazons dance and sing with an enthusiasm that would make any Neo-Pagan proud. In a recent episode one character says: "Tonight, your coronation continues a ritual passed down to us through the ages, a ritual of music and movement, a celebration of community and joy, for we are a family united in sisterhood. We are the creators and our own creations, the words and the music, both singer and song. Our traditions stretch back to the great Gaea herself, mother of us all, a tradition of dance, of music, of sacrifice . . . " ("Life Blood"). This quote captures the very essence of their beliefs, and shows what they hold dear: dance, music, community, inner strength, and the Goddess. The Amazons also integrate animals in their rituals, most notably horses and deer. More than any other culture on the show, the Amazons seem to reflect the beliefs and spirit of modern Pagans.

Most Pagans love Xena, I think, for the same reason that non-Pagans do: because the show is funny, exciting, and portrays two women (Xena and Gabrielle) as smart, courageous, athletic heroines. It probably doesn't hurt that the costumes reveal a lot more of everyone's, ahem, muscular structure, than is common for network TV. The fact that Xena, like its progenitor Hercules, is set in the mythical days when the gods showed up in person when you called upon them (or even when you didn't) is a delicious extra bonus.



Witches and Pagans and Godforms - Oh My!

Overall, the portrayal of Wiccans and Pagans on television lacks perfection, but appears to be gradually improving over time. Once only played for predictable (if sweet) sitcom laughs (Bewitched and Sabrina), the Pagan lifestyles of past (Xena) and present (Charmed, Buffy and Angel) are now being addressed in more serious ways. Even Paganism in the future is not completely offlimits; observant Star Trek fans have probably noted the striking difference between the classic TV episodes, which were universally anti-religious, even atheistic in tone, to the respectful treatment given religion during the Deep Space Nine series, which placed the unabashedly mystical Bajoran religion at the center of many of its major plotline arcs, including the penultimate one.

As themes, Paganism and Witchcrafts will most likely become even more prevalent on television over time as these paths are recognized as lifestyles (and religions) rather than as satanic threats. Non-Pagan themed shows such as Felicity and Home Improvement have portrayed Wiccans at least once (Meghan and Morgan respectively) and, as Hollywood warms up to alternative lifestyles generally, it seems likely that this trend will continue. The fantasy aspects of Witchcraft are likely to be particularly persistent - after all, who doesn't dream of doing their dishes with a twitch of their nose - but the more realistic and sympathetic portrayal of Wicca and Paganism on television seems likely to continue for some time to come.

Jennifer Ricard is an eclectic, solitary Wiccan. She lives in a Montreal suburb with her family and dog, Tuffy and is studying English Literature at McGill University. You can contact her by email at c_ravenshadow@hotmail.com

Xena: Warrior Savior?


Is "Xena: Warrior Princess" Pagan? Yes - and no. Is it Christian? Yes - and no. Are the writers confused? We'll stick with a simple "Yes" for that one, folks.

"Xena" writers have constructed (or perhaps, deconstructed is more like it) an "everything but the kitchen sink" mythological multiverse that would have confused the heck out of Joseph Campbell. In a recent series of episodes I counted at half-a-dozen depictions of the afterlife, including classical Greek mythology, a pseudo-Christian Heaven and Hell, and a weird shamanic Amazon afterlife that seemed to consist of hanging around and waiting for one of your descendents to call on you for advice. Throw in semi-Taoist magic and philosophy, reincarnation (of gods, demons and angels alike) and enough semi-historical (and wildy inaccurate) personages to keep Cecil B. DeMille ecstatic for weeks, and that's our Warrior Princess. And yet, the show can be both weirdly compelling and genuinely touching. Why?

To start with, it's important to recognize the basic mythological premises of the series. In the opening of Hercules: The Legendary Journeys, (the series which spun off Xena: Warrior Princess) Hercules is lauded as a hero who allies his considerable (and half-immortal) prowess against the treacherous Olympians, particularly Hera, Queen of the Gods and his evil nemesis. Xena picks up this basic plotline; the Greek/Roman deities are capricious and omnipotent, but surprisingly dull-witted at times and subject to a whole range of "mortal" weaknesses. Aphrodite is silly, talks like a Valley girl and dresses like, well, a Fredrick's of Hollywood model, but is basically good-hearted; Ares is cruel and violent, but curiously seductive and lustfully delicious in his black leather tights. Zeus is genial and fatherly but loses control when threatened; and Hera spends the entire Hercules series being cruel and vindictive. A large sub-cast of various Olympians ranging from Hades to the Fates wander in-and-out at will, but never appear to give two hoots for any mortal who doesn't have something that they want or need and are more than willing to torment or punish those who offend their rather touchy sensibilities.

This basic plotline isn't all that farfetched; anyone who has spent serious time studying the classical depictions of the Greek and Roman mythos will recognize these deities in a minute. They reflect the political realities of their respective cultures - the gods and goddesses are, at worst, petty despots with superhuman powers or, at best, exaggerated depictions of the idea or quality that they represent. (Some, for example, might object to Ares being shown as violent, crass and treacherous. To which I reply, "Hey, he's supposed to be the god of war, not babysitting!") Many of the modern and post-modern humanistic values that we take for granted, like free will, democratic role and equality between races, classes, or genders is completely foreign to this mythos, as it was to the culture that created it. Although one might (and certainly could) quibble with details (I can't imagine that Ares ever dressed in black leather) the Olympians get a pretty fair representation in this multiverse.

Countering the Olympian mythology are the practices and doctrines of Xena's mentor Lao Ma who seems to echo the lowest-common-denominator understanding of Taoism and Buddhism that has dominated Hollywood depictions of those religions from Kung Fu down to Teenage Mutant Ninia Turtles, with a bit of "Luke, use the Force" Star-Wars style magical powers thrown in for good measure. We also see a variety of shamanic practices among the Amazons, including ancestor worship, otherworld journeys, and lots and lots of magic. Many of the other Deities and Powers are less wholesome than the Olympians; my least favorite is some weirdo bad god/demon named Dahak who seems to have wandered in from an alternative universe of really seriously nasty deities. Perhaps he's slumming or sees a power vacuum? There is also a series of episodes set in India, one of which ("The Way") was briefly pulled from circulation after devout Hindus complained about its treatment of their gods, particuiarly Krishna.

The Olympians, who are the "central panthean" of this series, generally seem either too bored or impotent to care about any of the other reilgions until Eli comes along, and then, they care a lot.

In the fourth season, ("Devi") while Xena and Gabrielle are wandering around in India, they run into a con-man/magician named Eli who discovers (with their help, naturally) that he has a genuine gift for healing. At first he appeared to be a short-term character, but no such luck. By the end of the fourth season Eli has not only reappeared but has gathered a cult of followers (including Xena's sidekick Gabrielle) who are fed up with the deprecations of the power-mad Olympians. Gabrielle and Xena, who were crucified by Julius Caesar ("Ides of March") at the end of the fourth season, get resurrected by Eli at the beginning af seasan five ("Fallen Angel"). Continuing in this vein, Eli finally gets martyred by Ares ("Seeds of Faith") and becomes an immortal himself. His followers are slaugntered left and right by angry Olympians, but in the end, triumph against all odds.

Does Eli equal Jesus Christ? Well, I guess we come right back to the "yes and no" answer. He's clearly intended to represent Jesus - check out the "fish" banners in "Eve" or Eve/Livia's miraculous conversion copied from the Biblical account of the conversion of Saul/Paul if you aren't convinced. "Eli" has healing powers, is a pacifist, gets martyred for his cause and sports long, brown Rasta-like tresses. In addition, Eli's humanistic religion is theologically close to primitive Christianity, and expresses some of the genuine reasons that Christianity so quickly mushroomed from a tiny Jewish sect to a major world religion.

But that's where the similarities end, in Xena's version, "Eli's" faith triumphs over the gods due to a bizarre series of events involving Xena and company teaming up to murder the Olympians. Needless to say, that's not how it happened.

Of course, any intelligent viewer of this series should be used to the concept that Xena isn't exactly historical fiction. Normally, this doesn't bother me - it's a fantasy after all. But recently the confused theology of the Warrior Princess has gone so far over the top that it threatens to sink the entire series.

The "Twilight of the Gods" arc is a mess, but here are the basics: Xena's immaculately conceived daughter Eve (carrying the reincarnated, but redeemed soul of her arch-enemy Callisto) is predicted by the Fates to cause the death of the Olympian gods ("God Fearing Child"). Upon hearing this, Zeus goes ballistic and attempts to destroy the threat. Needless to say, his efforts backfire spectacularly; in a nice touch of Greek tragedy, the harder you fight the Fates, the more certain your demise becomes.

By the end of the fifth season we have quite a body count. Zeus kills Hera (for protecting Hercules? That was hard to swallow) and Hercules kills Zeus (supposedly by accident) while protecting Xena while she is giving birth. Xena and Gabrielle spend 25 yeors on ice - literally - after faking their deaths to fool the gods into leaving them alone (Needless to say, they don't age.) Meanwhile Xena's daughter Eve (aka Livia) grows up to be Ares' lover and a ruthless tyrant who kills a now-aged Joxer. Eventually, (and unconvincingly) Eve/Livia "sees the light" (literally) and joins the side of Xena. Eventually Xena kills Poseidon, Discord, Hades, Artemis and Athena and, drumroll please, - Ares(!) saves Xena, Gabrielle and Eve from final destruction. Yes, that's right, ladies and gentlemen, at the end of the day, Ares' love for Xena - or is it lust? that god needs to take a cold shower, right now - has led him to give up his immortality to rescue our heroes from certain death at the hands of the desperate Olympians.

And the moral of the story is? I'm not sure, but it looks painfully like "Love (Lust?) conquers all," which is neither Christian nor Pagan but some sort of lowest-common-denominated tv-fantasy.

"The Twilight of the Gods" is a fascinating concept (far more Norse, than Greek or Roman) but in the hands of Xena's writers it has been hopelessly contaminated by post-modern values that don't even fit into its own muddled backstory, let alone history or mythology. Christianity (or Eli-ism if you prefer) did triumph over the Olympian gods but it sure wasn't because the God of War had a soft spot (or should I say, a hard one) for a certain Warrior Princess.

The strength of Xena has always been its characterizations, not its plotlines, which have ranged from absurd to fascinating seemingly at random, and clearly the writers don't take anything too seriously. Frankly, the basic problem with introducing this arc in the first place is that the plotline is too portentous for the characters to carry.

Hopefully, in the upcoming sixth and final season, Xena and company will get back to wrestling with their values, banging heads, and looking bodacious without being weighed down with Messiah-complexes that they obviously don't have a clue how to handle. Saving the world should really be enough of of challenge, even for a Warrior Princess.

- Anne Newkirk Niven
For more on Xena: Warrior Princess my best source is http://www.whoosh.org/ home of The Journal of International Association of Xena Studies.