Even after learning about the circumstances, can we hold Agatha responsible? I believe we must. The drama “It’s All Agatha’s Fault” constantly makes us hesitate to give that obvious answer. When we understand someone, we want to take their side. This drama skillfully touches upon those feelings.
Agatha, the suspicious neighbor from “WandaVision,” is now the protagonist of her own story. Having been freed from Wanda’s spell, she seeks to regain her lost power and gathers witches. Her destination is “The Witch’s Path,” a place that grants whatever is desired to those who pass the tests. However, simply walking together does not mean they trust each other. This is a team that should ideally undergo collaboration training.
I enjoyed this uncomfortable companionship. The witches take the exam, and in the process, they confront the wounds they each want to avoid. Even in those moments, Catherine Hahn does not relent in her mockery of Agatha. Even when her affection for the boy is revealed, there is no sense of reassurance. Simply telling a story does not suddenly make someone a good person. Therefore, I also feel uneasy about this character.
The question is, how much of that affection can be tolerated until the very end. The time spent showing hurt should also be spent addressing the harm caused. I believe this drama succeeded in helping viewers understand Agatha’s pain. However, the harm caused during the journey is not fully addressed.
Knowing about an injury does not equate to being innocent
I appreciate the choice to recount Agatha’s story without portraying her as a virtuous person. A painful past may explain current actions, but it does not necessarily make those actions right.
Agatha is not someone who goes out to save others. She gathers her companions to regain her lost power. Remembering this starting point prevents one from easily becoming complacent, even with her kindness.
Feeling affection for someone and not exploiting that person are different things. Agatha Christie demonstrates that these two things do not necessarily go hand in hand. Even when a character shows affection for a young boy, the greed that was previously revealed does not necessarily disappear.
I like protagonists like this one. It’s because she doesn’t demand that you lower your guard simply because you understand her feelings. In this story, it’s possible to continue to understand her while still maintaining a degree of suspicion.
The companions who gathered on the Witch’s Path are not merely spectators eager to hear Agatha’s story. The potion expert, Zen, who has lost his power, is grappling with problems in his own life. The protective witch, Alice, is still haunted by the death of her mother.
Even Lilia, who lives by divination, finds it difficult to trust her own past and abilities. As they take the exam together, the idea that only Agatha’s desperation matters loses its validity. Everyone has come here to reclaim something.
Therefore, the enjoyment of the exam is not solely determined by who uses magic better. It is also important to see how others react when one person’s fear is revealed. Even when they must escape together, it is difficult for them to trust each other.
Just because the destinations are the same does not mean the interests are the same. A group reservation may be made, but trust must be earned individually.
This distrust is not merely a decorative element that hinders the journey. It forces the audience to observe what happens to her colleagues when Agatha tries to achieve what she wants. The more her pain resonates with the audience, the more they are compelled to watch those who stand beside her.
Here, the drama maintains a crucial boundary. It does not equate having feelings of affection for someone with the judgment that they are trustworthy. Just because someone cares about another person does not erase the wrong they have committed against that person.
If the story were one in which only the protagonist’s backstory deepened while her companions’ circumstances remained superficial, I would have liked it less. Thanks to trials that touch on each character’s wounds, the other witches’ desperation also remains present. It keeps us from forgetting them even as we come to understand Agatha.
However, why am I constantly drawn to a person who so clearly demonstrates reasons for caution?
Kathleen Han does not make Aggie seem like a good person
Katherine Hahn does not allow the character of Agatha to shed the habit of pushing others away, even when Agatha shows affection towards the boy. I believe this acting distinguishes between understanding and forgiving Agatha.
Kathryn Hahn, who plays Agatha, deliberately acts stiffly from the outset, starting with her imitation of a detective. Her brusque manner and exaggerated gestures fit her state of believing that she is a detective. Because it is unnatural, the performance instead reveals the strangeness of the enclosed world.
The important thing is that even after deviating from the initial instructions, those exaggerations do not completely disappear. Agatha still uses ridicule to dominate others and steers the conversation towards her own interests. Although she no longer plays the role of a detective, the habit of trying to control others remains.
Yet when she is with the boy, her attachment slips out. Han reveals that feeling without separating it from the rough attitude she displayed earlier. The discomfort remains: the same person may care for someone and use them.
I appreciate this nuance. I understand why one might become attached to Agatha, but I cannot tell someone standing next to me to feel reassured. Han’s performance conveys affection to the audience while simultaneously leaving room for caution.
Joe Locke, who takes in a boy of unknown origin, navigates his rough behavior with a mixture of anxiety and curiosity. He doesn’t simply remain a blindly trusting and expectant follower, even in conversations with Agatha. His willingness to approach and learn more, while simultaneously maintaining a degree of suspicion, sustains their companionship.
The more Han pushes the conversation, the more significant Locke’s anxiety becomes. If the boy had simply expressed admiration, even Agatha’s danger could have been romanticized. Because of the lingering suspicion, even if affection develops between the two, the power imbalance will not be forgotten.
Sasheer Zamata, who plays the potion expert Zen, uses a cynical manner of speaking to convey the frustrations of ordinary life even on this journey.
Ali Ahn, who plays Alice, the protective witch, does not let down her weary guard even in episode 4, where she encounters her mother’s music.
It is difficult to simply listen to Agatha’s story and move on, because these colleagues are living beings with their own lives. One worries not only about what she lost, but also about what those standing beside her might lose.
Given the entertainment value derived from observing such an uncomfortable relationship, how significant are criticisms that it is less funny or less scary?
The criticism that it is less scary is correct, but the judgment that it is a failure is wrong
I agree with the observation that there are moments when laughter and fear are less powerful. However, I do not agree that the enjoyment of observing dangerous relationships should be dismissed as a failure.
The initial crime drama elements serve not to highlight the thrill of catching the culprit, but rather to reveal the circumstances in which Agatha finds herself. Even after the trials of the witches begin, what emerges is not the only important factor. The ongoing question is how much one can trust the people around them.
Of course, these choices do not always save every moment from being dull. Exaggerated gestures do not always elicit laughter. Even in trials that foreground danger, my own fear does not always match the fear of the characters.
However, not every scene needs to be both hilarious and emotionally impactful. It is not an all-in-one package.
What I paid more attention to were the moments when Agatha recognized the vulnerabilities of others. Understanding another person’s pain provides an opportunity to offer comfort. At the same time, it also provides a way to inflict pain more precisely.
The relationship between Agatha and Rio best exemplifies this discomfort. Rio is a character who directly confronts Agatha. However, despite their confrontation, there remains a sense of intimacy between the two that would not exist between strangers.
I felt a tension in my shoulders watching them face off. It wasn’t about who was stronger, but about how much they knew about each other, which was more intimidating. The fact that someone who knows you well isn’t necessarily a kind person created a palpable tension between the two.
The strength of this relationship lies in the fact that it reveals Agatha’s wounds without portraying her solely as a victim. Even those who are hurt can be aggressive. The desire to be loved does not grant anyone the right to control others.
Therefore, I do not want to simply evaluate this drama based on the level of fear it evokes. What is more important is the time spent in a state of unease, even after moments of surprise. This is the reason why understanding Agatha becomes increasingly necessary, as it necessitates a heightened sense of caution.
In this context, laughter and fear are ways of revealing relationships. While the weakness of this aspect is regrettable, the sense of danger between the characters has not completely disappeared. The difference between the feeling of needing a colleague and the feeling of cherishing a colleague remains.
So, what is the difference between this companionship, where individuals need each other but do not trust one another, and a familiar magical journey?
The attitude towards colleagues is more important than the purpose of the trip
I appreciate how the story transformed from a journey to find what one desires into a narrative that also considers the pain of others. It is not acceptable to treat someone standing beside you just because your own wish is desperate, with disrespect.
In “The Wonderful Wizard of Oz,” the companions walk the road together, each searching for what they believe they lack. In “Agatha All Along,” the witches also move together to obtain what they desire. However, these characters also bring with them feelings of suspicion towards each other.
Because of this difference, the meaning of “needing a companion” also changes. One must consider whether the person is necessary to pass the test, or whether they are someone you don’t want to injure. The mere fact that Agatha gathered a group does not automatically make them good companions.
Jen has power she must reclaim, and Alice is still unable to move on from her mother’s death. The more one learns about their circumstances, the harder it becomes to simply support Agatha’s objective. That is because it is impossible to rank whose wish is more desperate.
I particularly view the part where Alice’s past is connected to her mother’s music through this lens. This trial is not merely a problem for the group to overcome. It becomes a time when the fears that one person has carried for a long time are faced by others.
Knowing about a colleague’s wound here clearly creates a burden. One can no longer use that person solely for one’s own purposes as one could before hearing the circumstances. At least I, seeing it, become more sharply critical of actions intended to use that person that way.
My criteria are the same when comparing it to “WandaVision.” Understanding Wanda’s grief and acknowledging the harm suffered by those affected by her magic must go hand in hand. The magnitude of grief does not diminish the value of another person’s life.
“Agatha All Along” brings this issue to the attention of colleagues who are working together. It shows not only the story of the person using magic, but also the circumstances of those who are afraid of them. Therefore, how one treats others in the process becomes more important than the goal of regaining power.
Even when I feel drawn to Agatha, the circumstances of my companions remain with me. I believe this actually enhances the enjoyment of the journey, rather than diminishing it. This is because, instead of simply waiting for the moment to obtain what I desire, I become more anxious, carefully observing who might be hurt by that choice.
So, does this drama, which so effectively portrays the wounds of its characters, carry that same weight until the very end?
Prioritize the next trip over dealing with the hurt
I believe that the speed at which we are moving towards the next goal is becoming too fast. Consequently, the time available to assess the damages incurred during the trip is decreasing.
In the latter part, facts are revealed that cause one to re-examine the previous events. This is not a story that ends with simply understanding what happened. It is also necessary to determine who bears what responsibility among the colleagues who experienced those events.
The drama does not entirely avoid this question. The characters also confront the weight of what has happened. However, a new purpose soon emerges, and the momentum to move forward becomes greater than the time spent assigning responsibility.
What I regret is not the absence of a punishment scene. Simply punishing the wrongdoer does not automatically address the harm caused. I wanted to observe a little longer to see what the remaining people would remember and carry with them.
The previous trials meticulously demonstrated the fact that each person has their own life. The loss of Jen’s power, and the past that Alice is burdened with, were all matters of equal urgency to Agatha’s goal. Therefore, when the journey ends, their respective situations must remain of the same importance.
However, the ending gives more importance to what will be searched for next. I felt that this shift in focus was too abrupt. There is a risk that the suffering of those who walked with us will only serve as a starting point for the next story.
There is a difference between a person acknowledging their own pain and a person bearing the pain they have inflicted on others. The former allows one to understand that person. The latter forces one to consider the extent to which one is willing to offer that understanding.
There is no way to reduce the second question because I have learned more about Agatha’s story. In fact, I should question her for longer because I have grown fond of her. If I only ease up on the questioning for characters I like, it will lower the value of the suffering of my companions.
Leaving the possibility of a future trip open is not inherently undesirable. There is undoubtedly a certain appeal in the prospect of two dangerous individuals traveling together again. However, that expectation should not serve as a substitute for addressing what has happened now.
This drama is careful not to portray Agatha as a good person, and I hoped it would maintain that caution even while taking time to reflect on the harm. Simply leaving a villain as a villain is not enough to hold them sufficiently accountable.
Now, the only thing remaining to be determined in my judgment is how much the brief conclusion diminished the power of the characters that had been built up previously.
It is not being said here that Agatha alone caused all the harm. The plot twist in the latter half also places responsibility on other characters. What I am questioning is not whether the name of the person responsible was revealed, but whether sufficient time was given for colleagues to reflect on the harm suffered by the colleagues.
Overall assessment: We cannot absolve responsibility simply by claiming to understand
I believe that “Agatha All Along” successfully portrays the understanding of a wounded villain. However, the issue of who should be held responsible for the damages incurred during the journey was resolved quickly. Based on my principle that accountability must be established even after hearing the story, the ending is undoubtedly brief.
Kathryn Hahn brings both ridicule and affection to life, leaving Agatha as a protagonist who is difficult to trust. The tests that touch on her colleagues’ wounds also make it impossible to root for her alone. My rating is 3.5 out of 5 stars. While the performance in which ridicule and affection coexist is good, the ending is disappointing for rushing toward the next journey rather than addressing the damage.
Even so, I don’t think the nine episodes I spent with this uncomfortable group were a waste. If you are a reader who wonders why you might develop affection for someone who isn’t “good,” then this series is worth your time. If you enjoy conversations between colleagues who distrust each other and exaggerated witch drama, then you will likely enjoy it more.
Conversely, if you are expecting intense horror or unrestrained laughter, this work is not recommended. If you desire a story that clearly defines the consequences of wrongdoing at the end, you may find it disappointing. The strength of this work lies not in the catharsis of the judgment, but in the characters who make you like them yet be wary of them.
The awkwardness of the early attempts at imitating a detective should not simply be dismissed as a mistake. Comparing Agatha at that point with Agatha when she reveals her affection for the boy makes Han’s performance all the more entertaining. In the test, it is worth following what each witch fears rather than looking for the correct answer.
The next work to be discussed is “WandaVision.” It provides a good opportunity to compare understanding grief with forgiving the harm caused to others. When viewed alongside “The Wizard of Oz,” it offers a different perspective on why companions are necessary on a journey to find what one desires.
I came to understand Agatha more. However, I have no intention of alleviating the harm she caused.
Frequently Asked Questions (FAQ)
Should you watch “WandaVision” first?
It is recommended to watch it first. Understanding why Agatha was trapped by Wanda’s spell and what kind of person she was in the previous work will make it much easier to start. You can also compare how the two works deal with grief and the harm caused to others.
How many episodes are there, and where can I watch it?
This is a 9-episode series produced by Disney+. It begins by imitating a detective drama but transitions into a story about witches and their trials. It is best not to expect the series to remain a crime drama throughout, as it only maintains that atmosphere in the beginning.
Is it a scary drama?
This drama is not primarily focused on intense horror. Instead, the exaggerated witch trials and the relationships between characters who do not trust each other are more important. It caters to those who enjoy the tension that arises when someone close to them is in danger, rather than being surprised by shocking scenes.
Is this work based on a true story or a novel?
This is neither a true story nor an adaptation of a specific novel. It is a story centered around Agatha, who appears after the events of “WandaVision,” and utilizes characters from Marvel Comics. Understanding the character relationships from the previous work is more helpful than having knowledge of the comics.
Is it worth watching until the end?
I believe it has merit. It has the power to make one re-examine the previous test. However, the ending, which rushes into the next stage without fully addressing the responsibility for the harm caused, is regrettable.
