Sabrina’s rebellion is explicitly feminist. She doesn't just want to be a witch; she wants to be the Witch—an equal. By Season 3, she literally storms Hell to overthrow Lucifer not because she is evil, but because Satan is a "deadbeat dad."

When you hear the name "Sabrina the Teenage Witch," most of us still picture the sunny 90s sitcom: a talking cat, a twitch of the nose, and a laugh track.

Netflix’s Chilling Adventures of Sabrina (CAOS) does something far more radical than simply adding gore to a childhood icon. It weaponizes witchcraft to explore the horror of losing your autonomy.

This isn't just a fantasy plot. It is puberty amplified to a cosmic scale.

On her 16th birthday, Sabrina Spellman (Kiernan Shipka) must sign the Book of the Beast. If she signs, she gains immense power but loses her mortal friends and her free will to the Dark Lord. If she refuses, she remains weak, mortal, and vulnerable to the supernatural horrors hunting her.

In most media, Hell is fire and pitchforks. In CAOS , Hell is a bureaucracy run by bored, misogynistic princes. The show’s villains aren't demons with claws; they are men in suits (Father Blackwood) who insist that women belong in the "Night Church" as subservient weavers, not High Priests.

CAOS argues that growing up isn't just about pimples and crushes; it is about losing parts of yourself to gain others. Sabrina doesn't just fight monsters; she fights the expectation to behave . The show asks: How much of your soul are you willing to sell to be taken seriously? One of the most brilliant subversions of the series is its depiction of Hell.