Editor’s note: The following contains major spoilers for Coven Academy.

Widely regarded as the most haunted city in the U.S., New Orleans is the perfect setting when telling a story about teenage witches and warlocks at an elite magic school. The Freeform/Disney+ series Coven Academy follows Briar (Malina Weissman), Sasha (Jordan Leftwich), and Tegan (Ora Duplass) as they navigate their friendships and coven dynamics. When Briar, the new girl, finds herself in a love triangle with Jake (Malachi Barton), a warlock drawn to black magic, and Ollie (Louis Thresher), a hesitant vampire, secrets about her family history unfold, setting the stage for an engaging supernatural drama with limitless potential.

After screening the 21 chapters that make up Season 1, Collider had the opportunity to chat with creator Tim Federle (High School Musical: The Musical: The Series) about the significant twists and potential directions for a possible Season 2. During the interview, he discussed recreating The CW formula for a new generation, the reasons behind the show’s move from Disney Channel to Freeform, his excitement in casting Tiffani Thiessen and Devon Sawa, an emotional moment during filming with the coven trio, the complexities of the Briar-Ollie-Jake love triangle, an unreleased kiss scene, potential cures for vampirism, and all the lingering questions he hopes to address. He also expressed his joy in collaborating with such talented young actors and witnessing Olivia Rodrigo’s remarkable rise to fame.

‘Coven Academy’ Is Looking To Recreate the CW Formula for a New Generation

“I pitched it as ‘Wednesday’ with witches.”

COLLIDER: I grew up on all The CW shows. I loved all The CW shows. I miss all The CW shows. I really loved how this show captures that vibe. It also blends a new younger cast with older familiar faces. Were you hoping to fill that void with this series? Was that something you thought about at all?

TIM FEDERLE: Candidly, it was the exact target. I pitched it as Wednesday with witches, but I grew up with Dawson’s Creek, Charmed, The Craft, and Hocus Pocus. I really wanted to recreate some of the formula of those shows for a new generation, and it was a direct target.

It makes me so sad that there’s a generation of kids that don’t get those shows because they no longer have a home on The CW.

FEDERLE: I’m hoping it re-sparks some interest. There’s a lot of YA right now that’s very grounded, whether it’s in sports or just more realistic mysteries, and it’s fun to do something in this Buffy-adjacent space.

Did you include any specific nods to any of those shows or movies in this? Were there any ways that you wanted to pay direct homage to any of it?

FEDERLE: Maybe not visually. I feel like the production designer of the pilot, Jennifer Morden, is herself very young and witchy, and her set decorator (Victoria Pearson) is young and witchy too. They studied everything we discussed, and I think there are visual cues throughout that point to those influences without directly recreating elements from those shows. We’re trying to be Disney but not Disney, with music choices and a soundtrack that hopefully feels modern or at least unexpected for Disney audiences. There are many signals throughout, including some of the casting choices. Tiffani Thiessen and Devon Sawa were part of my childhood. They’re not much older than I am. That’s a full Gen X legacy play because they remain fresh and relevant as performers, but certainly there’s a generation who may not know them from Final Destination or Saved by the Bell. That aspect is very joyful for me.

Was there something about witches that particularly appealed to you when telling these stories?

FEDERLE: I’m always looking for metaphor. When I tell musical stories, it’s like characters’ emotions become so intense they have to sing. For magic, when feelings become too overwhelming to express typically, you can cast a spell or manipulate time. Reflecting on my own high school experience as an outcast or misunderstood individual led me to realize that everything sidelined me then is what I embrace now—whether it’s quick wit or seeing things differently. As a gay man who grew up in the ‘90s, one of my superpowers became observation because I learned to navigate dynamics quietly to avoid conflict. Ultimately, witches represent rich storytelling territory for me. Additionally, Disney has a history of fun witches. It felt like an opportunity to reclaim classic YA witch narratives.

‘Coven Academy’ Was Set To Debut on Disney Channel Before Making the Move to Freeform

“I like the idea of a headline that’s ‘Watch the show that was too risqué for Mickey.'”

This was originally set to premiere on Disney Channel but was moved to Freeform due to its mature content and themes. Did you always know this show would take on darker elements? Did this evolve during storytelling?

FEDERLE: I like the idea of a headline that says “Watch the show that was too risqué for Mickey.” From the beginning, this concept sought out its ideal platform. Executives at Disney—particularly Ayo Davis and Charlie Andrews—championed this show from our first dinner in Pasadena two summers ago. Ayo expressed interest in playing with format while I wanted to create something centered around witches. That night I wrote the first chapter of the show. Once we started incorporating blood scenes, romantic encounters, language choices, deeper family themes, and first love questions, it became clear this wasn’t meant for Disney Channel.

I’m currently editing the sequel to Romy and Michele, so I’m on Disney’s lot right now. Working within Disney’s realm is exciting because they allow flexibility regarding how far we can go while maintaining core themes of friendship and aspiration—even amidst darkness—so it still feels inherently Disney despite not aligning with typical expectations.

You’ve mentioned how fulfilling it is to launch stars. What did you see in these three young women at the center of this story that made them your trio of witches? What made Malina Weissman, Jordan Leftwich, and Ora Duplass your Briar, Sasha, and Tegan?

FEDERLE: There was a moment during filming where these three young actresses shot a seance scene from Chapter 3—they were so connected emotionally and supportive of each other that I found myself crying after pulling them aside. When creating this show six months prior, they were exactly who I envisioned bringing these characters to life. While I imagined Briar resembling Malina or Sasha resembling Jordan physically during casting decisions initially seemed important—it turned out not being crucial.

Malina embodies an authentic Brooklyn vibe—she styles herself confidently during interviews while showcasing her strong personality which aligns perfectly with Briar’s character traits. For Ora—this is her first significant role—she stood out during auditions by delivering Teagan’s lines straightforwardly yet earnestly which added humor while maintaining innocence—an essential quality since she is our youngest cast member without being jaded by industry experiences yet. Jordan brings depth as she approaches her role seriously—she came prepared with insightful questions about Sasha’s character arc from day one during auditions which created undeniable chemistry between them all during chemistry reads.

Tim Federle Launched Olivia Rodrigo With ‘High School Musical: The Musical: The Series’ but She Would Have Been a Star No Matter What

“I opened the door but she would have become Olivia Rodrigo.”

You also launched Olivia Rodrigo’s career significantly with High School Musical: The Musical: The Series. What did you see in her back then? Are you surprised by how fast her career has skyrocketed?

TIM FEDERLE: Look—predicting meteoric rises is impossible—but if anyone could do it—it was Olivia! Because I care deeply about all these kids—I should mention how rewarding it’s been watching them flourish over time too! Julia Lester has become Tony-nominated while Matt Cornett stars in Prime’s new show (Every Year After) alongside Frankie who’s phenomenal on (Chad Powers). They’ve all blossomed into their careers beautifully! But regarding Olivia—it was about authenticity! During Season 1—we had incredible songwriters pitching songs—but Olivia posted raw drafts from her bedroom on Instagram without makeup—just piano recordings sent straight through camera! It felt so unfiltered yet connected!

I’ve always been passionate about music—I grew up surrounded by folk music—and what Olivia may not know is—I approached her saying “You’re an incredible songwriter—you’re only sixteen studying while starring in this show—but if you find time—try writing about Nini choosing between two guys.” A week later she submitted “All I Want”—it didn’t even have its title yet—but lyrics were captivating! Her early drafts have always impressed me immensely!

I remember listening intently saying “You should call it ‘All I Want’”—and she agreed! Interestingly enough—one of Joni Mitchell’s major early songs shares this same title! When hearing Olivia’s draft—I felt she tapped into something real enough that gave me goosebumps thinking “She’ll be Joni Mitchell!” This title served as an inside joke reflecting how extraordinary she would become—a true songwriter for generations ahead!

You mentioned helping launch her career—I opened doors—but ultimately she would have achieved greatness regardless! Many themes within my writing revolve around fate versus choice—whether one becomes their parents or not—and whether destined towards first love or otherwise—which resonates throughout both shows!