I predict CLAIREvoyant will be a hit. No, I don’t need tarot cards or mind-reading to come to that conclusion. The key to the web series’ success—the first 10 episodes are available now on KindaTV—is in the story and relatability of the lead characters created by Annie Briggs and Natasha Negovanlis.

There is an instant likeability to Claire (Negovanlis) who, on her 25th birthday is handed an eviction notice. Now she and roommate/best friend Ruby (Briggs), have to collect back rent—fast—in order to keep their place. Their idea? Pose as online fortune tellers to cash in quickly. Easier said than done, especially when Claire discovers she may actually be, well, clairvoyant.

I spoke to Negovanlis and Briggs about CLAIREvoyant‘s genesis, writing and producing their own projects and representing the LGBTQ community.

Before we get into the story and characters, congratulations on the production values. CLAIREvoyant looks amazing.
Natasha Negovanlis: Thank you. We were very lucky to have Shaftesbury attached to this and I think it really added to the high production value.

Natasha, you and Annie came up with this idea while you bonded over your mutual obsession with fortune telling. What fascinated you about fortune tellers?
NN: It’s a number of things. Both Annie and I are interested in certain aspects of spirituality and divination. It was an interest I’ve had since I was a little girl. We grew up in the 90s when witches were very popular. [Laughs.] I think why supernatural-themed shows really resonate with a lot of LGBTQ folk like myself is this feeling of being the other. A feeling of being an outsider. I’ve always felt like that so I think that’s why I gravitated towards topics that were a little less mainstream. And, also, the way Annie and I were both raised; we both have family members who are a little bit spiritual or into these things as well.

But the seedling to CLAIREvoyant was that I was getting my nails done in this salon and I saw this woman and overheard her talking. She had read my tarot cards before and it was one of those $10 neon sign walk-in situations. I went mainly for the entertainment value but I was so fascinated with it. I started eavesdropping on her conversation. One day when Annie and I were hanging out and talking about that, I said, ‘Are they able to sustain themselves doing that?’ ‘Do they really have a gift or do they believe they have a gift?’ I was so interested in who they were as human beings outside of that work and we started talking about it, spitballing it and coming up with these really silly characters. The next day we texted each other and said, ‘I think we’re on to something.’

You have a built-in fan base thanks to Carmilla. How do you keep them in mind when creating something new?
Annie Briggs: The online community has been very vocal, in a very positive way, about what speaks to them and in terms of what makes them feel heard and what’s hurtful. For sure, we wanted to maintain that audience and honour them. But then, it’s also our responsibility as creators to maintain the integrity of these characters, their own traits and plotlines.

NN: It’s very much a balancing act as well. As a creator, you have a responsibility, I think to change the narrative. As two very progressive female creators, we certainly feel that. Something that was very important to us was having a female director in Simone Stock, for example. There were those aspects to it as well. And then, of course, the Carmilla audience is largely an LGBTQ audience and being a queer role model is very important to me personally, so we did write Claire as a queer character who is vastly different from Carmilla. We wanted to create a show that would expand our audience as well.

You’ve already spoken about queer characters. There are a few TV shows out there, like Wynonna Earp, that features queer characters but the web series seems to be the place to go for queer characters. Why do you think that is?
NN: I think that when you don’t have the extra layer of a network or broadcaster, you have a little bit more freedom to tell the stories you want to tell and I think digital allows people to tell stories that don’t fit into a neat box. More and more we’re seeing networks take on stories like Wynonna Earp, but the people who are in power for a long time have fit into one particular group for a long time. I think that’s starting to change, and as a digital creator, you can tell the stories you want to tell.

AB: And with digital, we’re seeing more risk-taking because of all of the things Natasha just spoke about. It’s a great incubation and testing ground. On a lower budget, you can tell a story, see where it lands, who it resonates with and if it has legs to extend beyond if that’s the trajectory of the project.

Natasha, this is your first writing and producing credit, correct?
NN: This is the first time I’ve been able to work as a writer and producer. I had always written poetry and short stories and used to write sketch comedy, but I had never been able to work on a set as a writer. It was a really wonderful experience for me and I was fortunate because I was working with Annie, who is so talented and has written before. She wrote Luvvie, which is an amazing short film, and we had another writer on board too. It was really nice to bounce ideas off one another. Our skillset really compliments one another.

Season 1 of CLAIREvoyant can be seen on KindaTV’s YouTube channel.

Images courtesy of Bartholomew J. Nowak for Shaftesbury.