BONUS: Snapped 30th Anniversary Special Interview (with Co-Executive Producer and Showrunner, Alyssa Maddox)

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Hey there, Snapped listeners. To mark the 30th season of the iconic show you know and love, we spoke with Alyssa Maddox, co-executive producer and showrunner for Snapped.

Plus, we'll be giving you a sneak peek of Sunday's all-new episode. From oxygen.com, I'm Stephanie Gomolka.
This is a special edition episode of Snapped, Women Who Murder.

First off, can you introduce yourself to our listeners and tell us about your role with Snapped? My name is Alyssa Maddox, and I am the co-executive producer of Snapped.

And I think I've been working on Snapped for three years now.

How did you get started with Snapped?

There's kind of a joke at Jupiter Entertainment that if you've not worked on Snapped, then like, do you really work at Jupiter?

Because Snapped has been the bread and butter of our company for so long.

I actually did a small stint on Snapped, gosh, like seven years ago as an AP, and then I was moved around, did other shows, and then there was an opportunity to work as a showrunner a couple years ago.

And

I've always wanted to come back, so I was like, yes, I'll do it.

And I moved over here in that capacity.

We make a lot of Snap, so there's actually two showrunners. That's a lot.
That's a lot of episodes. So there's two of us that handle it.

You know, a lot of fans might not know this, but Jupiter Entertainment, who, you know, produces Snapped and that you work for, is based out of Tennessee. What is your production studio like?

Yeah, so we're based out of Knoxville, Tennessee, and we also have offices in New York and LA as part of Jupiter Holdings. The Knoxville office

Well, it's a little different with COVID. Now my office is my bedroom, like everybody else.
The Knoxville office is actually really nice.

Knoxville's a really big production hub. People don't realize that.
And

our office is

really a tight-knit community, I think.

All of us have worked there for so long. I think I've been there 11 years.

Yeah, and I mean, one of the things that's also pretty interesting is how the studios, the studio is kind of set up in Tennessee.

Can you talk about some of the studio sets Jupiter has or maybe how you execute some of the shoots for the show? Oh, yeah, like our reenactments.

So Jupiter has our main office where we all work and that's got like some settings that we use sometimes for cool

conference room vibes, you know, like with the glass that's got the etched glass that looks cool with the lights. So we'll sometimes film in our own office, but then we also have a whole studio set.

So we call it the warehouse.

And in there we have,

gosh, cool, gritty detectives offices, like with the paneling that look old and vintage. Then we also have regular, more updated, modern offices that we'll use to be detectives offices.

We have a hospital set with a hospital bed and all of the stuff for that. We have a jail cell.

We also have interrogation rooms and the two-sided glass like you would find in interrogation rooms. I use that a lot in some of my scenes.

So and then we also just have the city of Knoxville itself.

There's a lot of different things that we have to do.

Like Like if I have a case that takes place at the beach, I have to go to a lake where they also have sand and try to make that look like a beach in California, which is always fun.

Different kinds of landscapes that we have to make work. I've made Knoxville into New York,

Alaska.

I think we had something that happened in one of the Virgin Islands, you know, so we just sort of use it as our own backlot. Yeah, yeah.

I mean, I remember the first time I heard that, I'm curious what some of our listeners will think being kind of shocked because everything looks so different and textured and layered to know that a lot of those scenes kind of happen in the same place is kind of mind-blowing.

Yeah, we have a really nice downtown that can double for a lot of big cities, but then we also have a lot of suburban areas,

a lot of wilderness areas here near us. There's so many lakes near us.
So we're able to make a lot of things work. I've actually done a couple cases in my grandma's backyard on the lake.

That was kind of fun.

Kind of backing up too, for a story to make it on air on oxygen for Snapped or maybe to debut on the podcast, what does a typical kind of production of the show, maybe starting out with a pitch, look like in terms of timing, in terms of kind of resources you guys, you know, dedicate to the show?

We actually have a

very robust pre-production team. So we have seven people whose jobs are just to find cases and get access to interviewees for the cases.

We have a giant database of different cases that we look into, and we have certain criteria. So, for example, one of the cornerstones of Snapped is that this person doesn't have

some prior conviction like this. So, it has to be something where it was like a snapped moment.

It's not like them to do this.

So, we come up with people that meet that criteria, and then we start just trying to see if we can get full access.

That's one of the big things on Snapped is we like to make sure that we talk to all sides because ultimately

there's two sides that are affected.

We, in our show, we always end up landing to, you know, how this played out in court, but that doesn't mean that other people feel exactly the same way about it.

Some people agree, some people disagree with the outcomes of the case. So we try to make sure that we have balanced participation.

But at any given time,

we are working, having our fingers on the pulse of, gosh, I can't even tell you how many cases. Even things like, okay, we're waiting for this to be fully adjudicated.

So we're already digging in on this case while we're waiting for the trial to actually wrap up and researching that.

So, like I said,

it's a full-time job for seven people just to see before a case even actually goes into production.

And then, you know, marking this occasion of the 30th season, what can you tell us about the cases you've worked on?

This is actually one of the more more compelling seasons that i've had and that's saying a lot um

but

this season coming up one thing that's the most intriguing to me is i actually have two episodes where the murders are caught on cell phone footage which i have never personally experienced and i've been doing true crime for 11 years um and to have two of them back to back is really interesting to me we have one where someone who committed the crime was trying to film it to show self-defense but it ended up coming back to bite them.

And so that's been kind of interesting to me, just seeing how technology changes and how technology, everybody's filming something.

You know, everyone has their phones out at all times and how that plays into investigations has been really interesting to me.

Yeah, speaking of how technology has changed the course of how a case was solved or how maybe even how quickly, in terms of comparing Snap Now to the early days of Snapped when it first hit oxygen, how would you say the show has evolved?

Oh, goodness. So for reference,

Snap started when I was still in high school. So we've been making Snap for a long time.
I think it started, it premiered my senior year of high school, which always makes my boss cringe.

He's like, oh, don't say that. That makes me sound old.

But it has definitely evolved. The technology has evolved on how we shoot it.
You know, when I first started on Snapped,

we filmed on tapes and we were getting things from the news stations on these giant cassette tapes.

And now everything's digital. And

it's just really interesting too, just the technology in police work too, how that evolves, cell phone tracing technology.

I mean, think about in 2005, what your cell phone looked like and how many people you knew had one. Now, how has that advanced technologically?

And then also, how has that become harder with smartphones that have locks on them? My original phone, you could just get in.

This one case, one of the reasons why it took so long to solve the one where that guy had filmed himself, right, when he was being killed. Well, they could not unlock the phone.

And that data was sitting right there. Like they knew who the killer was, but they couldn't unlock the phone to see that footage.

So how how that technology plays into police work has just been really interesting to see how that evolves.

You know, before you also mentioned speaking to both sides, making sure you're getting, you know, different perspectives on the case.

One thing that I think Snapped often does well is making sure the victims' voices are present.

How do you say, you know, for your team, do you make sure victims' voices are remembered and honored pretty consistently? Oh, yes. That

is a huge personal thing for me, as well as just the code of Snapped. But personally, I want to make sure that victims' families and the victims are being honored.

They're sharing the most painful part of their lives with us. And

that's a responsibility I think we have to tell the story and to tell it well and to honor them.

We always make sure that we talk about this person outside of this murder, who they were. They were a mother, they were a father, they were a member of this community, they mattered.

And that's really important to us to make sure that that person and that family has a voice.

One of the things that I always try to do on Snapped is end

talking about something, you know, bringing it back to that victim and what the world lost when that person was lost.

As a showrunner and a producer of the show, what is something you think the everyday Snap fans should know about production and the show? I don't know. It's just sort of, it's kind of,

it's an interesting balance, I think,

working in true crime, which is telling these stories.

You know, we have stories to tell that are like that one coming out as the twin, the person that faked their own death coming out as a twin, but then also honoring their victims in a way that's a balance.

You just

want to strike a balance in the storytelling

of, you know, like of these very interesting, bizarre cases, and

the fact that these are real people that this happened to.

And we always try to do that.

I will say

back to that line, too, we just really try to take care to tell the story well and to honor the victims.

Yeah, I think that's an interesting point and an important point, too, amid this kind of true crime boom where there is so much more exposure and making sure you kind of keep your own standards for not only the show, but for these victims and the stories you're telling.

Yeah, we definitely have high standards in that regard we want to make sure that we are telling a compelling story but an honest story about what really happened to these people and um i know we work in tandem with the network execs there'll be some cases that

you know might be intriguing but involve children and we're just like no we're going to draw the line like we're not going to talk about that as there is a lot of crime out there crime shows um

but we have these standards for telling a compelling story and getting a balanced perspective

that is integral to Snapped.

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On the night before Halloween in 1975, 15-year-old Martha Moxley was murdered, but police failed to make an arrest. Until, in 2000, her one-time neighbor, Michael Skakal, was arrested.

He was also a cousin of the Kennedys. The Kennedy connection is the reason that most people know about this case.

But the deeper I dug, the more I came to question everything I thought i knew search dead certain the martha moxley murder to listen now wherever you get your podcasts and follow to get new episodes every week can you talk about some of the cases that fans can expect in this upcoming season

yeah so um we have this one episode that i'm really excited about which centers around a up-and-coming actress who actually filmed the murder from her cell phone to try to use that as claims for self-defense.

And then while she's out on bail, actually acts in a movie where she's killing someone and thinks she's doing it in self-defense.

It's one of those things where truth is stranger than fiction and it plays out in this really dramatic way. I'm pretty excited about that episode.

And then there's also a case where an aspiring rapper out of Atlanta,

his...

He also, his death was also filmed, which is just a really tragic angle, but a really compelling story to tell and how they were able to solve that case using his own footage is really interesting.

Actually, it did cross my mind when you were talking about, you know, case selection with some of the courts having so many delays.

But also, because you mentioned production, yeah, what has the pandemic been like for your team? Yeah, it's really interesting. The pandemic made our team have to pivot in many ways.

For example, we all went home and started working remotely.

And then we also had to change, you know, how we get our crews. We used to travel our own director photography to every place.
Well, now we have to expand and get someone local.

We can't have more than three people in the room. When we shoot reenactments, we can't have more than five talent.
We can't have talent touch.

So that's been interesting trying to come up with creative ways to still keep in production. And we haven't stopped down.

We're one of the companies that's been able to weather the storm and keep making good content, but it has definitely challenged and made us be more creative in how we do that.

And you touched on it a little bit. The court systems, that all changed.

Also, their priorities changed, you know, so they might have us on the back burner for getting back to us about an archive because it's got so many more other things they have to deal with with the pandemic.

So it's been really interesting.

But I think the way we've had to overcome reenactments has probably been the biggest challenge. Okay, how can I film two people in a car without a mask on? You're not supposed to do that.

So you have to film one person at a time and get creative angles to where it looks like two people are in a car. So it's making us have to be a little bit more creative in how we can do this.

And it plays. You know, I get, I get the footage and I'm like, oh, that works.

But, you know, it's just interesting for someone, I think, at home to have no idea that, yes, that scene where you thought they were both in the same room.

No, we were able to splice that together because of covid wow yeah it makes me a little bit excited to be able to watch this new season with that kind of in mind just to try to pick up on that if i can

it's interesting it's been kind of a fun challenge for us to try to come up with creative ways to do that

Here is a first look at this Sunday's all-new episode of Snapped.

Life moves slowly in the small town of Pulaski, Tennessee. But on March 29th, 1990, deputies raced to the home of 43-year-old Mary Ann Hughes, who hasn't seen her husband Larry in over 24 hours.

The morning of the 28th, 1990, Mary Ann and Larry got up as they usually did.

They lived in the country. They had a farm, but they also were partners in a hardware store here in town, and that's where they worked.

He had took the day off. She says when she left about seven that morning, he was in the house, drinking a cup of coffee, and everything was fine.

She rode to work with one of the neighbors, Jeff Claude.

who

worked at the hardware store. Mary Ann said she made an attempt to call Larry around 12 o'clock that day and there was no answer.

She returned back home that afternoon, sometime around 5, 5.30 p.m.

Marianne tells investigators as Jeff dropped her back home, she immediately noticed something wasn't right.

She goes in the house. He's not there.
The car's there. It hadn't been moved.
So she gets in her car

and drives and starts to look for him. And she goes by her brother's house, Rex's house,

and her and Rex go looking for Larry. So they went out there, didn't find him.
So she went back to the house.

With no word from Larry in over a day, Marianne says her worry intensified.

So 36 hours after Larry's missing, she contacts the local sheriff's department and reports Larry missing. With time not on their side, investigators hit the ground running.

You want to find out what kind of person they are, what their habits are, how do they get along with their family, then you're hoping tips come along that will help you find them.

Join us for the 30th season of Snapped. New episodes air every Sunday at 6.5 Central, only on Oxygen.

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