On a 14-mile stretch of I-10 just east of New Orleans, the number of big-rig accidents tripled between 2011 and 2024. The vast majority were sideswipe collisions involving cars with four, five, and six passengers each, all represented by the same personal-injury lawyers. These weren't coincidences. They were setups, staged for large insurance payouts.
A staged-crash ring is a hierarchy built on risk. Money and instructions come from the top. The slammers create the crashes. The riders endure the injuries, the surgeries, and, when the scheme unravels, most of the consequences. Hover or tap any name, or the line between two people, to trace the connections.
The 6'6" neighborhood fixer who connected the desperate riders below to the credentialed professionals above. He recruited them, choreographed the wrecks, and took the orders, and when the FBI turned him, he became the one thread that could unravel everyone. Which is exactly why he had to die.
What begins as an ordinary highway collision becomes the gateway into a criminal enterprise where crashes are engineered like Hollywood stunt scenes and lawsuits are the payday. Led by a former stuntwoman-turned-attorney and a cast of recruiters, fake victims, and corrupt insiders, the scheme grows into the largest staged-crash fraud case in American history, before greed, murder, and a federal investigation bring it crashing down.
True crime isn't a genre anymore; it's a habit, and it over-indexes on exactly the binge-prone, evangelizing, premium subscribers both platforms are fighting for. SLAMMERS is engineered to fire its three highest-converting triggers at once: hyper-local, high-profile, and victim-centered.
Drop it 4–6 weeks ahead of the series to build a runway into the 119M who already listen, and convert the 48M primed but untapped. Then let it cover the real August 2026 murder trial live, turning the news cycle into our trailer. It's a second, independently monetizable IP (ads, premium tier, live tour) and a re-licensable footage pipeline for the writers' room. The genre's superpower is activation: true-crime listeners are 4.4× more likely to provide a tip and 3.3× more likely to sign a petition, exactly the word-of-mouth a show with this moral spine wants.
Before he directed, he coordinated stunts, and hired Vanessa Motta on multiple productions across 15+ years. He watched the striving stunt performer reinvent herself as the larger-than-life attorney at the center of this case: a rare, first-hand line to the source. As second-unit director on Your Honor, Parish, and Queen & Slim, he has already shot the real New Orleans this story lives in, the resilient city behind "The Big Easy." Action pedigree, local authenticity, and a built-in relationship to the material. (Attachment target, not yet confirmed.)
Having also worked alongside Vanessa Motta throughout her stunt career, Chelsea witnessed firsthand the ambition and determination that defined her long before the courtroom. As an Emmy-nominated stunt coordinator and second-unit director on The Hunting Wives, I'm a Virgo, and The Purge Season 2, she brings cinematic action, visual storytelling, and a distinctly female perspective on ambition, power, and reinvention to this extraordinary true story.
A New Orleans-based creative technologist and AI advisor who helps teams use emerging technology to craft more engaging stories. Adam spent 15 years at Adobe leading digital strategy and innovating with AI, where he created Resilient Spirit, an art initiative that used generative AI to help people living with ALS express their creativity. This project earned him recognition as a two-time Adobe Changemaker.