Good Caper Content’s Alison Dammann on “Escaping Twin Flames,” “Let Us Prey,” and the allure of cult docs

The recently released Netflix docuseries Escaping Twin Flames and the upcoming ID series Let Us Prey: A Ministry of Scandals (premiering November 24) have more in common than production company Good Caper Content. Both series explore the issue of high-control groups, often referred to as cults, from different angles. 

Of course, the natures of the groups covered in each series differ distinctly. Let Us Prey (pictured top) follows an investigation into allegations of physical and sexual abuse within the Independent Fundamental Baptist (IFB) Churches, an organization formed in the 1950s that has grown to include some 6,000 churches across the U.S. Escaping Twin Flames (pictured right), meanwhile, shows how the high-control model can function equally as well outside a religious context, in its profile of an online lonelyhearts community run by a pair of influencers who coerced their followers into ever-more extreme behaviors. 

What links these two series apart from their subject matter is the consciously compassionate approach to the victims and survivors of these organizations, centering their experiences and perspectives as they describe how they ultimately extracted themselves (or were extracted from) these groups. This commitment to duty of care is something that Good Caper Content, as the true-crime specialist within ITV America’s label portfolio, seeks to put at the core of all its productions, according to the prodco’s senior VP of development Alison Dammann.

“No two projects are alike,” says Dammann (pictured left), who serves as an executive producer on both Escaping Twin Flames and Let Us Prey. “[On] every single one of them, we take duty of care incredibly seriously. And we really have to tailor our protocols to each and every production and, even within that, each individual participant’s needs.” 

Realscreen spoke with Dammann about the two new series, the appeal of cult-related true-crime stories, and Good Caper’s approach to crime and investigation content. 

The interview below has been edited for clarity and concision.

For stories such as these, how involved does Good Caper get in assisting the victims and dealing with survivors who are still trying to get out of these groups, or are trying to help others get out?

Alison Dammann: It’s a constant dance. It’s honestly kind of hard not to get involved, we become so close to all of the subjects, victims, survivors, and learn so much about their stories. But at the same time, I am a development person, and I really do need to let the filmmakers run things, and they are typically the primary points of contact. [But] it’s something that we’re always talking about, and always thinking about and always aware of.

Escaping Twin Flames and Let Us Prey are obviously quite different projects in some ways, but both are centered on the victims’ perspectives. How important is that for you as a production company?

Dammann: I think that’s the most important piece. Obviously, these documentaries really humanize the victims and the survivors that we work with. I think our goal is for viewers to understand and empathize with these stories. Rather than kind of seeing them as “the Other,” we want people to walk away thinking that they’re just one decision or one external factor away from being in that position themselves. The thing that we really try to keep in mind when we’re telling [these] stories is, how can we show the viewer that, at the end of the day, we’re all susceptible to joining a high-control group?

Crime docs focusing on cults and high-control groups aren’t exactly new, but they do seem to be having a moment right now. What is it about these stories that resonates with viewers?

Dammann: It’s in our nature to search for deeper truth and meaning, especially during times of widespread anxiety and crisis and social turbulence, which, I would say, we are experiencing now and have experienced a lot over the last [few] years. That’s really when we turn to spirituality and existential questioning, and cult-type groups have always popped up during those times because human beings crave connection and belonging and purpose. And now, people who are dabbling in those alternative beliefs are able to find each other more easily than ever online. 

I also think that we’re interested in understanding the psychological and social factors that lead individuals to engage in harmful or destructive behaviors … I don’t know about you, but the idea of submitting to a seemingly greater power, not having to make so many decisions, being able to give up some of the responsibilities — because it feels like there are so many greater responsibilities, there are so many more decisions than ever before, they’re all on our shoulders — it’s incredibly appealing. And I think that’s one of the reasons why these high-control groups have exploded, and people’s attraction to them has exploded, and, in turn, people’ attraction to the subject matter has exploded. 

Are you interested in pursuing more stories like this for doc projects moving forward?

Dammann: Absolutely. I think ultimately, our brand is really focused on telling stories about the human condition, and telling them with integrity and care. It’s not so much about one particular genre, or even subgenre: we are attracted to stories about the human condition, and stories of high-control groups are a perfect example of that. I feel like we have a lot of experience in that space, and it’s been something that we really enjoy. I think empathy is one of our strong suits, and we exercise it very well.