The live podcast investigation series Dear Rachelle didn’t just tell a story; it captivated the hearts and minds of millions of listeners worldwide.

The True Crime Australia multimedia podcast series uncovered new evidence, prompted police action, and mobilised Australians to help try to solve the 2001 murder of 23-year-old Rachelle Childs, whose burning body was discovered in Gerroa, New South Wales. 

Before joining forces with News Corp Australia, I worked for months with Rachelle’s family, researching and recording interviews before pitching the podcast. I also enlisted the expertise of retired homicide detective Damian Loone — known for his work on “The Teacher’s Pet” — and other experts, all of whom donated their time.

News Corp Australia didn’t hesitate to jump behind the production and dedicated a talented team to the multimedia series. After 18 months of tireless work, Dear Rachelle was launched.  

Investigating in real time

From the outset, Dear Rachelle was curated as a multimedia production which always centred on the victim, Rachelle.

More than 50 interviews were conducted, including witnesses who had never spoken publicly, persons of interest, legal experts and members of the original investigation. Producers, editors, sound designers, video producers, graphic designers and journalists across multiple mastheads all contributed. 

What began as a 10-episode series expanded to 15 main episodes plus bonus content as new developments emerged. Released weekly over three months, the format allowed the team to respond to fresh leads in real time and keep the investigation active in the public domain.

The team re-examined forensic evidence, revisited witness statements and uncovered previously overlooked lines of inquiry. Expert analysis of mobile phone data challenged elements of the main suspect’s timeline, while new witnesses were identified and re-contacted after years of silence. 

A key focus of the series was ensuring those closest to the case were heard. Rachelle’s mother and sister were strong voices throughout the series, offering their candid reactions to new and sometimes confronting developments.

Multiple people who made allegations of intimidation and violence connected to the main suspect bravely spoke out for the first time.  These accounts, supported by historical court documents and reporting, added new context and highlighted how sexual assault cases were historically handled by the courts. 

Resonating with audiences

Audience response was immediate and sustained.

Dear Rachelle has been downloaded more than 5.2 million times and reached No. 1 on podcast charts in Australia, New Zealand, and the United Kingdom. It was also named Apple Podcasts’ No. 1 new show and No. 1 episode in Australia in 2025. Average consumption rates were above 90%, with strong binge listening across the series.

Beyond audio, the project was supported by dearrachelle.com.au, which hosted exclusive video content, articles, interactive graphics and investigative 3D reconstructions. The platform generated hundreds of thousands of views and extended engagement beyond the podcast feed. Social distribution across True Crime Australia and News Corp mastheads further amplified the podcast. 

The impact went beyond audience numbers. Hundreds of listeners submitted tips, including people who had never spoken to police. The renewed attention led to national coverage and prompted NSW Police to reopen the case and increase the reward. It also reignited public discussion around historical investigative failures in policing.

At its core, Dear Rachelle is a story about justice for Rachelle and her family. It stands as a powerful example of public interest journalism, exposing institutional failures, reigniting hope, and giving voice to those long silenced.

It’s been a privilege to share Rachelle’s story, which championed the bravest people of society, not just the worst.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .