John Silvester Recalls when TV Execs Wanted Underbelly to Be More Like Blue Heelers

Why It Matters

The shift in executive vision reshaped Australian true‑crime television, driving massive ratings and altering public perception of organized crime.

Key Takeaways

• Executives preferred police‑centric shows before McGuire’s push
• Underbelly became a ratings hit, spawning eight sequels
• Naked City: Hitmen offers unprecedented police and hitman interviews
• Victoria ban sparked piracy, boosting series notoriety
• Documentary reveals hitmen’s transition from robbers to killers

Pulse Analysis

When Channel Nine first reviewed the book Leadbelly, network executives imagined a conventional police drama akin to Blue Heelers. Eddie McGuire, then a senior executive, argued for a darker, character‑driven narrative comparable to The Sopranos. His persistence paid off when he became CEO, green‑lighting Underbelly as a priority. This strategic pivot not only broke the mold of Australian crime TV but also set a new benchmark for storytelling that blends real‑world criminality with cinematic flair.

Underbelly’s launch in 2008 sparked a ratings surge, drawing millions of viewers and spawning eight sequels and four telemovies. Its raw depiction of Melbourne’s underworld resonated with audiences, while a legal ban in Victoria unintentionally fueled piracy and cross‑border DVD sales, amplifying the show’s notoriety. The series demonstrated that true‑crime content could dominate prime‑time slots, prompting networks to invest heavily in similar high‑stakes productions and redefining the commercial viability of gritty, fact‑based drama.

Building on that legacy, Silvester’s latest venture, Naked City: Hitmen, leverages exclusive police tapes, courtroom testimonies, and never‑before‑heard audio to chart the evolution of professional killers. By securing candid interviews with prosecutors, judges, and even former hitmen, the three‑part documentary offers a nuanced view of how ordinary robbers escalated to contract murderers. This depth of access not only enriches public understanding of organized crime but also signals a growing appetite for investigative storytelling that goes beyond dramatization, positioning Australian broadcasters at the forefront of sophisticated true‑crime journalism.