Annette Sharp: The ‘utter destruction’ of Lisa Wilkinson’s TV career
Lisa Wilkinson’s lawyer described the media frenzy after her Logies speech as her “utter destruction”. Since the star journalist has hardly been seen on air since stepping down from The Project, it seems a fair summation, writes Annette Sharp.
Confidential
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For 42 years, Lisa Wilkinson has excelled in every job she held.
Hers has been in every sense an exceptional media career.
From her role as editor of publishing house ACP’s national teen-advice magazine Dolly, bestowed upon her in 1980 at 21, to her tenure as editor of sister title Cleo and later, from 1999, editor-at-large of the nation’s biggest selling magazine, The Australian Women’s Weekly, the Campbelltown-raised Wilkinson distinguished herself.
She is intelligent, hardworking, respected, astute, mannered, telegenic and a champion of women.
Television opportunities presented themselves through the years — notably Foxtel’s Beauty and the Beast, Seven’s The Morning Shift and Weekend Sunrise — but it wasn’t until 2007 that she became a household name when she landed one of Australian television’s most coveted jobs, as co-host of Nine’s Today show.
In 2017, after 10 years at the helm — a record for a woman on that program — Wilkinson left Nine following a contract dispute that could not be resolved; she wanted pay parity with her male co-host Karl Stefanovic and Nine refused to yield it, this despite the fact the pair had helped Today to a rare win in the ratings over Seven’s Sunrise in 2016.
Within hours Wilkinson signed with rival network Ten in a deal that would see her join the panel of The Project, a role she held until 2022, the year the media turned on Wilkinson and, as her lawyer Sue Chrysanthou recounted to an ACT Board of Inquiry on Friday, “destroyed” her client.
That that “destruction” took place just days after Wilkinson was recognised with a Logie win — something that would normally confirm its recipient is celebrating a career pinnacle, enjoying a finest moment — says as much about the Australian media’s propensity to tear down high achievers as it does the conduct of the ACT’s Director of Public Prosecutions Shane Drumgold.
Drumgold is now being put through the wringer over his unproven claims of government interference and police mishandling of the 2022 trial of Bruce Lehrmann into the alleged rape of Brittany Higgins.
Lehrmann denied the allegations and the charge was dropped late last year.
The inquiry into the ACT’s criminal justice system has been the first opportunity Wilkinson has had to put her side of the story of what took place during a meeting on June 15 with Drumgold and Ten’s senior litigation counsel Tasha Smithies.
At the meeting, held to prepare Wilkinson as a witness for the prosecution —– and coincidentally four days before the Logies — Wilkinson, who was nominated for an interview with Higgins, attempted to gain clearance for a speech she had prepared in the event she won the Logie.
The inquiry has heard Drumgold cut Wilkinson off while she was reading the speech telling her “we are not speech editors”.
He repeatedly told the inquiry he warned The Project star that further media attention could give rise to a delay in Lehrmann’s trial.
Wilkinson recalled the meeting differently and stated in a submission to the inquiry that Drumgold did not warn her not to give her speech.
“If Mr Drumgold had told me not to give the speech, I would have followed that advice,’’ she said, confirming Ten had also reviewed the speech.
After winning and delivering her speech, unaltered except for a deletion, the Lehmann trial was postponed and Wilkinson criticised by chief justice Lucy McCallum.
Emboldened by McCallum’s comments, the media immediately rounded on Wilkinson, blaming her for the mistrial.
Battered by the media’s coverage, Wilkinson left The Project at the end of last year.
Inquiry Chairman Walter Sofronoff, probing Drumgold, postured if it wasn’t his “duty” “to protect the integrity of imminent court proceedings … by telling a witness your opinion is that this (speech) would likely endanger the trial?”
On Friday Chrysanthou described the ensuing media frenzy as “the utter destruction of my client”.
As Wilkinson, who remains contracted to Ten, has hardly been seen on air seen on since stepping down from The Project, it seems a fair summation.
For what it’s Wirth, Olivia might move
Qantas executive Olivia Wirth may be at a career crossroads.
Sources within the airline claim Wirth, overlooked for the top job as CEO Alan Joyce’s replacement in favour of the company’s group chief finance officer Vanessa Hudson, is now making noises about leaving the company.
Wirth, who has been at Qantas for 13 years – 14 less than Hudson – was one of many staffers who applied for Joyce’s $5.5 million-a-year job.
The high-spirited Qantas Loyalty boss and media favourite has made a name for herself as something of generous host and a dancefloor diva during her earlier years at Qantas when she ran the airline’s marketing and PR departments.
Who could forget that memorable incident at the Opera House Ball in 2014 when two women took Wirth aside to inform her of an alleged wardrobe malfunction on the dance floor, something that prompted Wirth’s then new husband Paul Howes, ex Australian Workers’ Union national secretary, to have a go at the women for what he called “awful things” said to his wife. So public was the incident it prompted Opera House security guards to call police, but nothing further came from it. Wirth’s lusty relationship with Howes, now at KPMG, it’s said, may have in the end hindered her chances of promotion to the top job despite her being well qualified for the role. Some believe Howes’ union background presented a problem for some on the Qantas board concerned about the ongoing TWU battle with the airline over the sacking of 1700 ground handler’s jobs during Covid. Insiders say they would not be at all surprised if Wirth decides to jump ship in future months.
Barry’s tribute a pause for thought
Barry Humphries’ final request that no state funeral be held in his honour in Victoria is one that should make governments consider the merit of the expensive, often questionable tributes.
Humphries, undoubtably still hurting following the Melbourne Comedy Festival’s feeble attempt to disgrace him, is surely one of very few internationally successful artists Australia should seek to honour with such a fawning public memorial.
He was comic genius after all.
While this column still isn’t convinced Test cricketer Shane Warne deserved his Victorian send-off (I’ve no doubt he’d have been just as happy with a booze-up at his local), the national outpouring of grief did warrant a TV special in his honour.
NSW is lucky Humphries’ family is considering the farewell. Now we can only hope a broadcaster will deliver it to the audience who loved him most.