From jobbing workers to familiar names, legions of entertainers are working well into their 70s and 80s. Why? Our writer uncovers an alarming story of shrinking budgets, axed royalties, misguided mortgages and paltry pensions

‘The budgets were fantastic,” says Alexei Sayle, remembering making shows with the BBC in the 1980s and 90s. “We’d always go over budget and they’d just say, ‘Oh well.’ Since then, there’s been a rerouting of funds away from the talent. It doesn’t affect the superstars but it certainly affects the foot soldiers. It’s a lot harder to make a living now.”

At the age of 71, the comedian, writer and actor is still working. He feels “the drive” to create and perform, rather than financial pressure, but does notice major changes. “If you made your money in the 70s and 80s, you’ve got a better chance of being well off,” he says. Terms then were “much fairer”, with artists benefiting from residuals rather than just one-off payments.

The cultural sector falls short on other measures of diversity too, with 9o% of workers white, says new report

Six in 10 of all arts and culture workers in the UK now come from middle-class backgrounds, compared with just over 42% of the wider workforce, according to new research.

And while 23% of the UK workforce is from a working-class background, working-class people are underrepresented in every area of arts and culture. They make up 8.4% of those working in film, TV, radio and photography, while in museums, archives and libraries, the proportion is only 5.2%.

One female director hides that she has a child; younger women face a 39% gender pay gap; and harassment is widespread. Insiders say it’s a wonder the television industry has any women left at all

‘When is the good time to be a woman in TV?” asks Michelle Reynolds, a former TV producer and director. “In the start you get molested and infantilised, in the middle if you have babies they won’t let you work flexibly, then when you get past 45 you’re too bloody old.”

Now is not the best time for women in TV. According to recent research by the Creative Diversity Network, whose Diamond report collects data from the UK’s big broadcasters, the gender gap is widening. The number of women in senior roles fell 5% between 2019 and 2022. One in three directors are women, yet they get only a quarter of director credits. Contributions from female writers fell from 43% to 32% between 2016 and 2022. Behind these figures, women are less likely to be employed on peak-time shows, which are generally more prestigious and have larger audiences, than men.