"Make it to 2025." This was the rallying cry for professionals in the television sector throughout the previous year, facing an unprecedented dearth of employment opportunities. However, with mid-2025 nearly upon us, the scarcity of job prospects has only intensified. "There’s a sound recorder I know who now works at Tesco," shares film director Stephen Gallacher. "Even someone quite prominent in our field has resorted to taking up refuse collection work." Not long ago, an individual from his professional circle attempted suicide.
The television sector in Britain is teetering on the edge of a mental health emergency. recent survey A survey conducted by the Film and TV Charity revealed that among the 4,376 individuals working in the industry, one out of every three reported their mental health as "poor" or "very poor." This represents the most significant levels of self-reported negative mental health since the initiation of the Looking Glass Survey in 2019, marking an 11 percentage point rise compared to the findings from the previous year’s report.
Surprisingly, 30 percent of participants also shared that they had experienced suicidal thoughts (as stated Samaritans , 20 percent of adults will have suicidal thoughts at some stage in their lifetimes).
In the aftermath of the pandemic, the sector saw a surge in activity once production resumed following the lockdowns, yet a writers’ strike , threats posed by AI technology along with a slowing down of commissions have negatively impacted businesses. Now, there’s an additional concern: President Donald Trump considering imposing a possible 100 percent tariff on foreign films could further jeopardize the industry. make matters worse . We anticipated an increase in the number of workers reporting poor mental health due to the challenging economic conditions in our sector," states Marcus Ryder, CEO of the Film and TV Charity. "However, we certainly weren't expecting such a significant rise.
The charity similarly inquired of participants whether they considered the film and television sector to be "a psychologically safe workplace" — an overwhelming 77% responded negatively, which mirrored the findings from the prior 2022 survey. According to Ryder, this consistency persisted through periods of economic growth and recession: "This indicates that we're clearly operating within an atmosphere that isn’t supportive for mental health."
Rumblings about misconduct occurring backstage are not unfamiliar. Strictly Come Dancing faced criticism last year for purported toxic behavior, while Gregg Wallace recently left MasterChef Following allegations of improper conduct, the Looking Glass Survey revealed that 41 percent of employees within the film and TV sector reported experiencing bullying, harassment, or discrimination. This figure shows a minor decrease of five percentage points from the previous year’s data in 2022.
Ruby*, who was just 22 at the time, secured a position as a production assistant on a documentary series produced by a UK-based network. "I understood right away this wasn’t going to be easy," she recalls. As part of her duties, Ruby had to chauffeur the film team through urban areas, often tailing law enforcement vehicles responding to various incidents. The cameramen frequently urged her to speed up and disregard road regulations. "It felt like constant harassment," she explains. "There was immense stress placed upon me and operating under such perilous conditions was highly nerve-wracking." Later, she discovered that one more assistant working on their show ended up crashing during filming.
Finally, a producer approached her and informed her that the camera team had reported issues with her driving, leading to her dismissal. "That day felt like I was going to die," she recounts. "When I returned home, I contemplated ending my life." Even years afterward, Ruby continues to suffer from PTSD.
Apart from providing employees with a phone number for an external support line, the production team overseeing Ruby’s work did not offer much in terms of mental health assistance. The nature of their duties meant the cast and crew might encounter distressing situations. According to findings from the Looking Glass Survey, this scenario appears fairly typical; over fifty percent of freelance respondents reported having no knowledge of available mental health services. Furthermore, numerous individuals refrained from reporting incidents of mistreatment due to concerns about potential backlash: sixty-one percent feared that such disclosures could jeopardize future employment opportunities.
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The lack of job opportunities is a major contributor to the reported poor mental health, which is also why numerous individuals tolerate inappropriate conduct in their workplaces. Even though he has helmed an installment of the crime series on ITV led by Jason Watkins, MacDonald and Dodds Just last year, Gallacher started working at a bar to earn enough cash for rent. "Things aren’t looking great," he admits. "I had two projects scheduled for May that were both canceled. It was really disheartening."
The sector primarily consists of freelance professionals who ideally should move seamlessly between various productions. However, according to Bectu—a union for broadcasting, entertainment, communications, and theatre workers—the previous summer revealed that 52 percent of Britain’s film and television workforce was unemployed.
"There simply aren't as many chances," states Gallacher. Holby City has gone, Doctors has gone, River City has gone, Hollyoaks Has just three episodes per week and is exclusively available online." Typically, these dramas serve as training grounds for fledgling directors and assistant directors looking to hone their skills. According to Gallacher, without such opportunities, there is no pathway for advancement in the field. "It leaves no space for individuals to develop or progress. Many established British filmmakers are now forced into accepting lesser-paying roles simply to cover living expenses, leaving newcomers like myself with limited chances to break through. This trend is turning the industry even more exclusive and it's quite disheartening to witness."
That sense of superiority can be detrimental to specific groups within the workforce who face an increased likelihood of experiencing poor mental health. These individuals include women, members of the LGBTQ+ community, people with disabilities, Black individuals, caregivers, young workers, and those with neurological differences such as ADHD or autism. Max Evans, a production coordinator, has battled depression since age 13, which has been intensified by his condition going unrecognized and thus untreated for years. ADHD My mind tends to focus intensely on details and interpret information very literally," he explains. "This has caused issues during filming in the past. For instance, when instructed to locate a red scarf, I might become extremely distressed if all I could find was a blue one or a wrap, unaware that these alternatives would suffice.
One time, when Max was functioning as a runner, he was dispatched to purchase what appeared to be champagne from the store. Upon his return with inexpensive sparkling wine, he faced criticism for carrying alcohol onto the set. "It wasn’t necessary how harshly they scolded me," he recalls. "They acted as though I were foolish. However, if someone had instructed me to fetch a non-alcoholic alternative, I would've complied."
People often think that everybody who works in television gets high salaries and leads an exciting life," explains Ryder. "However, the economic uncertainty is quite significant. As a freelance worker, even a delay in getting paid for one or two months can leave you with no money to survive." A separate study conducted by the Film and TV Charity revealed that less than half of those employed in this sector manage to save up to £1,000, and about 40 percent believe they could only cover living expenses for just one month should they lose their source of income. This situation makes them more likely to tolerate poor work environments and take on projects potentially harmful to their psychological wellbeing.
It goes beyond bullying and harassment; there's also an environment that fosters negativity. Katy*, who spent 12 years working in the industry—first in development and later as an associate producer on non-fiction shows—found herself under immense pressure. Her responsibilities required extensive overtime with minimal breaks. During one project, this intense workload led her to develop alopecia due to stress. "There simply wasn’t enough time to complete all our tasks," she explains. In another instance, unbearable work schedules caused her to collapse in a store. She recounts, "One day began at 6 am and finished at midnight, followed by starting anew at 5 am the very next morning. After passing out, when I informed the executive producer about my condition, they found it amusing."
Katy—who mentions feeling as though she was in an "abusive relationship" with the industry—has decided to switch career paths. She clarifies: “Many believe it’s an incredibly enjoyable profession—and indeed, certain aspects of it can be fantastic fun—but that certainly does not justify exploitation. In my experience, I once took a role where they informed us we wouldn’t receive pay during Christmas. Regardless of how high you climb in your career, you're always underpaid; you’re meant to consider yourself fortunate for having the position at all."
Sam Bullot likewise exited the business following a single assignment that drove him past his limit. Having started as a runner on productions like Sex Education and Save Me To serve as the third assistant director (aiding the first and second ADs, who support the director) for shows such as BBC comedies Ghosts . A position as the third assistant director Hijack — The polished aviation thriller from Apple TV+, featuring Idris Elba, marked another advancement; this production involved a major Hollywood actor and was significantly larger in scope than what he had previously encountered.
It was my responsibility to ensure everything ran as seamlessly as possible — getting actors into position, dressed correctly, and managing the extras," he explains. "Yet, smoothness never seemed to last." The pressure escalated due to extended workdays. "We were shooting in Aylesbury, so I commuted daily from Crystal Palace, London. My alarm went off at 4:30 AM, and I didn’t return home until 8:30 PM, only to begin planning for the following day once settled.
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Sam’s fatigue led to an increase in errors, causing him to feel inadequate at work. This heightened his anxiety until one day it reached a breaking point. He recalls, "All of sudden, I started crying uncontrollably while driving to the set." Although he managed to compose himself temporarily, he ended up shedding tears once more when he arrived on set.
While heading back home, Sam resolved to exit the television sector. Despite not being financially ready and with his spouse expecting their child, he rejected his upcoming position at work. "It was as if a weight had been lifted off me; I experienced sheer joy – that moment remains etched in my memory." Currently, he enjoys a fulfilling career in a brewery.
We're facing significant turnover issues within the sector," states Ryder, highlighting the mass departure of employees. According to The Looking Glass Survey, up to two-fifths of participants between the ages of 16 and 29 have initiated steps to exit this field. This indicates an aging workforce. "The younger generation currently views mental well-being quite differently.
Stephen sums it up: "Generation Z doesn't tolerate disrespect. I admire their courage in standing up for themselves."
Stephen and Max both observe that with fewer skilled individuals available, younger, less experienced persons are often employed for positions beyond their capabilities solely due to lower salary demands. "Fresh graduates at eighteen years old are getting these jobs without knowing anything about office procedures, let alone organizing a photoshoot," explains Max. He finds it particularly aggravating when hearing about such inefficiency coincides with him having very little work himself. "There seems to be almost a push towards valuing inexperience," comments Stephen.
Many think that these underlying problems will ultimately affect what we see on screen, potentially degrading the quality of television. As Katy points out, "Producers aren't willing to take chances." Consequently, newly created shows often come with smaller budgets due to the uncertainty of their success. The Looking Glass survey reveals that when production costs, particularly for scripted dramas, decrease, employees tend to experience poorer mental well-being.
Britain was once a hub for innovative concepts and produced entertainment powerhouses like Strictly Come Dancing and The Great Australian Baking Show For broadcasters across the globe, those times have passed. "The sole program that has genuinely made an impact in recent years is The Traitors ," explains Katy. "This one originated from Holland. Over the years, I've witnessed numerous proposals for equally risky concepts being turned down. The sheer volume of effort required to nurture an idea, only to face rejection... it makes you wonder whether it's all worth it."
The only programs that are thriving are yours. Adolescences and your Mr Bates Against the Post Offices Stephen remarks, "These shows are fantastic, yet they're incredibly close to our real world. Since news doesn't pack the same punch as before, significant issues are now presented through dramas. It's disheartening that the sub-post-masters have campaigned for two decades, and people only start paying attention once there's a television series about their plight." He mourns the decline of innovative storytelling: "It would be wonderful if we could create entirely fresh content. I wish to propose an idea without having someone ask me which popular show it resembles. This feels like the end of creativity."
*Names have been changed
