In the wake of the BBC’s annual salary disclosures, actor Tom Chambers has stepped forward to defend his Casualty co-star Derek Thompson, whose earnings placed him among the highest-paid talents at the corporation. Thompson, a stalwart of the long-running BBC One medical drama, has portrayed the beloved character Charlie Fairhead since the show’s inception in 1986. His reported salary — falling between £350,000 and £399,999 — has sparked discussions about pay equity and the value of long-term commitment in the entertainment industry.

Thompson’s earnings were made public due to a government mandate requiring the BBC to disclose the names and salaries of on-air talents earning more than £150,000 annually. The move, designed to improve transparency at the publicly funded broadcaster, has often led to criticism and debate over the value of stars’ salaries. However, Chambers, a former Strictly Come Dancing champion and seasoned actor, believes that Thompson’s pay is entirely justified.

Speaking at the book launch of Camilla Sacre-Dallerup — his former Strictly partner — Chambers told The Sun: “It’s like being a footballer — you earn your credits. I’ve just done six months on Casualty, but Derek has done 31 years of service.”

Chambers emphasized the dedication and discipline required to maintain such a long tenure on a demanding show like Casualty. “That means arriving in the dark at 6am and leaving when it’s dark at 9pm,” he said. “It’s demanding stuff.”

His remarks highlight a key point often overlooked in debates about celebrity salaries: the long hours, emotional strain, and consistency demanded from actors in major ongoing productions. Unlike many professions where tenure may come with comfort and reduced workload, a role in a popular drama like Casualty demands continual reinvention, emotional depth, and the stamina to maintain performance levels year after year.

Chambers also drew comparisons with other high-earning public figures, defending BBC radio host Chris Evans, another top earner, by noting: “Chris Evans has been a household name for 20 years and his Radio 2 figures are outstanding.” The implication was clear: longevity and proven popularity should carry weight when assessing an individual’s value in the public broadcasting landscape.

Yet Chambers’ defense did not stop at professional accolades. He also touched on the realities of personal life and financial responsibilities. “My wife works really hard as a stay-at-home mum, but I’m the only one bringing in a salary for our family,” he shared candidly. “Many men’s salaries aren’t just for them, it’s for their wife and children, too.”

This comment brings another dimension to the conversation — the societal pressures and familial roles that shape financial expectations. While some may dismiss such earnings as extravagant, for performers who are also sole providers, their income supports entire households, not just personal indulgences.

Chambers’ comments come at a time when the BBC faces ongoing scrutiny over its pay structure. Critics argue that there remains a significant gender pay gap, with male presenters and actors often earning substantially more than their female counterparts. Others question whether the public license fee should be used to fund such high salaries, particularly during times of economic uncertainty.

However, supporters argue that to maintain high-quality programming and attract or retain top talent, competitive compensation is essential. Losing iconic figures like Thompson — whose presence is synonymous with Casualty — could be damaging to both ratings and viewer loyalty.

Thompson himself has not publicly commented on the salary disclosure, but his long-standing commitment to the show is undeniable. Over more than three decades, his character has become the emotional anchor of the series, guiding generations of viewers through the tumultuous world of emergency medicine. For many, Charlie Fairhead is Casualty, and his continued presence offers both continuity and comfort.

The support from Chambers, who experienced the demanding nature of Casualty firsthand during his six-month stint, lends weight to the argument that experience and dedication deserve appropriate compensation. His words also reflect a broader respect within the acting community for those who choose to stay loyal to a single role or series, building not just a character but an institution.

In the end, debates about public sector salaries, especially within the BBC, are likely to continue. Transparency will always bring with it scrutiny. But as Chambers rightly points out, behind every salary figure is a person — often someone who has spent decades honing their craft, showing up day after day, and becoming a trusted part of millions of viewers’ weekly routines.

For Derek Thompson, whose work on Casualty has spanned generations, his salary may be less a reward for fame and more a recognition of endurance, professionalism, and the countless lives — both fictional and real — he’s touched along the way.