Skins star Megan Prescott has said she has made three times what she earned on the teen drama series on OnlyFans.
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The star, who played Katie Finch on the show, has established herself as a creator on the platform in recent years, having signed up during the pandemic while working on a zero-hours contract at a distillery at the time.
“I’d spent so many years in acting, trying to get things moving and nothing [was] happening,” she told The Sun.
Prescott joined OnlyFans after suggestions from friends, charging £11 a month for explicit content, and said she earns triple what she was being paid for Skins back in the day.
“Going on OnlyFans and realising all this content that I was making for free, people would pay for and people would like to pay for, just changed my entire point of view, and it really did improve my creative outputs,” she shared.
“I do think we are going to see more and more mainstream actors turning to making their own productions for things like OFTV [a free video platform featuring original content by OnlyFans creators] because it’s just a liberty that you don’t get.”
Speaking last year about her pay on Skins, Prescott told Cosmopolitan: “People think we made a lot more money than we actually did in Skins.
“We worked it out by the hour once, and it was minimum wage. Of course, £400 a week to a 16-year-old I was like ‘I’m rich’ but when you look back… Our contacts also meant we don’t see any money from any streaming platforms.”
Earlier this year, it was confirmed that Prescott was teaming up with Don’t Look Up director Adam McKay for a series of NSFW short films tackling the climate crisis called Headline Newds.
The eight-part show is fronted by different OnlyFans creators, using sexual, direct-to-camera addresses to explain hot button issues.
“When complex issues feel overwhelming, people often disengage,” a description reads. “By using sex-positive online culture and the creator economy, the series breaks down big climate topics into short, punchy explainers, making the conversation feel more accessible and placing climate messaging within the digital spaces audiences already use to consume content and news, rather than expecting them to seek out traditional environmental content.”
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