A versatile cartoonist, broadcaster, author, and actor, William Rushton’s range of talent emerged early, while a student at Shrewsbury School. There he edited the school magazine, The Salopian, and regularly illustrated its issues. The public school friendships and joint contributions for The Salopian led to the idea of a satirical publication, The Private Eye, cofounded by Rushton and first published in 1962. With its comprehensive attack on the establishment, who were presented as running England in the manner of a private club, The Private Eye pioneered a style of satire that was to become fashionable in the early 1960s.

In 1962, Rushton moved on to television to take part in BBC’s satirical program, That Was the Week That Was (TW3). Under director Alasdair Milne and producer Ned Sherrin, the crew put together their best work to express doubts about the old order in Britain. In an even more practical step, The Private Eye team, upset by the possibility of Sir Alec Douglas Home’s further career in politics, posted Rushton to run against him in the Kinross by-election. Rushton’s failed candidacy and his Macmillan impersonation on TW3 made his name, but the irreverent show, anchored by David Frost, deeply divided the public, and the resulting controversy led to its removal from television screens.

In the 1964–65 season, Rushton cohosted the follow-up to TW3, called Not So Much a Programme, More a Way of Life. This show had less clear direction and was at its most successful when it approached the impertinence of TW3. Even this milder satirical program, however, faced political criticism that put an end to its existence.

The success of TW3 opened the way to the cinema for Rushton. Director Clive Donner incorporated three of the show’s presenters into Nothing but the Best (1964). The film featured a young opportunist and provided a brash criticism of affluent Britain through a mocking celebration of its values. Rushton also played a role in Those Magnificent Men in Their Flying Machines (1965), a humorous take on the early days of aviation.

The slightly overweight Rushton, who described his hobbies as “gaining weight, losing weight, and parking,” served as presenter for Don’t Just Sit There (1973), a BBC series on healthy living. He also took part in the television show Up Sunday (1975–78) and entertained the viewers in Celebrity Squares (1979–80), a popular game show based on the idea of the U.S. syndicated program Hollywood Squares. In addition, he did voice-overs for the BBC’s Jackanory and Asterix series. On radio he appeared in 27 series of the popular anarchic game show, I Am Sorry I Haven’t a Clue.

As a stage actor, Rushton made his debut in Spike Milligan’s The Bed-Sitting Room in Canterbury in 1961. After a number of smaller parts, he returned to stage in a full-length role in Eric Idle’s play Pass the Butler (1982). This witty black comedy, written by a member of the offbeat Monty Python team, played successfully in Britain. Later, he returned to stand-up comedy, presenting “Two Old Farts” with Barry Cryer on nationwide tours.

Rushton wrote and illustrated a number of books, including William Rushton’s Dirty Book (1964), Superpig (1976), The Filth Amendment (1981), and Marylebone Versus the Rest of the World (1987). He also provided illustrations and cartoons for many others, including a number of children’s books.

After his early success in the 1960s, Rushton continued to work for The Private Eye and drew cartoons for the Literary Review and the Daily Telegraph’s “Way of the World” column until his death in December 1996. Known particularly for his humorous cartoons and funny personal presentations, he was a fine performer, a versatile and interesting artist for whom television provided a continuing opportunity for comic invention.