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C ON T E N TS WELCOME LETTERS

2-5

THE HOST: ALAN CUMMING

6-13

THE SPECIAL AWARD

14-19

THE FELLOW: KIRSTY WARK

20-27

SCREEN TIME

28-32

THE BREAKTHROUGHS

34-41

THE NOMINATIONS

45-83

HOW TO GET INVOLVED

84-85

JURIES AND CHAPTERS

86-91

TELEVISION CRAFT AWARDS WINNERS

92-95

OFFICERS OF THE ACADEMY

96-97

TELEVISION AWARDS PARTNERS

98-99

ACKNOWLEDGEMENTS

100-101

CREDITS

#BAFTATVAwards bafta.org

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As President of BAFTA, I am delighted to welcome you to the BAFTA Television Awards with P&O Cruises, where we celebrate the incredible variety of programmes and breadth of talent that mark an exceptional year in the industry. Occasions like tonight are a wonderful opportunity to shine a spotlight on the amazing creative skills that are the powerhouse of the British and global industry. I am so proud of BAFTA’s ongoing commitment to nurturing the talent of tomorrow in the screen arts. Today, Britain is home to some of TV’s most exciting productions and when the sky’s the limit, it is vital that our creatives and skilled practitioners at every level are supported to develop their careers. From the Young BAFTA programme to bursaries offering thousands of pounds in immediate financial support for junior creatives, the charity’s programmes are continuously opening doors to talented individuals of all backgrounds, and at every stage of their career. I know many here tonight have contributed to this important work in a number of ways, whether it’s financially, through mentoring, or volunteering time and expertise. As a charity, BAFTA remains hugely grateful for your support and I couldn’t be prouder to see what has been achieved this year. Congratulations to all the nominees who are being celebrated at tonight’s ceremony and I wish you all a wonderful evening.

HRH The Prince of Wales, k.g. k.t. President of BAFTA

Jane Millichip, CEO

Sara Putt, Chair

W E LC O M E Welcome to the 2025 BAFTA Television Awards with P&O Cruises. As a showcase for our industry’s talent, this is one of our favourite evenings in the BAFTA calendar. British creativity continues to excel, as testified by the 134 brilliant programmes nominated by BAFTA members. The power of TV to drive national conversation, to tap into stories of public interest, and to inspire societal change is second to none. And to do this through every genre is even more impressive. This year’s nominations celebrate the exceptional creativity and craft of British and international TV, and of the talented people who bring it to life on and off screen. It’s fantastic that almost half the performance nominees are receiving their first television nomination, including alumni from our talent programme, Breakthrough. Celebrating creative excellence and inspiring the talent of the future is at the heart of BAFTA’s mission. To celebrate children’s TV, we have introduced three new Children’s categories to bring this incredible and impactful creative community to wider public attention. The children’s screen sector leads the way in diverse and educational storytelling, and it fosters a fantastic talent pipeline. We would like to extend our sincere thanks to our jurors, members, partners, and donors who enable BAFTA to do our work as a charity, an Academy, and an Awards body. Congratulations to all tonight’s nominees. We hope you have a fantastic night.

P&O Cruises Memorable Moment Award Good luck to all the nominees!

Bridgerton

Gavin & Stacey: The Finale

Mr Bates vs The Post Office

Rivals

Strictly Come Dancing

The Traitors

W E LC O M E I am delighted to welcome you to this year’s celebration of the very best in British television. This marks the third year of our partnership with the Awards and we take great pride in it. P&O Cruises has a longstanding tradition of supporting the arts and showcasing top-tier entertainment – both on our ships and on land – making this collaboration particularly fitting. We believe that watching TV and enjoying holidays share common benefits. Both enrich our lives, provide an escape from the everyday, and create lasting memories. And, like TV, our holidays create cherished moments of joy and laughter with friends and family, as well as educate our guests about new lands, cultures, people, and places. At P&O Cruises, we are dedicated to bringing you exceptional stories from around the globe with our fleet of ships offering a diverse array of destinations, experiences, and entertainment options. Whether your interest lies in exploring the Mediterranean, the Caribbean, the Norwegian fjords, or more distant locations, we have a holiday tailored just for you, whether you seek relaxation, enjoyment, or education. P&O Cruises is honoured to celebrate the British TV industry with you tonight, including through this year’s Memorable Moment category, where the nominees are as varied and evocative as ever. We hope you enjoy this evening and that it is filled with memorable moments with colleagues, peers and friends. Carnival UK & P&O Cruises president Paul Ludlow

TH E H OST AL A N C U M M I N G MAST E RS H I S A RTS

Text: Rachel Corcoran Photography: Rachell Smith

On big screens and small, Alan Cumming deserves the title of creative polymath more than many who lay claim to the term – traversing from stand-up, to travelogues, to the US version of The Traitors with ease. He runs a buzzing nightclub, Club Cumming, in his home city of New York, and oversees Pitlochry Festival Theatre, a few miles from where he grew up, as artistic director; he has recorded albums and written books. But in a 40-year career as a maverick and master of reinvention, tonight is Cumming’s first time hosting for BAFTA. It was back in the rural setting of Monikie Primary School, north-east of Dundee, that a young Alan Cumming first experienced the power of telling a story. But this early inspiration didn’t strike via a Hollywood star in a movie, or on TV. Rather, it was a visit from a touring theatre education company who had come to act out the history of the 18thcentury Highland Clearances. “It was just in the dinner hall of our school,” recalls Cumming, who is a “little achy” from stunt training for Avengers: Doomsday when we meet in London in early April (as you’ve gathered, the actor is nothing if not busy). “I realised I’d learned more about that time through them than I had from history lessons. It occurred to me several years later that this is what being an actor is about, and how influential it can be to tell a story a certain way. It really can change people.”

YO U CA N S T R A D D L E ALL THESE DIFFERENT G E N R E S AT D I F F E R E N T T I M E S A N D YO U ’ R E S T I L L T H E S A M E P E R S O N AT T H E C E N T R E O F I T. W E D O C O N TA I N M U LT I T U D E S A N D I R E A L LY L I K E T H AT Alan Cumming

A high school English teacher, Mrs Law, is to thank for later encouraging Cumming to join the drama club – providing an outlet not only for his talents, but also a safe place away from a difficult home life. In his autobiography Not My Father’s Son, Cumming talks of the emotional and physical violence his father inflicted on him and his older brother Tom, and how acting provided a vital escape route. “I did my first play and honestly, it was the first thing I was ever any good at, so I stuck with it,” he explains now. “My teacher saw something in me, otherwise I don’t know if I would have done that. It wasn’t something I thought possible.” “It was also a community where I felt safe and comfortable,” he continues. “I think theatre buildings are community centres; I had a tribe and people around me who were kind and would protect me, which is what I really needed.” It was while training at the Royal Scottish Academy of Music and Drama (now the Royal Conservatoire of Scotland) that Cumming made his TV debut in ITV Granada’s Travelling Man. “There was a year where I worked constantly for Scottish television with all the different shows, including the soap Take the High Road and Taggart. Those were huge [shows] at the time.” Renowned theatres beckoned after graduating, and Cumming received his first Olivier award nomination as Best Newcomer in a Play for playing the lead in Manfred Karge’s The Conquest of the South Pole at the Royal Court in 1988. Then it was on to the Royal Shakespeare Company and the Royal National Theatre, not to mention wowing the crowds as the Emcee in the musical Cabaret in the West End in 1993. But it was playing flight attendant Sebastian Flight in the BBC Two sitcom The High Life in 1995 that Cumming believes was his most defining role. It stemmed from his stand-up comedy act Victor and Barry that he wrote and performed with drama school friend Forbes Masson. “It was a great thing for Forbes and

I because we were so much our voice and style,” he smiles. “We weren’t trying to be like other people. It taught me about the need to find your authenticity and not listen to those who try to box you in. I’m not big on idolisation and always advise people to be themselves, because your experience is the most interesting thing about you. At the time there was nothing like The High Life on TV and now when I watch it, I think we got away with a lot because they didn’t understand what we were saying!” Cumming only managed to do one series, though, because his Hollywood career exploded. That same year he played geeky computer programmer Boris Grishenko in GoldenEye, followed by parts in Emma (1996), Spice World (1997), Romy and Michele’s High School Reunion (1997), Spy Kids (2001), X2: X-Men United (2003) and countless other blockbusters (not to mention a cult appearance as a flirtatious hotel receptionist in Stanley Kubrick’s Eyes Wide Shut in 1999). More recently, the success of his appearance on The Traitors US has been largely down to his natural hosting abilities, which is why his turn at fronting the Awards tonight is such a culmination of all his skills. The UK’s The Traitors is nominated for three awards and this will be the first time Cumming meets his across-the-pond counterpart, Claudia Winkleman. “You’ve never seen us in the same room so maybe they just drug me and put lots of tan on and a big wig, and I’m actually Claudia!” he laughs. “We have mutual friends and nearly met years ago so it’s kind of hilarious this will be what brings us together.” Does he feel excited or nervous about being the MC for a night involving all his contemporaries? “All of the above,” he admits. “Initially you think: ‘Oh, that’s so fun and what an honour.’ Then, ‘Jesus Christ!’ It’s live with a crowd of people who are all

your peers. But I’ve done so many things in my life that involve being a host and I love hosting in my home and making guests feel relaxed. Plus, I like celebrating people and that’s what you’re there to do; you want to make it special for everyone.” “I really admire what BAFTA does, so the night has a great purpose,” he adds. “And I love that there’s a dinner afterwards where everyone chats and table-hops. You see everyone you’ve known over the years, so it’s like going to a massive showbiz wedding.” As well as providing a platform for Cumming’s love of fashion (there’ll be a few different looks on rotation tonight), The Traitors has sharpened the actor’s poker face – handy if he is not going to give away his feelings if the UK version of the show, an old friend or fellow Scot wins tonight. And for all the up-and-coming actors in the audience or watching at home, Cumming is living proof of how exciting their futures can be if they stay true to themselves. “I don’t find it interesting talking about past triumphs because I’m on a forward trajectory,” he muses. “But at the same time, as you get older, it’s amazing when things come back into your life – like The Avengers, Romy and Michele, and The High Life, which we’re doing as a musical soon. I’m working with people at Pitlochry [Festival Theatre] that I knew as a little boy myself, or when they were kids. You can straddle all these different genres at different times and you’re still the same person at the centre of it. We do contain multitudes and I really like that.”

THE SPECIAL AWA R D

Writer: Simran Hans

W H AT I T V ’S MR BAT ES VS T H E P OST O F F I C E RE AL LY M E AN S

Jo from Hampshire, Lee from Bridlington, Jas and Saman from Walsall, and North Wales’ Alan Bates: these are five of the human faces that took on the British Post Office after being wrongly prosecuted for fraud due to a faulty computer system. ITV’s four-part primetime series Mr Bates vs The Post Office dramatised the true story of the Horizon IT scandal, which saw hundreds of subpostmasters across the UK erroneously indicted for theft and false accounting. The postmasters’ campaign to win justice has been ongoing for almost 20 years, but it was the show, written by Gwyneth Hughes and first broadcast on ITV in January 2024, that has cemented their story in the public consciousness. In recognition of its groundbreaking commissioning of this story, it is the broadcaster that is being awarded with BAFTA’s prestigious Special Award this evening. On paper, it would be easy to dismiss the Horizon IT scandal as a dull bureaucratic nightmare. The wrongdoing centres around a clunky, bug-ridden computer program created by a multinational corporation. Dramatically, the story might be challenging to translate – never mind a difficult sell in terms of expected audience appeal. Mr Bates vs The Post Office sidesteps this by emphasising the emotional, physical and financial toll of the scandal on more than 700 ordinary working people. In the show, longstanding branch managers who are shown to be important members of their local communities become social pariahs overnight. Their children are bullied at school, their shops are graffitied with abuse, and due to criminal convictions many of them struggle to secure other work. The stress causes the postmasters to struggle with their mental health after being forced to pay out thousands of pounds of their own money to make up for shortfalls declared by Horizon. As a result, several attempt to take their own lives. Over four consecutive nights, an audience that grew from 3.9 million to an

TELEVISION WITH THIS L E V E L O F I M PAC T I S N O T U N P R E C E D E N T E D, BUT IT IS RARE

eventual 15 million watched on in horror as these characters’ life savings were depleted and their houses repossessed. These regional stories of indignity and injustice moved over a million people to sign a petition requesting that Paula Vennells, the former head of the Post Office, hand back her CBE. This happened within days of Mr Bates vs The Post Office airing. The show’s impact has led to legal change, too. Following the show’s broadcast, then Prime Minister Rishi Sunak discussed the Horizon IT scandal in parliament, describing it as “one of the great miscarriages of justice in our nation’s history.” He introduced legislation to ensure the victims would be “swiftly exonerated and compensated.” Television with this level of impact is not unprecedented, but it is rare. When Ken Loach’s Cathy Come Home, about a young mother who becomes homeless and ends up being torn away from her children, was broadcast on BBC One in 1966, it brought the harsh reality of Britain’s housing crisis to a much wider audience. It was watched by 12 million people, and brought awareness to the newly launched charity for the

homeless, Shelter. Public outrage led to political change, with local councils revising their policies on separating families. More recently, Channel 4’s It’s a Sin, which revisited the AIDS crisis of the 1980s, resulted in a rise in HIV testing kits being ordered, as reported by the Terrence Higgins Trust. And earlier this year, Netflix’s Adolescence, a four-part series about a teenage boy arrested on suspicion of murdering a female classmate, has sparked widespread debate about the misogynistic content young people are accessing online. Its co-creator Jack Thorne has called for legislation to restrict social media access. TV is not journalism. It doesn’t have to be. This year, BAFTA is honouring ITV’s brave, British broadcasting, and celebrating the kind of terrestrial television with the power to drive change. As entertainment choices have exploded, British public service television has faced pressure to compete among the crowd. And yet it’s in championing ‘provincial’ stories like this one – specific, domestic and with a political point of view – that showmakers can reach further beyond their own locality than ever.

TH E F E L LOW T H E ST YLE AN D S U BSTA N C E O F K I RST Y WA RK

Famed for her direct, compassionate and fearless journalistic skills, tonight’s Fellowship recipient certainly makes for an intimidating interviewee.

Photography: Simon Murphy

Best known as the long-standing presenter of BBC’s Newsnight, a post she held from 1993 until July 2024, the Scottish journalist and broadcaster is one of the UK’s most recognisable faces (and voices). She remains as devoted to her craft as ever, this year presenting The Reunion and Front Row for BBC Radio 4, a BBC Scotland documentary on the style histories of her home country (Icons of Style) as well as working on her next novel (she’s written two so far). Wark is known for going toe-to-toe with politicians – including, famously, Margaret Thatcher at the height of the poll tax riots – and has brought issues around Aids, menopause and sexism into the public arena through her documentary-making. However, she is just as passionate about the wider role that culture and the arts have to play in the public sphere – as she revealed in this conversation ahead of the Awards.

How does it feel receiving our Fellowship this evening? I feel very honoured, to be honest. I think BAFTA is such a terrific organisation for culture in our country generally. And I genuinely didn’t expect it. It was a confidential email at first, and then it was: “We need to have a chat about this.” Then it just sinks in that actually, something special is going to happen. BAFTA supports so many people behind the screen, on screen – they’re an advocate. I don’t think you get anyone fiercer in that regard than [BAFTA’s CEO] Jane Millichip. So I’m very, very happy to be part of the family.

When you think back, what was a real turning point of opportunity that moved things forward for you? Way back in the early 80s, I’d gone to London to work on The World at One on BBC Radio 4 on attachment, and they’d asked me to stay on. Then the chance to do a training course for film directing and studio directing came up. So that was the point where I was able to move to TV and learn my trade as a very short-lived studio director, shooting on reversal film – which means the first cut is the only cut and the deepest – making current affairs programmes. Then I [realised] I just loved the whole process of TV. That was where I wanted to be. But it was never my intention to be on the TV. It was in for a penny, in for a pound. It was just, like: “We would like you to present this. And could you just produce it as well?” And then after a year I had to make a decision about what I wanted to do. And I said: “Okay, I’m enjoying presenting. It gives me quite a lot of agency. And I love being out filming.” So I said yes, I would stay, and I would be a presenter in TV.

You’ve made shows on many different topics, but one signature is that balance of politics and culture – maybe, in fact, recognising how one is also the other. I made one of the first Aids documentaries that was aired [in the UK], I’ve made docs about misogyny, I’ve made docs about menopause – in my career, those kinds of projects have been really important to me. But I’ve also done shows that have been about culture all my life. You can mix the two. I was very keen not to be pigeonholed as somebody who did news and politics, when culture, style and music are very, very important to me. I did a course in modern art at university, so I’ve always loved that cultural aspect to the BBC. One of the biggest joys, and where I learned a lot of my craft, was presenting The Late Show, which was an hour-long art show after Newsnight, every night. Can you imagine such a thing on the BBC? I’ve never held that the people that watch Newsnight don’t watch documentaries about Edvard Munch. We’re all pretty rounded people, I hope.

What is the value to you of interview formats that really give the space and time to those featured? It’s crucial. Because what you’re saying to the audience at the end of the day is: “Come to us and we’ll try and make sense of what’s going on, with some very, very clever people.” So, you’re doing interviews and you’re learning at the same time; you’re drawing on a huge wealth of knowledge from our guests. Newsnight for me was a kind of perfect place, because it gave you the chance to

I ’ V E N E V E R H E L D T H AT T H E P E O P L E T H AT WAT C H N E WS N I G H T D O N ’ T WAT C H D O C U M E N TA R I E S A B O U T E DVA R D M U N C H . WE’RE ALL PRET T Y ROUNDED PEOPLE, I HOPE Kirsty Wark

do those longer-form interviews. One of the most enjoyable parts of the job was doing the prep for the interview, which was often about gaming the interview: thinking about what angles might be taken, how to respond. And we did a lot of work. We took these assignments incredibly seriously. There’s obviously the way to consume news which tells you the facts very fast. But actually, why the facts are the facts is what you want to know. And are these facts true? I think Newsnight interrogates things very, very carefully. And it is a programme of record. People came to the show to try and make sense of the day. You need analysis, and one person’s analysis is different from another’s. It’s up to us to let the audience make up its mind. You’re doing your best to get to the facts of the story, the difficult parts of the story, the parts of the story you can’t do in a 30-second news bite.

Can you share an interviewing tip, in terms of the skills you have sharpened over the years? It’s about homework. And it’s about treating the viewer with respect. There is nothing worse than an ill-prepared interviewer. It’s so arrogant. The interview is like being in a courtroom, in a way. You are wanting to have a lot of light. You might want a little heat – you know, a little bit of paprika. But essentially, it’s not about you, it’s not about me, and we should all remember that. We’ve all got egos, but at the end of the day we’re there to try and find out something that helps the audience at home.

As your career progressed, did you find you had more confidence to pursue things you wanted to more actively advocate for? I would say [I gained] more confidence to push things, because I had a degree of authority. But the first menopause programme took a long time to commission. The BBC was not for it for a long time, until I said that I was prepared to tell my own story. Now, of course, menopause is everywhere, but then it was tough to get a commission. Not long after it was broadcast, I was in a taxi, and the driver said to me: “You saved my marriage.” And I’m going: “What are you talking about?” “My wife didn’t see the menopause programme, I saw it. We were really struggling, and my wife had no idea what it was.” It turned out she was in early menopause. She went to the doctor and got HRT, she was treated, and they made it through. So, you know, one story like that is worth it.

S CR E E N T I M E W HAT WE WATC H E D

Illustration: Alice Tye

FROM EPIC FINALES T O WAT C H I N G A FAVO U R I T E S H OW W I T H A LOV E D O N E ; A PREMIERE OF A P E R S O N A L P R O J E C T, OR A SCREENING E V E N T T H AT B R O U G H T A COMMUNIT Y TOGETHER: THESE ARE THE B A F TA C O M M U N I T Y ’ S FAVO U R I T E T V MEMORIES OF THE Y E A R T H AT WAS

“Watching Supacell hit me in a way I wasn’t quite ready for. There was something surreal about seeing a grounded, Black British sci-fi story told with that level of ambition and sincerity – and not feeling like it had to over-explain itself. More of an IYKYK. I remember watching the first episode on my own but having subsequent conversations with friends who felt a kinship with it in the days that followed – both in the industry, as well as outside of it. Everyone saying the same thing: ‘It’s for us. Like actually for us.’ It gave me that strange mix of pride and hunger – proud of how far we’ve come, and hungry to contribute to that wave. Genre and soul aren’t mutually exclusive.” Nosa Eke, 2018 BFI Flare x BAFTA mentee and director on Big Age and Still So Awkward. BFI Network & BAFTA Mentoring in partnership with BFI Flare supports the next generation of LGBTQIA+ creatives as they work towards a debut feature, TV pilot or online commission.

“I got to the BAFTA preview screening of Kaos with a Q&A from creator Charlie Covell and the cast. It was amazing to see such an ambitious show come to life and to see my name in the credits as one of the early development writers blew my mind. I felt so lucky to be a small part of something so special and unique.” Ed Cripps, also a Flare mentee (in 2019) and screenwriter on Kaos – currently working on a sci-fi adaptation for Bad Wolf / Netflix.

“Last Spring, while deep in prep for The Night Manager and traversing the globe, I gave myself the weekly treat of watching a murder in realtime. Admittedly, that’s not a sentence I ever imagined saying out loud... Well, until Ripley came along. It was a glorious black-and-white painted world, with the louche, ever alluring Tom Ripley (Andrew Scott), at its centre. Each episode felt like a treat I never wanted to end. Ripley’s was a world I wanted to be in, live in, eat in, swim in, die in. When did bad guys get so damn good?” Georgi Banks-Davies, a 2018 Flare mentee and BAFTA-winning TV director with credits from I Hate Suzie to Kaos.

“The greatest TV moment had to be during the finale of Gavin and Stacey. Smithy is about to marry Sonia, and looks to the crowd, who all know she is not right for him. One by one, they all stand up to object to the marriage. 17 years of TV gold is bundled up in one beautiful moment where Smithy looks to Mick for his opinion, Mick stands up and Smithy realises he should marry the one he met ‘17 years ago in Leicester Square.’ You could almost feel every living room across the country sigh with relief and joy.” Tristan Thompson, winner of the 2024 BAFTA Young Presenters competition in the 10–14 category.

“Then for a moment, just a moment, I thought perhaps... And then he just said: ‘You may leave me now.’ And so, with this account from Ralph Sadler about his meeting with Henry VIII, we learn that Thomas Cromwell’s fate is sealed. Every small detail in this sequence – in the entire series, in fact – is deliberate and rich with meaning. The creak of Henry’s chair as he turns his head. Ralph’s quivering inhalation, so full of anticipation. No need for music to tell us how to feel; no need for shouting. The Mirror and the Light’s subtlety paradoxically stands out in a time when everything feels so on the nose — devastating quiet amidst a cacophony of noise.” Ahmed Peerbux, TV documentary and drama director-producer and member of the BAFTA Elevate 2025/2026 cohort. This year, 20 development producers, producers, directors and producerdirectors working across documentary and specialist factual were welcomed into the programme, which is supported by dunhill.

“American Nightmare was my standout TV experience of the last year. It exposed how easily victims can be dismissed and how bias in policing and the media still shapes public perception. By centring the victim and avoiding sensationalism, it challenged the true crime genre and sparked important conversations about justice, trust and accountability. It was gripping, thought-provoking, and stayed with me long after the final episode.” Maia Adelia, BAFTA Scholar Alumni and junior producer who completed her Diploma in Factual Development and Production at the National Film and TV School last year.

Shahnaz

Luned

Daf

In C o nve rs a t i o n with

TH E BREAK TH R O UGHS THE C R E ATO R, D I RE CTO R, AND E D I TOR O N BAF TA BREA K T HRO U GH A N D FINDI NG YOU R P E O P L E Text: Alec Holt Photography: Manuel Vazquez

Daf James (Lost Boys and Fairies), Luned Tonderai (Miriam: Death of a Reality Star) and Shahnaz Dulaimy (Top Boy) are all participants in 2024’s BAFTA Breakthrough UK, supported by Netflix. The programme showcases and supports the next generation of creatives in film, games and TV, helping leverage early success into sustainable careers.

d a f j a m e s : Being selected for BAFTA Breakthrough is a

huge deal for all of us. And when we all came together to meet for the first time, you could tell that everybody was really thrilled. I remember growing up and watching the BAFTAs on the telly, and it felt like such a faraway place. l u n e d t o n d e r a i : When the email came through I was on

the escalator heading up to work, and immediately, even before I read it properly, I thought: “Oh, they’re turning me down. It’s fine. I tried.” Then I got to the top of the escalator, and I was like: “No, no, I’ve got it!” I had a little cry. We all work really hard. It’s just so nice when that is recognised in some way. s h a h n a z d u l a i m y : I come from Iraq, so going from Baghdad to BAFTA has been one hell of a ride. It’s given me the confidence to go up to people and ask for tips and see what I can learn from their successes. d j : What you’re saying there is quite significant for me as well.

Because on this programme we’re asked to come up with a list of people that we would like to meet, and I kept telling myself I couldn’t put certain names down as I just felt like I didn’t deserve to have a meeting with those people. And the difference with this, of course, is that it’s encouraged. It allows you to exercise a different type of confidence that I found spilling out into my everyday life and my work. lt : I’m Welsh, like Daf. And I think it’s a very Welsh thing that

you don’t sing your own praises. I can remember distinctly the first email I wrote where I said: “I was selected as one of this year’s BAFTA Breakthroughs for my directing work.” And I was like, ugh, cringing when I was writing it out. You just get to a point where you realise: “What’s wrong with you? You need to embrace this.” So it’s about a mentality shift. And it’s quite nice, because we all have a little bit of insecurity. d j : It’s about finding the people that empower you and help

you to get over those insecurities.

lt : When I was coming up, there was definitely a bit of a

gender [problem] about what women could do and what men would do. And I just came across some females who were in senior positions who didn’t see that, and they were very equal. That was great, because they also shifted my mindset and made me think: “Oh, I can do that if I want to.” d j : There are lots of people that I’ve come across in this

industry who’ve made me feel small, who’ve made me feel that I’m not capable, who’ve traumatised me. But it’s the good people – they’re the ones you have to find. And when you find them, gosh, I hold on to them for dear life. s d : The world has just been so cruel to Iraqis every single day

of our lives. And entering the industry [here] has just been like a very warm, welcoming hug. I feel like I’ve found my family. And yes, obviously, everywhere you go there will be some bad people, but on the whole, everyone wants to produce the best type of work possible. d j : Yes, I definitely think there’s room to be hopeful. I felt like it

was a minor miracle that Lost Boys was commissioned in the first place, because it was the first bilingual Welsh-English drama on network [TV], and it was a queer adoption story on prime-time BBC One. And that’s progress, on many political levels. And I feel incredibly lucky that I happened to be alive in the time where those opportunities were arising, and I got to tell that story. lt : When I was coming up through TV, if I had an idea that

was anything to do with Wales or the Welsh language, I was always told: “Nobody’s going to be interested in that, other than S4C or BBC Wales.” And that’s not true. I was a big fan of Lost Boys and Fairies, because I just thought: “This is really authentic. This reflects what I know.” d j : It was my first drama. And James Kent, the director, said

from the beginning: “Daf, this is your story, and you have to be on set with me every day.” I was the guardian of the story,

making sure that every moment was captured emotionally. Now going forward, it’s [about] choosing collaborators well so that you can have those relationships that feel fruitful. lt : On Miriam, I was really lucky because I was working

with an executive producer, Colin Barr, who gave me a lot of creative freedom. It wasn’t about tearing my ideas down or trying to put his view on it; it was very much about creatively making things better together. I’ll take on a lot, but I want to feel like people trust in me. And I had that. s d : What makes Top Boy special is its authentic storytelling.

It represents the characters’ struggles and choices with nuance, and it shows the human side of situations that are often sensationalised in mainstream media. What I’ve learned is to find all of these nuances of the performances. I was not afraid to go up to the team and say: “Does this feel right for the character that you have been living with for the last decade?” I’ve learned to trust my instincts. lt : That is probably the biggest thing that I felt too. It was like,

yes, I’m trusting my instincts and those instincts are good. s d : When it comes to production, there’s a lot that goes on in

the background. And I think that’s the importance of the TV Craft Awards and recognising everyone who is slaving away trying to get everything right, from lighting to costume to the makeup – every little detail matters. d j : I think that’s absolutely true, because the Lost Boys set was

an incredibly happy one, and that was down to the way Adam Knopf, our producer, brought that team together – a lot of them came from local queer communities. There was a real sense of local ownership of the work. I think it’s something you might be able to feel through watching the show. s d : It comes through.

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FACTUAL SERIES

ORIGINAL MUSIC: FACTUAL

SUPPORTING ACTOR McKinley Belcher III COSTUME DESIGN

PHOTOGRAPHY & LIGHTING: FICTION

EDITING: FACTUAL SOUND: FACTUAL

MALE PERFORMANCE IN A COMEDY Nabhaan Rizwan

LIMITED DRAMA

REALITY

LEADING ACTOR Richard Gadd

SUPPORTING ACTRESS Jessica Gunning SUPPORTING ACTRESS Nava Mau

LIMITED DRAMA DIRECTOR: FICTION WRITER: DRAMA

DIRECTOR: FICTION EDITING: FICTION SOUND: FICTION WRITER: DRAMA

COSTUME DESIGN

MAKE UP & HAIR DESIGN MEMORABLE MOMENT

LEADING ACTRESS Billie Piper

DRAMA SERIES SCRIPTED CASTING

INTERNATIONAL

celebrates another unmissable year of television and congratulates all the nominees of this year’s BAFTA Television & Craft Awards

Sound: Factual

Children’s: Non-Scripted, Children’s Craft Team

Scripted Comedy

Children’s: Non-Scripted

Special, Visual & Graphic Effects, Sound: Fiction

Costume Design, Hair & Make Up Design

Entertainment Craft Team (Sponsored By Hotcam)

Male Performance In A Comedy - Danny Dyer

Children’s: Scripted

Entertainment Performance - Romesh Ranganathan, Rob Beckett

Sound: Factual

Photography & Lighting: Fiction Titles & Graphic Identity

Single Documentary

Editing: Fiction, Production Design

Female Performance In A Comedy - Lolly Adefope

Costume Design

International, Sound: Fiction

TH E NO MI NAT I O N S Children’s: Non-Scripted Children’s: Scripted Current Affairs Daytime Drama Series Entertainment Entertainment Performance Factual Entertainment Factual Series Female Performance in a Comedy International Leading Actor Leading Actress Limited Drama Live Event Coverage Male Performance in a Comedy News Coverage Reality Scripted Comedy Short Form Single Documentary Soap Specialist Factual Sports Coverage Supporting Actor Supporting Actress P&O Cruises Memorable Moment

46 47 48 49 51 53 55 57 59 61 63 65 67 69 70 71 72 73 74 75 76 77 78 79 80 81 82

THE NO MI NAT I O N S Children’s: Non-Scripted B O OSN O O! Production Team Visionality, Mackinnon and Saunders / Sky Kids DISA BILIT Y A N D M E ( F YI I NV EST I GAT ES ) Matt Peacock Marshall Corwin Fresh Start Media / Sky Kids O PE RATION OU C H ! Production Team Maverick TV / CBBC RE U & H A R P ER ’S WO ND E R WO R LD Andy Mundy-Castle Emine Yalchin Doc Hearts / Channel 5

TH E NO MI NAT I O N S Children’s: Scripted C BE EB IES AS YOU LI KE I T AT SHA K ES P EA R E’S G LO B E Production Team BBC Studios Kids & Family / CBeebies H ORRIB L E H ISTORI ES Production Team Lion Television / CBBC REA DY EDDIE G O! James Murphy Joseph Morpurgo Justin Lowings Hocus Pocus Studio / Sky Kids T WE EDY & F LU F F Corrinne Averiss Chris Randall Martin Tapley Second Home Studios, Stitchy Feet / Channel 5

THE NO MI NAT I O N S Current Affairs LIFE A N D DEATH IN GA Z A ( STO RY VIL L E) Natasha Cox Lara El Gibaly Haya Al Badarneh Sarah Keeling Simon Cox Mustafa Khalili BBC World Service, BBC Eye / BBC Two MATERN IT Y: BR O K EN TRU ST ( EX P OS U R E) Laura Warner Becky Southworth Tom Keeling Emma Lysaght Lewis Albrow Martin Kayser-Landwehr Pulse Films / ITV1

STAT E O F RAG E Marcel Mettelsiefen Ahisha Ghafoor Stephen Ellis Ismail Hussam Banighorra Aviya Shar-Yashuv Mayte Carrasco Duskwater Films / Channel 4 U KRA I NE ’S WA R : T HE OT HE R SI D E ( E X P OS U R E ) Sean Langan Leslie Knott Matt Scholes Sean Langan, Tiger Nest Films / ITV1

TH E NO MI NAT I O N S Daytime C LIVE M Y R IE’S CA RIB B EA N A DVEN TU R E Des Henderson Emma Parkins Ed Stobart Jane Magowan Denis Minihan Alleycats TV / BBC Two LO OSE WOM EN Production Team ITV Studios Daytime / ITV1 MO RN IN G L IVE Production Team BBC Studios / BBC One

R I C HA R D OS M A N’S HO U SE O F GA M ES Tamara Gilder Breid McLoone John Smith Anna Blakemore Abby Brakewell Tom Banks Remarkable TV / BBC Two

TH E NO MI NAT I O N S Drama Series BLUE L IG H TS Stephen Wright Louise Gallagher Declan Lawn Adam Patterson Jack Casey Amanda Black Two Cities Television, Gallagher Films / BBC One SHERWO OD James Graham Clio Barnard Juliette Howell Tessa Ross Harriet Spencer Kate Ogborn House Productions / BBC One

S U PAC E LL Rapman Mouktar Mohammed Steve Searle Joanna Crow Netflix, New Wave Agency, It’s A Rap / Netflix WO LF HA LL: T HE M I R R O R A ND T HE LI G HT Peter Kosminsky Noëlette Buckley Susanne Simpson Peter Straughan Lisa Osborne Colin Callender Playground Entertainment, Company Pictures / BBC One

OFFICIAL CHAMPAGNE PARTNER TO BAFTA

TH E NO MI NAT I O N S Entertainment TH E 1% C LU B Dean Nabarro Andy Auerbach Richard van’t Riet Clare Barton Hennie Clough Magnum Media / ITV1 MIC H A EL MCINT Y R E’S BIG S H OW Production Team Hungry McBear / BBC One TASKM ASTER Andy Devonshire Andy Cartwright James Taylor Alex Horne Jon Thoday Avalon UK / Channel 4

WO U LD I LI E TO YO U ? Peter Holmes Rachel Ablett Barbara Wiltshire Jake Graham Zoe Waterman Charlotte Bracey-Curant Zeppotron / BBC One

TH E NO MI NAT I O N S Entertainment Performance A N TH ON Y MCPARTL IN , DE C L A N D O N N EL LY Ant & Dec’s Saturday Night Takeaway Lifted Entertainment, Mitre Studios / ITV1 C L AU DIA WIN KL EMA N The Traitors Studio Lambert / BBC One GRA HA M N ORTON The Graham Norton Show So Television / BBC One JO E LYC ET T Late Night Lycett Rumpus Media, My Options Were Limited / Channel 4

R O M ES H RA NGA NAT HA N, R O B B E C KET T Rob & Romesh Vs CPL Productions / Sky Max STAC E Y S O LO M O N Sort Your Life Out Optomen / BBC One

TH E NO MI NAT I O N S Factual Entertainment IN VO G U E: TH E 90 S Liesel Evans Jonathan Smith Hugo Macgregor Vikki Miller Charlotte Permutt Matthew Hill RAW, Vogue Studios / Disney+ RAC E AC R OS S TH E WO R LD Production Team Studio Lambert / BBC One R OB A N D RY L A N ’S G RA ND TO U R Rob Rinder Rylan Clark Lana Salah Simon Draper Gwyn Jones Joseph Fell Rex, Zinc Media / BBC Two SO RT YOU R L IF E O U T Production Team Optomen / BBC One

M U LT I T U D E A D

TH E NO MI NAT I O N S Factual Series A ME R ICA N N IGH TMA R E Bernadette Higgins Fiona Stourton Rebecca North Alasdair Bayne Anton Short Felicity Morris RAW / Netflix FRE DDIE FLIN TOF F ’S FIELD OF DR EA MS ON TO U R Andrew MacKenzie-Betty Naomi Templeton Annie Hughes Anna Stickland Peter Benn Drew Hill South Shore Productions / BBC One

T HE P U S H: MURDER ON T HE C LI F F Anna Hall Josephine Besbrode Luke Rothery Tom Whitaker Kate Reid Josh Carpenter Candour Productions / Channel 4 TO CATC H A COPPER Hugo Pettitt Ashley Francis-Roy Bruce Fletcher Peter Beard Colette Hodges Martin Thompson Story Films / Channel 4

It’s like evening wear for water

TH E NO MI NAT I O N S Female Performance in a Comedy A N JA N A VASA N We Are Lady Parts Working Title Television / Channel 4 K AT E O’ F LY N N Everyone Else Burns Jax Media, Imagine Entertainment, Universal International Studios / Channel 4 LOLLY A DEF OP E The Franchise Neal Street Productions, Dundee Productions, HBO / Sky Comedy N IC OL A C OUG H L A N Big Mood Dancing Ledge Productions / Channel 4

RU T H J O NES Gavin & Stacey: The Finale Fulwell Entertainment, Tidy Productions, Baby Cow Productions / BBC One S O P HI E W I LL A N Alma’s Not Normal Expectation / BBC Two

THE NO MI NAT I O N S

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TH E NO MI NAT I O N S International A F TER TH E PA RT Y Helen Bowden Dianne Taylor Robyn Malcolm Peter Salmon Liz DiFiore Jason Stephens Lingo Pictures, Luminous Beast / Channel 4 C OLI N F R OM AC C OU N TS Production Team CBS Studios, Easy Tiger Productions / BBC Two SAY N OTH IN G Nina Jacobson Brad Simpson Joshua Zetumer Patrick Keefe Monica Levinson Michael Lennox FX Productions, Color Force / Disney+

S HŌ G U N Justin Marks Rachel Kondo Michaela Clavell Jonathan van Tulleken Hiroyuki Sanada Edward L. McDonnell FX Productions / Disney+ T RU E D ET E CT I V E : NI G HT C O U NT RY Production Team Peligrosa, Neon Black, Anonymous Content, Parliament of Owls, Passenger, HBO / Sky Atlantic YO U A R E NOT A LO NE : F I G HT I NG T HE WO LF PAC K Almudena Carracedo Robert Bahar Katie Bryer Samuel R. Santana Lucernam Films / Netflix

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TH E NO MI NAT I O N S Leading Actor DAVID TEN N A N T Rivals Happy Prince, ITV Studios / Disney+ GA RY OL DM A N Slow Horses See-Saw Films, Apple TV+ LEN N IE JA MES Mr Loverman Fable Pictures / BBC One MA RTIN F R EEMA N The Responder Dancing Ledge Productions / BBC One RICH A R D GA DD Baby Reindeer Clerkenwell Films / Netflix TO BY J ON ES Mr Bates vs The Post Office ITV Studios, Little Gem / ITV1

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TH E NO MI NAT I O N S Leading Actress A N N A M A X W EL L M A RT I N Until I Kill You World Productions / ITV1 BILLIE P IP ER Scoop The Lighthouse Film and Television, Voltage TV / Netflix LOL A P ET TIC R EW Say Nothing FX Productions, Color Force / Disney+ MA RI SA A B EL A Industry Bad Wolf, HBO / BBC One MO N ICA D OL A N Mr Bates vs The Post Office ITV Studios, Little Gem / ITV1 SHA R ON D. C L A R K E Mr Loverman Fable Pictures / BBC One

TH E NO MI NAT I O N S Limited Drama BA BY R EIN DEER Richard Gadd Weronika Tofilska Petra Fried Matt Jarvis Ed Macdonald Matthew Mulot Clerkenwell Films / Netflix LOST B OYS A N D FA IRIES Rebekah Wray-Rogers Jessica Brown Meek Libby Durdy Daf James James Kent Adam Knopf Duck Soup Films / BBC One

M R BAT ES VS T HE P OST O F F I C E Patrick Spence James Strong Gwyneth Hughes Chris Clough Natasha Bondy Joe Williams ITV Studios, Little Gem / ITV1 O NE DAY Nicole Taylor Molly Manners Roanna Benn Jude Liknaitzky David Nicholls Nige Watson Drama Republic, Universal International Studios, Focus Features / Netflix

THE NO MI NAT I O N S Live Event Coverage D -DAY 8 0 : TR IB U TE TO T HE FA LLE N Production Team BBC Studios / BBC One GL ASTO N B U RY 202 4 Production Team BBC Studios Music Productions / BBC Two L AST N IG H T OF TH E P R O M S Production Team Livewire Pictures / BBC Two

TH E NO MI NAT I O N S Male Performance in a Comedy BIL A L H AS N A Extraordinary Sid Gentle Films / Disney+ DA N NY DY ER Mr Bigstuff Sky Studios, Water & Power Productions / Sky Comedy DYL A N TH OM AS -S M I T H G’wed Golden Path Productions / ITV2 N A BHA A N R IZ WA N Kaos SISTER / Netflix OLIVE R SAVEL L Changing Ends Baby Cow Productions / ITV1 PHIL DU N N IN G Smoggie Queens Hat Trick Productions / BBC Three

THE NO MI NAT I O N S News Coverage BB C BREA K FAST: P OST O F F I C E S P E C I A L Production Team BBC News / BBC One CHA N N EL 4 N EWS : INSI D E S E D NAYA – TH E FA LL OF AS SA D Production Team Channel 4 News / Channel 4 CHA N N EL 4 N EWS : U ND E R C OV E R I NSIDE R EF OR M’S CAM PA I G N Production Team Channel 4 News / Channel 4

TH E NO MI NAT I O N S Reality DRAG ON S’ DEN Production Team BBC Studios Factual Entertainment Productions / BBC One TH E J U RY: M U R DE R T R I A L Production Team ScreenDog Productions / Channel 4 LOVE IS B L IN D U K Production Team CPL Productions / Netflix TH E TRA ITORS Production Team Studio Lambert / BBC One

THE NO MI NAT I O N S Scripted Comedy ALMA’S N OT NO RMAL Sophie Willan Andrew Chaplin Gill Isles Nerys Evans Expectation / BBC Two BRASSIC David Livingstone Danny Brocklehurst Ben Gregor Joseph Gilgun Jim Poyser Calamity Films / Sky Max G’WE D Danny Kenny Mario Stylianides Akaash Meeda Penny Davies Golden Path Productions / ITV2

LU DWI G Mark Brotherhood Robert McKillop David Mitchell Kenton Allen Kathryn O’Connor Georgie Fallon Big Talk Studios, That Mitchell & Webb Company / BBC One

TH E NO MI NAT I O N S Short Form BR OW N B R IT Jay Stephen Ralph Briscoe The Romantix / Channel 4 PE A K ED John Addis Ada Player Bron Waugh Boffola Pictures / Channel 4 QUIET L IF E Production Team Open Mike Productions / BBC Three SPUD Siobhán McSweeney Pippa Brown Leah Draws Lookout Point TV / BBC Three

THE NO MI NAT I O N S Single Documentary HE LL JU M P ER Paddy Wivell Adriana Timco Colin Barr Rupert Houseman Jane Nicholson Clancie John-Pierre Expectation / BBC Two TELL TH EM YOU LOVE ME Production Team Mindhouse Productions / Sky Documentaries U KRA INE: EN EM Y I N TH E WO ODS Jamie Roberts Kate Spankie Jonathan Smith Claire Walker Stanislav Strilets HOYO Films / BBC Two

U ND E R C OV E R : E X P OSI NG T HE FA R R I G HT Havana Marking Natasha Dack Fiona Stourton Ross Leppard Siobhan Sinnerton Sandra Whipham Marking Films Inc, Tigerlily Productions, Hidden Light, Doc Society / Channel 4

TH E NO MI NAT I O N S Soap CASUA LT Y Production Team BBC Studios / BBC One C OR O N ATION STRE ET Production Team ITV Studios / ITV1 EASTEN DERS Production Team BBC Studios / BBC One

THE NO MI NAT I O N S Specialist Factual ATO MIC P EOP L E Benedict Sanderson Megumi Inman Morgan Matthews Otto Burnham Minnow Films / BBC Two BILLY & MOL LY: AN OT TER LOVE STORY Production Team Silverback Films / National Geographic CHILDR EN OF TH E CULT Maroesja Perizonius Alice McShane Victoria Hollingsworth David Modell Ella Newton Ben Ferguson DM Productions / ITV1

M I NE RS’ ST R I KE 1 98 4 : T HE BAT T LE F O R B R I TA I N Tom Barrow Christian Collerton Zora Kuettner Neil Crombie Joe Evans Miriam Walsh Swan Films / Channel 4

TH E NO MI NAT I O N S Sports Coverage EUR O 202 4 Production Team BBC Sport / BBC One PA RIS 20 2 4 OLY M P I CS Production Team BBC Sport / BBC One WIMB L ED ON 202 4 Production Team BBC Sport, Wimbledon Broadcast Services / BBC One

THE NO MI NAT I O N S Supporting Actor ARIYON BA K A R E Mr Loverman Fable Pictures / BBC One CHRISTOP H ER CHUN G Slow Horses See-Saw Films / Apple TV+ DA MIA N L EW IS Wolf Hall: The Mirror and the Light Playground Entertainment, Company Pictures / BBC One JO N ATH A N P RYC E Slow Horses See-Saw Films / Apple TV+

M C KI NLE Y B E LC HE R I I I Eric SISTER, Little Chick / Netflix SO NNY WA LKE R The Gathering World Productions / Channel 4

TH E NO MI NAT I O N S Supporting Actress JESSI CA G U N N IN G Baby Reindeer Clerkenwell Films / Netflix K AT H ER IN E PA R K INSO N Rivals Happy Prince, ITV Studios / Disney+ MA X IN E P EA K E Say Nothing FX Productions, Color Force / Disney+ MO N ICA D OL A N Sherwood House Productions / BBC One N AVA MAU Baby Reindeer Clerkenwell Films / Netflix SUE J OH N STON Truelove Clerkenwell Films / Channel 4

THE NO MI NAT I O N S P&O Cruises Memorable Moment BRID GERTON “THE” carriage scene where Colin admits his true feelings for Penelope Shondaland / Netflix GAVIN & STAC EY: THE F I NA LE Smithy’s Wedding: Mick stands up Fulwell Entertainment, Tidy Productions, Baby Cow Productions / BBC One MR BATES VS TH E P OST O F F I C E Jo Hamilton phones the Horizon helpline ITV Studios, Little Gem / ITV1

RIVA LS Rupert Campbell-Black and Sarah Stratton are caught in a game of naked tennis Happy Prince, ITV Studios / Disney+ ST RICTLY C OME DA NC I NG Chris McCausland and Dianne Buswell waltz to “You’ll Never Walk Alone” BBC Studios / BBC One TH E TRA ITORS “Paul isn’t my son... but Ross is!” Studio Lambert / BBC One

HOW TO G ET IN VOLV E D We are an industry of storytellers. Stories change lives – they influence how we think, how we behave and they inspire us. It is crucial that the stories that are being told, and the storytellers, truly reflect the society we live in. To ensure this the screen industries must be open to talented people from all backgrounds. We work year-round to identify and tackle barriers to opportunity, ensuring that the next generation of filmmakers, game designers and screen arts creatives are supported to fulfil their creative potential. BAFTA is an independent arts charity and we need to raise all our own income. To support our work we rely on income from individual donations, trusts, foundations, corporate partnerships and membership subscriptions.

To find out more, and to explore ways you could support, contact: fundraising@bafta.org

JU R IES A ND C H AP T E RS CHILDR EN ’S : NO N -SCR IP TED Chair: Andrew Miller Ade Adepitan Perjit Aujla Ruth Ducker Crispin Evans Kara Gillespie Jacqui O’Hanlon Sarah Joyce Mark McMullen Davey Moore Jennifer Smith Richard Turley CHILDR EN ’S : SCRIP TED Chair: Anna Rafferty Jamie Badminton Anne Brogan Cerrie Burnell Paul Donnellon Liam Keelan Trevor Klein Kieran Larwood Elliott Palmer Aurelie de Troyer Jill Wilfert

C U R R E NT A F FA I RS Chair: Patrick Keegan Daisy Ayliffe Christine Garabedian Will Grayburn Ahmed Peerbux Caroline Sciama Iain Scollay Liam Thorp Mike Warner Sharon Whittaker DAY T I M E Chair: Rajiv Nathwani Abdullai Adejumo Nikki Bedi Scott Bryan Kirsty Calvert-Ansari Jasmine Dotiwala Chris Hooker Coco Jackson Cherry Sandhu Sohail Shah Tom Whitrow Destiny Williams

DRA M A S ER IES Chair: Hayley Reynolds Ian Aryeh Jane Harrison Sue Horth Claire Mundell Grace Ofori-Attah Kevin Sampson Alex Warren Derek Wax Kedar Williams-Stirling Tim Whitby EN TERTA IN M EN T Chair: Peter Andrews Ben Bhatia Jon Cahn Abigail Dankwa Joff Hatfield-Powell Saurabh Kakkar Camilla Lewis Famida Pathan Darren Smith Matt Worthy EN TERTA IN M EN T PE RF OR MA N C E Chair: Katie Player Dom Bird Andy Culpin Helen Finnimore Cat Lawson Remel London Elle Osili-Wood Carlos Rico Melony Smith Nutan Velji Gemma Whelan

FACT UA L E NT E RTA I NM E NT Chair: Carl Callam Charlotte Barker Lorraine Charker-Phillips David DeHaney Paddy Duffy Michelle Fobler Alexis Girardet Chris Hall Angela Scanlon Naomi Templeton Richard Trier Richard Walker FACT UA L SE R I ES Chair: Denise Seneviratne Samantha Anstiss Yemi Bamiro Molly Dennis Andrew Eastel Katharine English Connie Fisher Elspeth O’Hare Jamie Kataky Trevor Lopez de Vergara Ana De Moraes Paddy Wivell Benjamin Zand

FEMA LE PERF O R MA N C E IN A C OMEDY Chair: Sue Vertue Andy Brierley Georgia Brown Ed Bye Caroline Chignell Steve Edge Ben Gregor Lenny Henry Lucy Lumsden Yemi Oyefuwa Georgia Tennant IN TERN ATION A L Chair: Hilary Rosen Tommy Bulfin David Davis Danielle Lux Nisha Parti Ann Phillips Hugo Rifkind Jimmy Rumble Anne Thomopoulos Jack Thorne David Upshal Dearbhla Walsh

LE A D I NG ACTO R Chair: Ade Rawcliffe Hammed Animashaun Madonna Baptiste Harry Gilbert Neasa Hardiman George Kay Fiona Lamptey Elwen Rowlands Sophie Willan Rhys Yates LE A D I NG ACT R ES S Chair: Furquan Akhtar Sharma Angel-Walfall Daniel Edwards Colm McCarthy Jo McGrath Con O’Neill Cyril Nri Sarah Phelps Ambreen Razia Barrington Paul Robinson John Strickland

LIMIT ED DRA MA Chair: Dan Maynard Rakie Ayola Edith Bowman Shahnaz Dulaimy Joseph Fiennes Peter Hoar Alison Jackson Kitty Kaletsky Michael Keillor William Mager Jo Strevens Stephen Wright MA LE P ER F OR M A NC E IN A C OM EDY Chair: Adeel Amini Lewis Arnold Nathan Bryon Michelle Farr-Scott Tommy Forbes Kyla Harris Olisa Odele Emerald Paston Christine Rose Beccy de Souza Charlie Wernham

R E A LI T Y Chair: Claire Zolkwer Angela Arora-Wilson Mirella Breda Rob Carey Martin Dance Kieran Doherty Andrew MacKenzie-Betty Nicola Moody Jo Scarratt-Jones Luned Tonderai Adam Townsend S C R I P T E D C O M E DY Chair: Emma Butt Camille Adomakoh Mob Dar Andy De Emmony Gareth Heal Andy Hollis Caroline Hollick Tobi Kyeremateng Guy Lambert Lisa McGee Robert Popper Sara Sehdev

SH ORT F OR M Chair: Rajiv Nathwani Munya Chawawa Aaron Christian Scott Dewey Amira El Nemr Akaash Meeda Imogen O’Sullivan Juliet Riddell Jo Southwell Mat Steiner Clare Sturges SIN GLE D O CUM EN TA RY Chair: Alison Barnett Richard Bradley Cassie Cornish-Trestrail Tim Cragg Lizzie Gillett Grant Keir Jordan Pitt Ashok Prasad Alison Seymour Bushra Siddiq Klaudia Slowik Alan Williams

SP E C I A LI ST FACT UA L Chair: Christine Healy Jane Aldous Joy Ash Andrea Gibb Adam Hopkins Karen Kirk Andy Mundy-Castle James Newton Marcus Ryder Liza Williams SU P P O RT I NG ACTO R Chair: Anne Morrison Jacob Anderson Kola Bokinni Rem Conway David Farr Oliver Kent Philippa Lowthorpe Nima Nourizadeh Stella Nwimo Sofia Oxenham Charlotte Spencer Frith Tiplady

SUPP ORTIN G ACT R ES S Chair: Lara Akeju Taj Atwal Nicole Charles Isabella Eklöf Bethan Evans Boyd Hilton Daniel Ings Christine Langan Simon Maxwell Lee Morris Charles Steel

P & O C RU I SES M E M O RA B LE M O M E NT Chair: Hilary Rosen Scott Bryan Rhianna Dhillon Ada Enechi Ria Hebden Boyd Hilton Morgan Jeffery Mark Lawson Rod McPhee Nicola Methven Kay Riberio Kerri-Ann Roper Rachel Ward Laura Whitmore M E M B E R VOT E Live Event Coverage News Coverage Soap Sports Coverage

FOR DETAILS OF THE VOTING PROCESS, INCLUDING ANY KEY CHANGES MADE FOR 2025, PLEASE VISIT: awards.bafta.org/entry

BAF TA T EL E V IS I ON C RA F T AWA R DS 202 5 WI N NE RS Official Television Craft Partner: Ecotricity

Children’s Craft Team TH E VE LVETEEN RA BBIT Tom Bidwell Jennifer Perrott Rick Thiele Sarah Brewerton Anna Rackard James Mather Magic Light Pictures / Apple TV+

Costume Design ERIC Suzanne Cave SISTER, Little Chick / Netflix

Director: Factual B I LLY & M O LLY: A N OT T E R LOV E STO RY Charlie Hamilton James Silverback Films / National Geographic

Director: Fiction Sponsored by 3 Mills Studios

BA BY R EIN DEER Weronika Tofilska Clerkenwell Films / Netflix

Director: Multi-Camera GL ASTON B U RY 20 2 4 Janet Fraser Crook BBC Studios Music Productions / BBC One

Editing: Factual LIFE A N D DEATH IN GA Z A (STORY VIL LE ) Sarah Keeling BBC World Service, BBC Eye / BBC Two

Editing: Fiction SLOW H ORS ES (EPIS ODE 1) Robert Frost See-Saw Films / Apple TV+

Emerging Talent: Factual JA BE R BA DWA N (DIRECTOR OF PHOTO G RA P H Y ) Kill Zone: Inside Gaza Basement Films / Channel 4

Emerging Talent: Fiction Sponsored by Sara Putt Associates LU C I A KESKI N ( WR I T E R ) Things You Should Have Done Roughcut Television / BBC Three

Entertainment Craft Team

Sponsored by Hotcam TAS KM AST E R Andy Devonshire Rebbeca Bowker James Dillon Dru Masters Avalon UK / Channel 4

Make Up & Hair Design R I VA LS Jill Sweeney Abi Brotherton Nathalie Allan Tiffany Pierre Franziska Roesslhuber Martine Watkins Happy Prince, ITV Studios / Disney+

Original Music: Factual RAGE AGA IN ST TH E REG IM E: IRA N Noor Khaleghi BBC Current Affairs / BBC Two

Original Music: Fiction BA D SISTERS Tim Phillips PJ Harvey Merman, ABC Signature / Apple TV+

Photography: Factual STAT E OF RAG E Marcel Mettelsiefen Duskwater Films / Channel 4

Photography & Lighting: Fiction SHŌ GU N Christopher Ross FX Productions / Disney+

Production Design Sponsored by Microsoft

R IVA LS Dominic Hyman Happy Prince, ITV Studios / Disney+

Scripted Casting S U PAC E LL Isabella Odoffin Netflix, New Wave Agency, It’s A Rap / Netflix

Sound: Factual S E C R ET WO R LD O F S O U ND W I T H DAV I D AT T E NB O R O U G H Brian Moseley Angela Groves Paul Fisher Chris Watson Ioannis Spanos Humble Bee Films, Infield Fly / Sky Nature

Sound: Fiction S LOW HO RS ES Andrew Sissons Martin Jensen Joe Beal Alex Ellerington Duncan Price Abbie Shaw See-Saw Films / Apple TV+

Special, Visual and Graphic Effects TH E LOR D OF TH E R IN G S : TH E RIN GS OF P OW ER Jason Smith Richard Bain Ryan Conder Chris Rodgers Amazon MGM Studios / Prime Video

Titles & Graphic Identity SWEETP EA Peter Anderson Studio See-Saw Films, fanboy / Sky Atlantic

Writer: Comedy IN SID E N O. 9 Reece Shearsmith Steve Pemberton BBC Studios Comedy Productions / BBC Two

Writer: Drama BA BY R EIN DEER Richard Gadd Clerkenwell Films / Netflix

The Special Award E AST E ND E RS Celebrating 40 years on screen this year, EastEnders is the recipient of this year’s Television Craft Special Award; one of the highest honours bestowed by BAFTA. The award honours the show’s long-term commitment to nurturing new talent through its production process, which has enabled the development of many of the UK and international film and TV industry’s top behind-thecamera talents. The show has a rich history of identifying, investing in and nurturing new talent through a variety of trainee schemes. Starting in 2015, it participated in the BBC’s Continuing New Directors’ Training Scheme, whilst in 2021 it demonstrated its commitment to addressing the chronic underrepresentation of talent from minority groups in the field of directing, by partnering with Directors UK on the Diversity Director Training Scheme. In the past year, it has also launched three new talent schemes: the Writers Studio, Ascend Acting Workshops and the MultiCamera Directing Course.

OFF I CE RS OF T H E ACA D E M Y Officers HRH The P r i n c e of Wal e s, KG K T President

Board of Trustees S ara Pu t t Chair Julie La’ B a s s i e re Deputy Chair Siobhan Re d d y Deputy Chair Anna H i g g s Chair, Film Committee

B al S am ra Co-optee and Chair, Finance and Commercial Committee and Chair, Governance and Appointments Committee Su z i B re n n a n Co-optee and Chair, Audit and Risk Committee

Hilar y Ro s e n Chair, TV Committee

C o - o pt e e s Sally Habbershaw Patrick Keegan Ralph Lee Andrew Miller MBE Joyce Pierpoline

Ade Rawcl i f fe Chair, Learning, Inclusion and Talent Committee

Ho n o rar y Ad v i s o rs Medwyn Jones Marc Samuelson

Tara S au n d ers Chair, Games Committee

Executive Jane M i l l i ch i p Chief Executive Officer With Thanks to Barbara Broccoli CBE, David Gardner OBE and Dame Pippa Harris DBE

Members of the Television Committee Hilary Rosen Chair Christine Healy Deputy Chair Furquan Akhtar Adeel Amini Pete Andrews Alison Barnett Emma Butt Carl Callam

Caroline Levy Rajiv Nathwani Katie Player Ade Rawcliffe Hayley Reynolds Denise Seneviratne Sue Vertue Claire Zolkwer

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AC K N OW L E D G E M E N T S

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BAFTA WISHES TO THANK... T V C OMPA N IES A N D B R OA D CAST E RS F O R TH EIR IN VA LUA B LE AS SI STA NC E A L A N C U MMIN G – Host TOM ALLEN, SUZI RUFFELL – Red carpet hosts, BAFTA online content RACHELL SMITH – Portrait Photography ALL STAFF AT BAFTA

P&O CRUISES – Headline Sponsor, Official Nominees’ Party Supporter With thanks to: BBC – Ceremony Broadcaster PENNY LANE – Ceremony Co-Producers Caper & Berry

L&S Printing

Company of Cooks

Nix Media

Creative Technology

Pace Prestige Services

Multitude Media

Republic of Photography

EMG

Southbank Centre

Ginger Owl

Theatre Sign

Getty Images

Woodbrown

Ingenius

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C R E D ITS EDITOR - Claire Marie Healy DESIGN & COVER ART - Fever Design Ltd SUB-EDITOR - Alec Holt AD SALES - Amy Elton, Mollie Ratcliffe PHOTOGRAPHY DIRECTOR - Claire Rees JUNIOR PHOTOGRAPHY PRODUCER - Rebecca Gray PRINTER - FE Burman Ltd BAFTA chooses Arena Smooth by Fedrigoni Paper, supporting excellence in print. Printed on Arena Smooth Extra White 350gsm (cover) and Arena Smooth Extra White 140gsm (text). Supplied by FE Burman Ltd. The carbon impact of this paper has been measured and balanced through the World Land Trust, an ecological charity. Certificate no.: CBP030442 The papers used for this year’s tickets and programme are Forest Stewardship Council® certified, and are 100% recyclable. Executive portraits: BAFTA/Scott Garfitt (HRH The Prince of Wales); BAFTA/ Lily Sadin (Jane Millichip), BAFTA/Ellie Smith (Sara Putt). Mr Bates vs The Post Office images courtesy of ITV. Although every effort has been made to ensure the accuracy of the information contained in this publication, the Publishers cannot accept liability for errors or omissions. No part of this publication may be reproduced without the written permission of BAFTA.

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BAFTA 195 Piccadilly London W1J 9LN +44 (0)20 7734 0022 reception@bafta.org bafta.org

CBP030442

I’m starring in my own adventure (and a romance, and a comedy…)

HOLIDAY LIKE NEVER BEFORE

BAFTA TV Awards 2025 Show Notes