2026 BAFTA Television Awards with P&O Cruises Show Notes
As President of BAFTA, I am delighted to welcome you to the BAFTA Television Awards with P&O Cruises.
Tonight, we come together to honour an extraordinary year – one defined by a remarkable range of storytelling and an inspiring depth of talent across our industry.
Moments like this allow us to pause and properly celebrate the creative brilliance that powers the TV industry in Britain and around the world.
I am immensely proud of BAFTA’s continuing dedication to the next generation of screen talent. The UK is home to some of the most exciting TV talent anywhere, and BAFTA plays an essential role in supporting creatives and practitioners at every level to grow, take risks and build lasting careers. From bursaries that provide immediate financial assistance for emerging creatives, to peer-to-peer networking and mentorships, as an arts charity BAFTA is focussed on opening doors for people from every background, and at every stage of their journey.
I know that many of you here tonight play a part in making that possible. BAFTA is deeply grateful for that support.
My warmest congratulations to all of this evening’s nominees. Tonight is a well-deserved celebration.
HRH
The Prince of Wales, K� , KT President of BAFTA
A very warm welcome to London and the 2026 BAFTA Television Awards with P&O Cruises.
Tonight, we celebrate an exhilarating mix of genres, voices, and visions. From authored drama to live broadcast, this year’s roster reminds us all that the television community remains fearless, inventive and at the top of its craft.
BAFTA exists to champion screen culture, inspire new talent, and to open doors for the next generation – a mission that is in large part achieved thanks to our community of members. This year, we reached a significant milestone: more than 14,000 members now call BAFTA home. Our community of exceptional professionals continues to grow, and we remain committed to ensuring BAFTA represents the diversity of talent working in the screen arts today. That commitment is tangible. In 2025, 86 emerging creatives shared £277,000 in BAFTA scholarships and bursaries, helping to facilitate and accelerate their careers.
This evening, as we champion excellence across the industry, we congratulate everyone who contributed to this year’s nominated TV programmes. This industry wouldn’t thrive without your hard work, and we hope you have a fantastic evening in recognition of that.
Jane Millichip, BAFTA CEO Sara Putt, BAFTA Chair
P&O Cruises Memorable Moment Award
Good luck to all the nominees!
Adolescence
Blue Lights
The Celebrity Traitors
Big Boys
Last One Laughing
What It Feels Like For A Girl
I am delighted to welcome you to the 2026 BAFTA Television Awards with P&O Cruises.
P&O Cruises is incredibly proud to be the headline partner of these prestigious awards for the fourth year running. We’re passionate about the arts and entertainment on our ships and ashore in the destinations we explore, making this collaboration a natural fit. In 2026, we are also excited to be working closely with BAFTA on a new initiative that will support the charity’s mission in a directly impactful way, all while spotlighting the power of the UK screen arts as a whole.
As Britain’s favourite cruise line, we sail to some of Earth’s most spectacular destinations. Whether our guests choose the Norwegian fjords, Caribbean islands, the Mediterranean, or a Grand Tour to the other side of the world, they return with incredible stories to share. And, as lovers of adventure and originality, many of our guests will have been glued to the stand-out TV moments of 2025.
In particular, we can’t wait to discover this year’s winner of the P&O Cruises Memorable Moment Award – the only award tonight to be decided by the British public.
Good luck and huge congratulations to all the amazing nominees. I hope you have a wonderful evening!
Paul Ludlow Carnival UK & P&O Cruises – President
THE HOST
Greg Davies Is up to the Task
When asked to describe how he feels about helming this year’s BAFTA TV Awards, Greg Davies is as frank as his assessments of comedians’ efforts on Taskmaster. “It feels sickening,” says the stand-up, writer, actor, and your host this evening. But that’s not, as you may suspect, because of any nerves.
At last year’s ceremony, Davies stood before the audience to announce the winner of the Entertainment Performance award, and his preamble delivered a showstopping broadside soaked in irony and self-deprecation. Despite his Taskmaster and Never Mind the Buzzcocks performances making him eligible for the category, he hadn’t received a nomination; in fact, his last BAFTA nomination was in 2013 for his performance in the BBC comedy Cuckoo. Now Davies is hosting the very ceremony at which he’s never won an award. “It sickens me to my stomach,” growls the presenter, a smile breaking across his face. “And on the 10th of May everyone’s going to pay. Everyone is going to pay.”
Davies’ delight in comedic anarchy was hardwired into his psyche from his teenage schooldays in Shropshire at Thomas Adams School, when the discovery of a groundbreaking BBC sitcom flipped his world upsidedown. “I discovered my gang of friends in what we’d now call Year 10, and I realised there were other people who were bad at sport and weren’t cool,” he recalls. “We’d be in the corner of the playground making up silly characters. Then The Young Ones came out. It blew our minds. We said, ‘Someone’s got inside our heads and turned it into a TV show!’ It was a life-changing experience for me.”
Long before his career-defining roles in sitcoms including The Inbetweeners, Cuckoo, Man Down, and The Cleaner, he “starred” as comedian Rik Mayall in performances by a set of school stairs where he and his friends would meet on Mondays to discuss the show. “I was always Rik-obsessed and, weirdly, I’ve physically morphed into him over the years. I liked Rik so much, my face turned into his.” Later, Rik played Greg’s prankster dad on Man Down – and it seems the resemblance is co-signed. “I recently met Rik’s sisters at an event and they all said, ‘Oh God, you look like him! You remind us of him!’”
Prior to his Mayallmorphosis, Davies underwent another, more profound, transformation. Today he can fix a glare on Taskmaster contestants so hard it would reduce Paddington to a marmalade puddle, but this on-stage confidence took years to forge. While studying Drama and English at Brunel University of London, he went to a comedy club for the first time and quickly decided stand-up was beyond him. “The Bearcat, a comedy club in Twickenham I’ve subsequently played at many times, was my first experience of live comedy and I was terrified by it,” he admits. “I was absolutely enchanted by live comedy, but the idea I would ever end up performing stand-up was preposterous to me.”
That night, while magical, was a setback to the comedy-obsessed undergraduate. “I knew that you
Thr EE s h OW s T haT s ha PE d g r E g…
The Young Ones (1982–84)
This was the first time I thought a show hadn’t been made for my parents, it had been made for me and my friends. There was swearing, the characters were childish, and there were gross jokes. It was just anarchy – and a game changer for me.
Greg presenting onstage at last year’s ceremony
“There should be years of anguish before you even think that you might be a tiny bit funny…
I’ve only just allowed myself to safely say: this is my job now”
Thr EE s h OW s T haT s ha PE d g r E g…
Seinfeld (1989)
I’ve been rewatching Seinfeld over and over, like it’s a comfort blanket. To be honest, it doesn’t make me laugh out loud in the way some shows do, but it’s a great example of escapism. Special TV shows make you want to exist in their bubble for a while. Seinfeld has become a show where, if I’m feeling a bit blue, I’ll go and live with those four idiots for a while.
could do open spots, but I would never have dreamt of having the courage to do one,” he says. “It took me 13 or 14 years after university to even contemplate performing stand-up.”
By the age of 33, after over a decade of teaching Drama and English at secondary schools, Davies signed up to comedian Logan Murray’s stand-up course, which fostered the “safe and gentle” setting that he today credits as the reason why he was able to move into comedy.
As someone who started later in life, the raft of comedians around today who are already veterans in their twenties bemuses Davies. “To build up to my tour I’ve tried out material in clubs where there are foetuses onstage, who are hugely confident and have beautifully constructed material,” he jokes. “They don’t [possess] the crushing insecurity I thought was a prerequisite for comedy. There should be years of anguish before you even think that you might be a tiny bit funny,” adding, “Let me get it on the record: I absolutely resent talented young people who haven’t been through years of mental torture.” If there are any young comedians burdened with self-confidence, this statesman of British comedy is here to help. “My advice to young comedians is get off the stage, have an extended breakdown, and then come back!” he laughs. Stand-up is no longer a “terrifying environment”; in 2025 Davies started touring Full Fat Legend, his first live tour in seven years, and the show runs all the way into 2027, with dates in Australia and New Zealand. “I can’t believe I’m paid to perform live," he says. “I’ve heard a lot of comics say they don’t like touring, but I don’t get that. I intend to keep touring for as long as I can, because there’s nothing like the buzz of a live gig.”
In conquering his greatest fears, he didn’t just open up a career in stand-up, but also in TV. The comedian first befriended writers Damon Beesley and Iain Morris after they’d come to watch him, and the three were in the pub one day when Beesley and
Morris received a call from Channel 4 about their sitcom Baggy Trousers . It would blossom into the beloved coming-of-age comedy The Inbetweeners. “I was having a pint with them when they got the commission for the pilot, and they said, ‘Do you want to be the teacher?’ That was a very lucky break. I owe Mr. Gilbert a great debt.”
While his TV career grew, his confidence in the viability of a comedy career was still pinned down by shards of anxiety. “It’s only in the last two or three years that I haven’t genuinely thought, ‘Could I go back to teaching?’”, he laughs. “I’ve probably only allowed myself in the last three years to safely say: this is my job now.”
This evening he can add awards host to his job description, as he presents a ceremony which has proved annual viewing for him. “I have a respect for the history of these awards and I’ve watched the BAFTAs my whole life. I’m excited to be the host, and I will modify my usual comedy so it’s broadcastable,” he teases. “My plan and hope is to foster a happy atmosphere.” This is quite unlike his approach to Joe Lycett’s 2025 award for Entertainment Performance, which Davies accepted on the absent winner’s behalf. “I destroyed it in my garden with a lump hammer,” he says. “I told Lycett that’s what I’d do.”
Thr EE s h OW s T haT s ha PE d g r E g…
Alan Partridge in various (1994–present)
Alan Partridge is a great piece of satire on a certain genre of broadcaster but, at the end of the day, it’s just laugh out loud funny. That’s what draws me in. I've always been drawn to the people who are out-and-out trying to make people belly laugh – which is why I should also give an honourable mention to Harry Enfield.
Picture: Rachell Smith
THE YOUNG BAFTA SPECIAL AWARD
Blue Zoo Thinks Outside the Blocks
At the turn of the millennium in Bournemouth, three C � I Animation students – who only really knew each other through the occasional game of football – had little idea of what would grow out of their first meeting in a student bar about starting their own company. Some 25 years later, in December, that same company was awarded a BAFTA Special Award for their contributions to children’s animation. It all began, as co-founder Oli Hyatt MBE puts it, almost as an “antiidea” – sparked by a particularly uninspiring graduate presentation – and can today call itself one of the UK ’s most influential animation studios. Together with Tom Box and Adam Shaw, the studio is known for its work on some of our most recognisable children’s series: creating The Adventures of Paddington and Pip and Posy , as well as co-producing Alphablocks and Numberblocks (with Alphablocks Ltd).
Connecting everything is the team’s dedication to distinctive visual craft, alongside storytelling designed to inspire curiosity, confidence and creativity in young audiences.
Across more than two decades, the studio has maintained a quietly independent approach, evolving its own creative and technical processes
rather than replicating existing studio models. As Box puts it, whenever someone says “that’s just the way it’s done”, their instinct has always been to ask whether there might be another way. That spirit of experimentation has extended beyond the studio itself: Hyatt has played a key role in campaigning for animation tax credits and supporting the wider UK animation sector. Blue Zoo’s work has also often balanced entertainment with meaningful educational impact – particularly through the globally successful Blocks series, which has helped children develop early literacy and numeracy skills.
Today, as children’s media continues to evolve across broadcast, streaming and digital platforms, Blue Zoo remains committed to storytelling that offers more than mere fleeting distraction. Whether through creating narrative worlds that encourage imagination, or characters that invite discussion, its work reflects a belief that children are not only audiences, but participants – curious viewers shaping the future of the medium itself. Here, Hyatt, Box and Shaw reflect on the early days of the studio, the values that continue to guide its work, and why meaningful storytelling for younger audiences has never mattered more.
Can you take me back to when you first got together, and the early years of Blue Zoo?
TOM B Ox and a da M s haW Oli can do it, because he started it!
O L i h yaTT
It was a very particular moment in time. Autodesk had just reduced the cost of the software we were using for both educational and commercial licences, to a level where you could realistically learn on it at university and then set up a business. Before then, it would have been impossible.
So, we were on one of only two C � I courses at the time, down at Bournemouth, and suddenly our work looked way better than years before. In that same year, a group of ex-students who’d set up their own business came in to give us a talk, and they were awful. Their showreel wasn’t very good, they weren’t very personable, but they kept saying they were making money. I just thought, if they can do it, and we’ve got a really talented year… why don’t we set up a company? It almost came as an anti-idea to that presentation. We interviewed people from our year group, and we picked Adam and Tom. It ended up that if Adam or Tom hadn’t wanted to do it, we probably wouldn’t have set the company up, because we all brought different skills. And we weren’t best mates at all. It was more that we seemed to share a similar view of the world: an ethos about what doing business is about, and why we wanted to do it.
TB You interviewed us under the staircase of a student bar.
O h The funny thing is, other people I interviewed said, if you can get Adam and Tom, that’s better than us. So I thought, okay, I’ll write that down. Worst interview ever, for them!
How did you get from that point to actually making work?
TB We started the company with absolutely no idea how the industry worked and zero contacts. We went to our university degree show mainly to get some
Development sketches for It’s Pony and Lynx & Birds
B Lu E Z OO ’s Ear L i E s T T ELE visi O n M EMO ri E s
Oli: Bagpuss
I simply loved everything about it: the humour, the silly songs, and the characters. My favourite episode was the hilarious biscuit factory.
Adam: Mr Benn
I remember the theme tune being so strong, and him going into the changing room and putting on a different outfit and it taking him on a different story… there was just something about it that felt really cosy and warm.
Tom: Button Moon
I loved the fact that the rocket was a baked bean tin. It was that pure, simple kind of storytelling. You don’t need immense visual complexity to make something that is beautifully enjoyable. Simplicity is often the best way to do things.
free beer and see our mates. It happened to be in the basement of a VFX company in Soho. By chance, [the late broadcasting executive] Kay Benbow happened to be there saying they had a new channel launching and needed content. Our tutor pointed them towards us and said, “They’re starting a company.” That’s how we got our first commission for the launch of CBeebies in 2002.
It really was that perfect Venn diagram moment: suddenly you could do computer animation on a home PC without needing incredibly expensive hardware, and at the same time multichannel TV was expanding and needed content. It was a window of opportunity and we happened to be there at the right moment. From the beginning, the goal was simply to make content we enjoyed making and were proud of. That’s still the case now.
What has been the through-line of the Blue Zoo approach?
as In the early years, when we were about 16 people, I remember thinking, this is enough: there’s no way we can properly oversee more people than this. One of the biggest lessons over time was bringing in the right people: people better than you at what they do, who share the same ethos. It’s about building a culture and growing organically, so the company improves because of the people you bring in.
TB We’ve always grown cautiously. Over the years we’ve seen companies implode when they’ve taken a “build it and they’ll come” approach. We’ve always tried to grow just slightly outside our comfort zone, but not so far that we risk everything we’ve built. I’d describe it as being optimistically cautious…
O h We’ve also tried to contribute to the wider animation community, not just focus on our own business. I campaigned for animation tax credits and helped set up Animation UK . These guys let me take time out to work on that. I’ve been on the (then) BAFTA Children’s Committee. Tom’s worked on skills groups.
We believe the success of the wider industry matters as much as our own.
We’ve always believed talent can come from anywhere. We’ve tried to make the company as inclusive as possible, and where we’ve made mistakes, we’ve tried to do better. That’s part of why we became a B Corp – it reflects something we were already trying to build in terms of sustainability and responsibility to our staff.
TB Because we didn’t come from other studios, we evolved in our own way. Many animation companies are set up by people leaving existing studios, so they repeat the same processes. We never had that. We just experimented, learned from mistakes, and kept adapting.
How do you stay flexible as the industry shifts so quickly?
TB One of our biggest concerns is becoming too big to move as quickly as the world is moving. Going from a few people in a room to hundreds of people globally changes things. There’s also the risk of complacency – thinking success means that you don’t need to change. But nobody has it completely figured out. Being transparent internally helps everyone work through that together.
O h We’ve adapted quickly – moving into YouTube, digital, games, merchandise. As the gatekeepers broke down, we took more control of our own IP.
TB Yeah. Whenever someone says, “that’s just the way it’s done,” we tend to think there might be another way. We’ve always tried to cut our own path, creatively and technically.
O h We’ve also pushed back where necessary. For example, we’ve been very active in conversations with the government about how the children’s content ecosystem depends on public service broadcasters like the BBC .
What feels unique about making content for children right now?
“Children are an incredible audience because they’re open to everything – you can inspire creativity, curiosity and confidence”
Adam Shaw
Adam, Oli and Tom receiving their BAFTA
O h There’s never been a more interesting time. Budgets for children’s television have declined significantly since 2002, much more dramatically than in content for adults. It’s only now, as parents become more concerned about what children are watching online, that governments are really paying attention. So there are discussions about regulation of social media, YouTube, mobile phones – all sorts of things. It’s complex.
as Ultimately, if screen time is a reality, what matters is what children are watching. The world often feels quite negative, so one of the most important things is having a positive impact on our audience. Children are an incredible audience because they’re open to everything. You can inspire creativity, curiosity and confidence. We create educational content and entertainment, but both aim to provide positive role models and ideas children can take forward.
O h What worries me about some online content is that it can feel like constant noise – quick jokes, instant gratification. With narrative storytelling, children can form opinions about characters, anticipate what happens next, and discuss ideas with family. That has real value, even when the content isn’t explicitly educational.
Which projects are you most proud of?
O h The Adventures of Paddington is a beautiful show, but in terms of impact the Blocks series is extraordinary. We receive letters every week describing how the shows have changed children’s lives. We’ve heard from families whose children discovered a love of maths through Numberblocks. One of the youngest children ever admitted to Mensa was said to have learned through watching it. We’ve also heard from the parent of a non-verbal autistic child who began communicating after watching Alphablocks. Those kinds of stories are incredibly moving.
TB One project I’m particularly proud of is a short film we made with Papyrus, the youth suicide
prevention charity. During the Covid-19 pandemic we offered to create a film for them for free, while also using it as an opportunity for technical R&D and giving staff the chance to direct. The animators even performed the music themselves. It genuinely aimed to help save lives. When people talk about impact, that was a very real example. as I’m especially proud of all the projects that originate internally: where an idea develops from concept stage through to production and audience response. Seeing that full journey, with teams contributing creatively all the way through, is incredibly rewarding. It’s very difficult to get long-form projects made, so seeing those ideas reach audiences is really special.
How did it feel to receive this recognition from BAFTA? O h BAFTA has been an important part of our journey for many years. We were nominated quite early on, which helped open doors. Receiving the Special Award – particularly given previous winner Kay Benbow’s connection to our early story – feels incredibly meaningful.
It also feels like recognition not just for the three of us, but for the many people who’ve worked with the company over the years. Thousands of people have contributed to what Blue Zoo is, and many have gone on to build their own careers across the industry. In that sense, the award belongs to a much wider community.
TB What makes this recognition special is that it acknowledges the broader impact of the work. Often the positive effects of children’s content aren’t visible in the same way as the animation itself. So to have that recognised is very meaningful. as It was also a complete surprise. Everyone was focused on the work, and suddenly receiving that news makes you pause and reflect in a really positive way.
TB And we received the letter on our 25th anniversary, which felt like very good timing!
“You don’t need immense visual complexity to make something beautifully enjoyable. Simplicity is often the best way to do things”
Tom Box
Paddington and an Industry Plant…
THE TELEVISION CHAIR
Champions Excellence
Hilary Rosen
As the director of commissioning at UKTV, Hilary Rosen has spent her career helping shape the programmes audiences return to week after week. Now chair of BAFTA’s Television Committee – as well as deputy chair of the Board of Trustees – she plays a central role in recognising the collaborative craft that makes TV more thrilling and accessible than ever.
Having entered the industry at a time when pathways into TV were too often hidden behind a curtain, Rosen is passionate about continuing BAFTA’s dedication to evolving access. The landscape has certainly changed dramatically: from a handful of terrestrial broadcasters to a global, digital ecosystem where ideas can emerge from many directions. Through all those shifts, Rosen believes the fundamentals remain the same: strong ideas, genuine collaboration and a shared commitment to really great TV.
Ahead of this year’s Television Awards with P&O Cruises, Rosen reflected on the industry shifts that matter, the value of mentorship at every level and why recognising the work behind the camera continues to be so vital for the health of the industry.
“People often say, ‘How can you compare this show with that show, they’re completely different…’ Excellence gives you a way to have that discussion”
Hilary Rosen
Can you describe how through how you first started interacting with BAFTA and that process through the years?
Well, when people talk about their BAFTA career, people will say, “Back in 1776 when I joined BAFTA…” [laughs]. But no, I don’t have a long BAFTA career. I joined the BAFTA Television Committee in 2021 as the UKTV [multi-channel broadcaster] rep, as a co-optee. On TV, we have elected positions, and we have co-opted positions, and the latter were positions for broadcaster representation at that time.
Within a year or two, the opportunity to stand for chair of the Television Committee came up, and after finding out more, I was interested. And I got elected! I didn’t even really know how it worked at first. You have to stand for election, and that means putting yourself forward and accepting that people may or may not vote for you. And I remember thinking, “I don’t know if I want to do that, I don’t know if I want to put myself out there.” But that is how BAFTA works, because it’s a membership organisation, and people beyond the committee need to believe that you’re the right person to be chair. I might not have been elected, and therefore I wouldn’t have been able to do the role – but that’s how democracy works. BAFTA is an academy representing members, it’s an awards body and it’s a charity. When you’re elected, you’re always having to think about those three spheres and how they interact.
What are the particularities of Tv right now compared to those other areas of BAFTA?
TV has a very strong British culture, but increasingly international ways of working and collaboration are changing the landscape. In terms of content, there has never been a better time. There is an enormous amount of extraordinary work being made.
At the same time, we are very aware as an industry that we are facing a real crisis in terms of job losses. So people might be sitting in the room about to receive
“Whenever I chair a BAFTA jury, I always say that it will probably be the best conversation about television that I have all year”
Hilary Rosen
an award for some amazing work, and they may not currently be working. We can’t just say everything is brilliant when people are also experiencing real challenges in the industry.
Would you say the internet and streaming have been the main ground-shifting change?
It’s the democratisation of making content. When I started, there were four terrestrial channels, and the people who ran those channels effectively held the budgets and were the taste-makers. The impact they had was enormous.
Now, if you want to make content, you can just go and make it and put it out there. For years we thought that was something happening somewhere else – niche or separate from mainstream television – but that distinction has gone.
Streaming has also changed how we think about television. We don’t talk about transmission in quite the same way anymore. We think about when we publish content and how audiences will encounter it. Are we dropping the whole box set? How are people going to watch it? We no longer think only in terms of a linear play.
Can you talk about the process of judging a BAFTA category, from your experience on that side of things?
Excellence is our single criterion. It’s very useful when you are chairing juries because it helps keep the conversation focused. People often say, “How can you compare this show with that show – they’re
M a K ing T v ha PPE n
Nearly 200,000 people work behind the camera across the UK’s screen industries: from editors and sound designers, to VFX artists and lighting technicians.
completely different.” That happens particularly in factual categories. Excellence gives you a way to have that discussion.
It also helps guard against the idea of popularity being the deciding factor. We have the P&O Cruises Memorable Moment Award, which is a public vote, and that’s more about impact and talkability. But when juries are discussing excellence, they are focusing on the highest level of craft.
For example, when you are judging performance, it helps bring the conversation back to the performance itself, rather than the writing or the music or other elements of the production. People might talk about range, or nuance, or how the performance works within the world of the programme.
What I love most about television is the collaboration. It’s always about collaboration. You have an orchestra of different crafts working together, and when everybody is working at their best in relation to each other, that’s when something really special happens. It’s easy to say that, but it’s actually very hard to achieve.
What first drew you to Tv?
Like most people, my first experience of TV was as a viewer. As a child, television feels like a magical space. It’s constantly changing and offering something new. You might begin with children’s programming, and then gradually encounter different kinds of storytelling that stay with you. I remember watching Channel 4 when it launched and feeling that something genuinely new was happening. Certain images or programmes stay in your memory. You respond emotionally to them, even before you think about the possibility of working in the industry.
It wasn’t a quick process for me. I didn’t initially feel confident saying I wanted to work in television because it felt like such a reach. Eventually I found a route in, and that involved many small steps. My first job was as a researcher on Panorama, and it had
taken time to reach the point where I could even apply for that role.
Even now, I think many people still feel a sense of amazement that they get to do this work. Television is collaborative, creative and constantly evolving.
Has anything stayed the same?
Ideas. It always starts with ideas. When I first went into an ideas meeting, I didn’t yet understand how complex the process was of taking an idea and turning it into a piece of television. That is something you keep learning throughout your career. But everything begins with the idea.
Has the democratisation of media created opportunities as well as challenges?
It has opened things up, but it can also be more complicated than it looks. Someone might have a successful presence online and assume that will translate directly to television, but the contexts are different. I remember when [rapper and TV chef] Big Zuu’s content came into a development meeting. There was an immediate feeling that he was compelling and engaging, that he had something distinctive. When you feel that connection, you take a risk. But most television ideas don’t ultimately work. That is part of the process. Audiences are extremely knowledgeable because they watch so much content. They quickly recognise whether something connects with them. Identifying ideas that resonate widely is very challenging.
What industry conversations over the last few years have felt positive?
Sustainability has been an important focus. BAFTA Albert is internationally respected, and UKTV was the first broadcaster to Albert-certify all of its content. That work continues to develop. BAFTA’s charitable activity is also very significant. Training programmes and outreach initiatives help people understand the range of careers available in television. There are so
“In TV you have an orchestra of different crafts working together, and when everybody is working at their best in relation to each other, that’s when something really special happens”
Hilary Rosen
many roles beyond those that are most visible on screen – technical roles, craft roles, creative roles, organisational roles. Communicating that breadth of opportunity is important.
What are BAFTA jury conversations like?
Whenever I chair a BAFTA jury, I always say that it will probably be the best conversation about television that I have all year. People come prepared, they have watched a great deal of material, and they take the responsibility seriously.
Winning a BAFTA can have a real impact on careers, so jurors are very committed to reaching the right decision. Those conversations are thoughtful, detailed and often very inspiring. People care deeply about recognising excellence.
REINTRODUCING BAFTA ALBERT
For 15 years, BAFTA Albert has stood side by side with the UK ’s screen community to turn the power of incredible storytelling into measurable climate action – on set, in studios and on screen. From providing practical tools, to inspiring issue-driven content, we explore how BAFTA Albert can help you to accelerate your production’s sustainability.
As BAFTA Albert marks its fifteenth year, the industry’s momentum around climate action is real and growing. More production teams are designing sustainability in, from day one. More studios are raising their game, and more creatives are weaving climate action and sustainability into stories, across genres, with nuance and heart.
Backed by BAFTA’s creative DNA and industry expertise, BAFTA Albert’s work continues to support and inspire the screen community to make sustainable choices and meaningful differences. Their guidance cuts through the complexity of environmental impact by providing practical tools, clear standards, direct actions, and – just as importantly – celebrates change and progress.
As we celebrate 15 years of commitment to accelerating industry sustainability, here are three key areas of BAFTA Albert’s work that everyone in the screen arts should know.
ACCELERATE 2025
A landmark report from BAFTA Albert that translates real production data into 12 practical recommendations, enabling teams to reduce carbon and costs together, eliminate waste, and lead the way for future screen projects.
TOOL s T haT T urn in TE n T in TO aCT i O n
From development to delivery, BAFTA Albert’s Toolkit supports smart, sustainable decisions from the outset of the production process. The resulting BAFTA Albert certification, featured at the end of TV programme and film credits, demonstrates to audiences that the teams behind them have actively worked to minimise the environmental impact of the production.
More productions than ever are doing exactly this year on year – with the number applying for certification rising by 25% in 2025. And, at time of writing, 2026 is already showing record numbers of applicants for BAFTA Albert certification.
The Next Generation Toolkit, launching in the second half of 2026, sits at the heart of BAFTA Albert’s future climate action work, transforming the quality of data and industry insights available.
aCT i O ns T haT aCCELE raTE P r O gr E ss
By analysing data from BAFTA Albert’s Toolkit, bringing together cross-industry expertise and the latest thinking on sustainability, BAFTA Albert has developed industry guidance with direct actions for productions to significantly reduce their carbon emissions.
Case studies, research and evidence from audiences and academics have also been developed into resources and training programmes, inspiring creatives to evolve the next era of climate content and sustainable storytelling.
SPARK: Achieving Clean Temporary Power by 2030
Validated by independent experts at Imperial College London, SPARK: Clean Temporary Power by 2030 maps the industry’s path away from diesel towards clean temporary power, supported by a cross-industry Statement of Intent signed by BBC, BBC Studios, BFI, Channel 4, Fremantle, ITV, ITV Studios, Netflix, Pact, Sky, UKTV and Universal International Studios.
Putting Nature in the Picture
A new year-long initiative designed to inspire and equip screen creatives to help reconnect audiences with the natural world: including a Creative’s Guide, a Deep Dive featuring leading screen professionals, and an inspirational short film.
sTO ry TELL ing T haT has an i MPaCT
The first Impact Producer Accelerator cohort – made up of 15 people and announced in spring 2026 – is now collaborating with leading impact specialists through the programme launched by BAFTA and BAFTA Albert last year.
Impact Producers design and deliver strategies that connect issue-driven productions with the communities best placed to spark meaningful social, political or cultural change, ensuring the stories audiences see on screen translate into real-world outcomes.
As champions of the power of screen storytelling, BAFTA Albert will continue to elevate this profession and strengthen its role across the film and TV industry.
2026 and BE yO nd
All reports, resources, tools and guides are available at baftaalbert.org
BAFTA Albert is grateful to all industry supporters and partners.
With thanks to: Get Set Hire, Sunbelt Rentals and Universal Production Music
In 2026, alongside a new identity and online presence, BAFTA Albert will introduce the Next Generation Toolkit, celebrate 15 years of industry leadership and continue to work with the screen industries to drive meaningful, positive change and climate action.
LIMITED DRAMA
LEADING ACTOR
Stephen Graham
SUPPORTING ACTRESS
Christine Tremarco
SUPPORTING ACTRESS
Erin Doherty
SUPPORTING ACTOR
Ashley Walters
SUPPORTING ACTOR
Owen Cooper
DIRECTOR: FICTION
Philip Barantini
WRITER: DRAMA
Jack Thorne, Stephen Graham
SCRIPTED CASTING
PHOTOGRAPHY & LIGHTING: FICTION
SOUND: FICTION
MEMORABLE MOMENT
EDITING: FACTUAL
Hotel Reverie
ORIGINAL MUSIC: FICTION
USS Callister: Into Infinity
SINGLE DOCUMENTARY
DIRECTOR: FACTUAL
Olaide Sadiq
EMERGING TALENT: FACTUAL
Olaide Sadiq (Director)
EDITING: FACTUAL
ENTERTAINMENT CRAFT TEAM
SPECIAL, VISUAL & GRAPHIC EFFECTS
INTERNATIONAL SOUND: FACTUAL
ORIGINAL MUSIC: FACTUAL REALITY
ENTERTAINMENT CRAFT TEAM
SPECIALIST FACTUAL
PHOTOGRAPHY: FACTUAL
LEADING ACTRESS
Jodie Whittaker
EMERGING TALENT: FACTUAL
Alexandra Lacey (Writer/Director)
SPECIAL, VISUAL & GRAPHIC EFFECTS
THE NOMINATIONS BAFTA TELEVISION AWARDS
with P&O Cruises
THE NOMINATIONS
Actor In a Comedy
Jim Howick
Here We Go
BBC Studios Comedy / BBC One
Jon Pointing
Big Boys
Roughcut TV / Channel 4
Lenny Rush
Am I Being Unreasonable?
Boffola Pictures / BBC One
Mawaan Rizwan
Juice
Various Artists Limited / BBC Three
Oliver Savell
Changing Ends
Baby Cow Productions / ITV1
Steve Coogan
How Are You? It’s Alan (Partridge)
Baby Cow Productions / BBC One
Amanda and Alan’s Spanish Job Deadly 60: Saving Sharks
VE Day 80: A Celebration to Remember
The Death of Bunny Munro
How Are You? It’s Alan (Partridge) Here We Go Scam Interceptors
THE NOMINATIONS
Actress In a Comedy
Diane Morgan
Mandy
BBC Studios Comedy / BBC Two
Jennifer Saunders
Amandaland
Merman Television / BBC One
Katherine Parkinson
Here We Go
BBC Studios Comedy / BBC One
Lucy Punch
Amandaland
Merman Television / BBC One
Philippa Dunne
Amandaland
Merman Television / BBC One
Rosie Jones
Pushers
Merman Television, 2LE Media / Channel 4
Production Team
Plimsoll Productions, National Geographic / Disney+
Production Team
Visionality Media, Mackinnon and Saunders / Sky Kids
Davina Bristow, Jenna Weiler, Will Hecker, Russell Scott, Einav Leshetz Lovatt, Brian Woods
True Vision Productions / ITV1
Gaza: Doctors Under Attack
Ramita Navai, Karim Shah, Ben De Pear, Melanie Quigley, Menna Hijazi, Jaber Badwan
Basement Films / Channel 4
Undercover in the Police (Panorama)
Karen Wightman, Leo Telling, Joe Plomin, Rory Bibb, Adrian Polglase, Gary Beelders
BBC Panorama / BBC One
THE NOMINATIONS
Daytime
The Chase
Martin Scott, Helen Tumbridge, Caroline Sale, John L. Spencer, Mick Thomas, Michael Kelpie
Potato, ITV Studios / ITV1
Lorraine
Production Team
ITV Studios Daytime / ITV1
Richard Osman’s House of Games
Tamara Gilder, Breid McLoone, John Smith, Anna Blakemore, Tom Banks, Abby Brakewell
Remarkable Entertainment / BBC Two
Scam Interceptors
Production Team
BBC Studios / BBC One
THE NOMINATIONS
Drama Series
A Thousand Blows
Production Team
The Story Collective, Matriarch Productions, Water & Power Productions / Disney+
Blue Lights
Stephen Wright, Louise Gallagher, Declan Lawn, Adam Patterson, Jack Casey, Amanda Black
Two Cities Television, Gallagher Films / BBC One
Code of Silence
Production Team
Mammoth Screen / ITV1
This City Is Ours
Stephen Butchard, Simon Maloney, Saul Dibb, Rebecca Hodgson, Siân McWilliams, Andy Harries
Left Bank Pictures / BBC One
THE NOMINATIONS
Entertainment
The Graham Norton Show
Graham Norton, Graham Stuart, Jon Magnusson, Toby Baker, Catherine Strauss, Pete Snell
So Television / BBC One
Last One Laughing
Production Team
Initial, Zeppotron / Prime Video
Michael McIntyre’s Big Show
Production Team
Hungry McBear / BBC One
Would I Lie to You?
Peter Holmes, Rachel Ablett, Jake Graham, Zoe Waterman, Barbara Wiltshire, Debra Blenkinsop
Zeppotron / BBC One
Entertainment is given in honour of Lew Grade
celebrates another year of unmissable television and congratulates all the nominees of this year’s BAFTA Television and Craft Awards
Sky Atlantic Sky Nature Sky Arts
Sky Kids
THE NOMINATIONS
Entertainment Performance
Amanda Holden, Alan Carr
Amanda & Alan’s Spanish Job
Voltage TV Productions / BBC One
Bob Mortimer
Last One Laughing
Initial, Zeppotron / Prime Video
Claudia Winkleman
The Celebrity Traitors
Studio Lambert Scotland / BBC One
Lee Mack
The 1% Club
Magnum Media / ITV1
Rob Beckett, Romesh Ranganathan
Rob & Romesh Vs…
CPL Productions / Sky Max
Romesh Ranganathan
Romesh: Can’t Knock the Hustle
Ranga Bee Productions / Sky Max
THE NOMINATIONS
Factual Entertainment
The Assembly
Michelle Singer, Stu Richards, Holly Ritchie, Céin McGillicuddy, Linton Davies, Mary Lynch
Rockerdale Studios / ITV1
Go Back to Where You Came From
Liam Humphreys, Emma Young, Dave Sutton, Guy Simmonds, Nicky Hammond, Mais Al-Bayaa
Minnow Films / Channel 4
Knife Edge: Chasing Michelin Stars
Production Team
Studio Ramsay Global / Apple TV
Race Across the World
Production Team
Studio Lambert / BBC One
THE NOMINATIONS
Factual Series
Bibaa & Nicole: Murder in the Park
Production Team
True Vision / Sky Documentaries
Educating Yorkshire
Production Team
Twofour / Channel 4
See No Evil
Production Team
Passion Pictures / Channel 4
The Undercover Police Scandal: Love and Lies Exposed
Lucy Wilcox, Charlie Webb, Kelly Nobay, Rebecca North, Liesel Evans, Letisha Kidza
Raw / ITV1
THE NOMINATIONS
International
The Bear
Christopher Storer, Joanna Calo, Josh Senior, Tyson Bidner, Matty Matheson, Cooper Wehde
FX Productions / Disney+
The
Diplomat
Debora Cahn, Janice Williams, Alex Graves, Keri Russell, Melissa Gelernter, Pam Roberts
Well Red, Let’s not turn this into a whole big production / Netflix
Pluribus
Production Team
Sony Pictures Television / Apple TV
Severance
Production Team
Fifth Season / Apple TV
The Studio
Seth Rogen, Evan Goldberg, Alex Gregory, Peter Huyck, Frida Perez, James Weaver
Lionsgate Television / Apple TV
The White Lotus
Mike White, Mark Kamine, David Bernad
HBO, Rip Cord, MC Pictures / Sky Atlantic
Proud to be the Official Screen Partner of BAFTA
THE NOMINATIONS
Leading Actor
Colin Firth
Lockerbie: A Search for Truth
Carnival Films, Universal International Studios, Sky Studios / Sky Atlantic
Ellis Howard What It Feels Like for a Girl
Hera Pictures / BBC Three
James Nelson-Joyce
This City Is Ours
Left Bank Pictures / BBC One
Matt Smith
The Death of Bunny Munro
Clerkenwell Films, Sky Studios / Sky Atlantic
Stephen Graham Adolescence
Warp Films, Matriarch Productions, Plan B Warp Films, Matriarch Productions, Plan B / Netflix
Taron Egerton Smoke
truth.media, Crime Story Media, Imperative Entertainment, EDEN Productions, Hans Bubby / Apple TV
SHADE 14 *CONSUMER TEST ON 106 VOLUNTEERS THE SAME ICONIC SILKY TEXTURE UP TO 24H WEAR & NATURAL GLOW* FOUNDATION NOW WITH EVEN BETTER COLOUR MATCH 44 TRUER-TO-SKIN SHADES
MADISIN RIAN WEARS
THE NOMINATIONS
Leading Actress
Aimee Lou Wood
Film Club
Gaumont / BBC Three
Erin Doherty A Thousand Blows
The Story Collective, Matriarch Productions, Water & Power Productions / Disney+
Jodie Whittaker
Toxic Town
Broke & Bones / Netflix
Narges Rashidi
Prisoner 951
Dancing Ledge Productions / BBC One
Sheridan Smith
I Fought the Law
Hera Pictures / ITV1
Siân Brooke
Blue Lights
Two Cities Television, Gallagher Films / BBC One
THE NOMINATIONS
Limited Drama
Adolescence
Stephen Graham, Jack Thorne, Philip Barantini, Jo Johnson, Mark Herbert, Hannah Walters
Warp Films, Matriarch Productions, Plan B / Netflix
I Fought the Law
Liza Marshall, Charlotte Webber, Erik Richter Strand, Jamie Crichton, Mark Hedges
Hera Pictures / ITV1
Trespasses
Amanda Posey, Maria Mulhall, Dawn Shadforth, Ailbhe Keogan
Wildgaze Films / Channel 4
What It Feels Like for a Girl
Liza Marshall, Ron O’Berst, Brian Welsh, Paris Lees, Frances du Pille
Hera Pictures / BBC Three
THE NOMINATIONS
Live Event Coverage
Holocaust Memorial Day 2025
Production Team
BBC Studios / BBC One
Last Night of the Proms: Finale
Production Team
Livewire Pictures / BBC One
VE Day 80: A Celebration to Remember
Production Team
BBC Studios / BBC One
THE NOMINATIONS
News Coverage
BBC Newsnight: Grooming Survivors Speak
Production Team
BBC Newsnight / BBC Two
Channel 4 News: Israel-Iran: The Twelve Day War
Production Team
Channel 4 News / Channel 4
Sky News: Gaza: Fight for Survival
Production Team
Sky News / Sky News
Reality
The Celebrity Traitors
Production Team
Studio Lambert Scotland / BBC One
The Jury: Murder Trial
Production Team
ScreenDog Productions / Channel 4
Squid Game: The Challenge
Production Team
Studio Lambert, The Garden / Netflix
Virgin Island
Rob Davis, Tom Garland, Joe Wildman, Matt Bailey, Sarah Carnie, Mel Walden
Double Act Productions / Channel 4
THE NOMINATIONS
Scripted Comedy
Amandaland
Production Team
Merman Television / BBC One
Big Boys
Jack Rooke, Bertie Peek, Jim Archer, Ash Atalla, Alex Smith, Tim Sealey
Roughcut TV / Channel 4
How Are You? It’s Alan (Partridge)
Steve Coogan, Rob Gibbons, Neil Gibbons, Joe Fraser, Rupert Majendie, Sarah Monteith
Baby Cow Productions / BBC One
Things You Should Have Done
Lucia Keskin, Jack Clough, Steve Monger, Ash Atalla, Alex Smith
Roughcut TV / BBC Three
THE NOMINATIONS
Short Form
Donkey Production Team
Mighty Pebble Pictures, The Story Collective / BBC Three
Hustle and Run
Jonny Madderson, Jono Stevens, Sara Conlon
JustSo / Channel 4
Rocket Fuel
Jordon Scott Kennedy, Leah Henry, Casey Shaw
Fully Focused Productions, Slick Films / BBC iPlayer Zoners
Production Team
BBC Studios Comedy / BBC Three
THE NOMINATIONS
Single Documentary
Grenfell: Uncovered
Olaide Sadiq, Samuel R. Santana, Sandy Smith, James Rogan, Emma Scott, James Saville
Rogan Productions / Netflix
Louis Theroux: The Settlers
Louis Theroux, Arron Fellows, Joshua Baker, Sara Obeidat, Matan Cohen, Fiona Stourton
Mindhouse / BBC Two
One Day in Southport
Dan Reed, Bruce Law, James Parris
Amos Pictures / Channel 4
Unforgotten:
The
Bradford City Fire
Andy Worboys, George Grafton, Jaimie D’Cruz, Luke Flight, Miriam Walsh, Oliver Schofield acme / BBC Two
Single Documentary is given in honour of Robert Flaherty
THE NOMINATIONS
Soap
Casualty
Production Team
BBC Studios / BBC One
Coronation Street
Production Team
ITV Studios / ITVX
EastEnders
Production Team
BBC Studios / BBC One
Official Wealth Management Partner of BAFTA
Brooks Macdonald and you. The Work of a Lifetime.
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Tailored financial advice, made just for you.
THE NOMINATIONS
Specialist Factual
Belsen: What They Found
Sam Mendes, Simon Chinn, Gaby Aung, David Baddiel, Pippa Harris, Andy Worboys
Lightbox, Neal Street, Imperial War Museum Lightbox, Neal Street, Imperial War Museum / BBC Two
Simon Schama: The Road to Auschwitz
Simon Schama, Hugo Macgregor, Jyoti Mehta, Richard Wilkinson, Nicolas Kent, Venita Singh-Warner
Oxford Films / BBC Two
Surviving Black Hawk Down Jack MacInnes, Dominic Crossley-Holland, Jamal Osman, Tom Pearson, Sam Hobkinson, Clare Keeley
RSA / Netflix Vietnam: The War That Changed America
Mark Raphael, David Glover, Rob Coldstream, Caroline Marsden, Mike Davey, Sam Bergson
Apple, 72 Films / Apple TV
Specialist Factual is given in honour of Huw Wheldon
THE NOMINATIONS
Sports Coverage
The 2025 Ryder Cup Production Team
Sky Sports, European Tour Productions / Sky Sports Main Event
The FA Cup Final
Richard Hughes, Sarah Williams, Nicola Kirk, Stephen Lyle, Andrew Clement, Emma White
BBC Sport / BBC One
UEFA Women’s Euro 2025 Production Team
Sunset+Vine Scotland / BBC One
Wimbledon 2025 Production Team
BBC Sport, Wimbledon Broadcast Services / BBC One
PARAMOUNT+ THANKS BAFTA AND PROUDLY CONGRATULATES PADDY CONSIDINE ON HIS BAFTA TV NOMINATION FOR SUPPORTING ACTOR
THE NOMINATIONS
Supporting Actor
Ashley Walters
Adolescence
Warp Films, Matriarch Productions, Plan B / Netflix
Fehinti Balogun
Down Cemetery Road
60Forty Films / Apple TV
Joshua McGuire
The Gold
Tannadice Pictures / BBC One
Owen Cooper
Adolescence
Warp Films, Matriarch Productions, Plan B / Netflix
Paddy Considine
MobLand
MTV Entertainment Studios, 101 Studios, Hardy Son & Baker, Easter Partisan Films, Toff Guy Films / Paramount+
Rafael Mathé
The Death of Bunny Munro
Clerkenwell Films, Sky Studios / Sky Atlantic
THE COLOUR YOU DESIRE WITH THE CARE YOU DESERVE
NEW DISCOVER CREME SUPREME WITH 3x BONDING HAPTIQ SYSTEM FOR DAMAGEPROTECTION IN EVERY STEP.
FOR EVERY YOU.
Actress, Model Sienna Miller
THE NOMINATIONS
Supporting Actress
Aimee Lou Wood
The White Lotus
HBO, Rip Cord, MC Pictures / Sky Atlantic
Christine Tremarco Adolescence
Warp Films, Matriarch Productions, Plan B / Netflix
Chyna McQueen
Get Millie Black
Motive Pictures / Channel 4
Emilia Jones
Task
HBO, wiip, The Low Dweller Productions Inc., Public Record / Sky Atlantic
Erin Doherty Adolescence
Warp Films, Matriarch Productions, Plan B / Netflix
Rose Ayling-Ellis Reunion
Warp Films / BBC One
BECOME A BAFTA PATRON
BAFTA IS AN INDEPENDENT ARTS CHARITY AND WE NEED TO RAISE ALL OUR OWN INCOME TO FUND OUR WORK.
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, our industries must be open to talented people from all backgrounds and life experience. BAFTA is the only organisation to represent film, games and television globally and we are uniquely placed to discover, inspire, support and celebrate existing and future screen arts creatives.
We work year-round to identify and tackle barriers to entry and progression in our industries, through our work in schools, our scholarships and bursaries, our talent accelerator programmes, workshops and mentoring.
FIND OUT MORE
This work is enabled by the exceptional generosity of our Patrons and supporters. To find out how you can get involved please contact: fundraising@bafta.org
BAFTA is a registered charity no. 216726
THE NOMINATIONS
P&O Cruises Memorable Moment Award
(Public Vote)
Adolescence
Jamie snaps at the psychologist
Warp Films, Matriarch Productions, Plan B / Netflix
Big Boys
“I didn’t make it, did I?”
Roughcut TV / Channel 4
Blue Lights
The police are warned of an ambush plot to silence a key witness
Two Cities Television, Gallagher Films / BBC One
The Celebrity Traitors
Alan Carr wins
The Celebrity Traitors
Studio Lambert Scotland / BBC One
Last One Laughing
Bob Mortimer and Richard Ayoade’s speed date
Initial, Zeppotron / Prime Video
What It Feels Like for a Girl
Byron leaves for Brighton to start university, where she introduces herself as Paris
Hera Pictures / BBC Three
SUPPORT
BAFTA’S WORK
We are an industry of storytellers. Stories change lives – they influence how we think and 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. At BAFTA we work year-round to identify and
tackle barriers to opportunity, ensuring that the next generation of 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.
Find out more: fundraising@bafta.org
JURIES & CHAPTERS
aCTO r in a C OME dy
Ade Rawcliffe Chair
Ewens Abid
Bilal Ali Hasna
Sarah Asante
Sarah Breese
Jack Clough
Shaun Fagan
Sarah Fraser
Jamie Glazebrook
John Pocock
aCT r E ss in a C OME dy
Daniel Maynard Chair
Chris Addison
Helen Gregory
Ben Kellett
Andy Pryor
George Robinson
Jo Sargeant
Tolu Stedford
Emma Jane Unsworth
Camilla Whitehill
Jodie Whittaker
Chi L dr E n’s:
nO n- sC ri PTE d
Faraz Osman Chair
Matt Deegan
Dani Harmer
Jo Killingley
Helen McGrath
Helena Mitchell
Joseph Morpurgo
Jodie Morris
Matt Pitts-Tucker
Onjali Q. Raúf
Thomas Stogdon
Martin Tapley
Emine Yalchin
Chi L dr E n’s: sC ri PTE d
Elspeth Rae Chair
Corrinne Averiss
Sunny Bahia
Fenella Bates
Ross Brandon
Jon Butler
Nicole Davis
Llewella Gideon
Chan Kabs
Declan O’Dwyer
Kara Smith
Theo Thomas
Joel Veitch
Curr E n T aFF airs
Carl Callam Chair
Mark Damazer
Tir Dhondy
Erica Gornall
Livvy Haydock
Darren Kemp
Sean Langan
Joe Mather
Charlie Mole
Jamal Osman
Becky Southworth
Sharon Walia
Imogen Wynell-Mayow
day T i ME
Alison Barnett Chair
Claire Egerton-Jones
Helena Ely
Dilesh Korya
Sophie Macfarlane
Denis Minihan
Scarlett Moffatt
Nav Raman
Hugh Rycroft
Simon Staffurth
Ed Stobart
Sarah Walmsley
Nana Wilson
d ra M a sE ri E s
Emma Butt Chair
Jacqueline Baker
Nathan Bryon
Toby MacDonald
Edward Rastelli-Lewis
Sharon Remmer
Jon Sen
Rachna Suri
Sebastian Thiel
Lisa Walters
En TE r Tain ME n T
Camilla Arnold Chair
Simon Andreae
Daisy Asquith
Ben Aston
Damaris Cooke
Ortis Deley
Miles Jupp
Melanie Leach
Spencer Millman
Emma Morgan
Caroline Norris
Kerri-Ann Roper
Mark Sidaway
En TE r Tain ME n T
P E r FO r M an CE
Claire Zolkwer Chair
Deborah Cantor
Nathan Eastwood
Siobhan Greene
Susie Hall
Phil Harris
Joff Hatfield-Powell
Sidra Khan
Tanya Shaw
Iain Stirling
Ruchika Tagore
Trent Williams-Jones
FaCT ua L
En TE r Tain ME n T
Christine Healy Chair
Angela Arora-Wilson
Horia Dragoi
Alan Edirisinghe
Lynsey Evans
Steph Harris
Louise Hulland
Riyadh Khalaf
Mohammad Mohsin
Ryan Samuda
Mat Steiner
Michaela Strachan
Lynn Sutcliffe
FaCT ua L sE ri E s
Kiran Nataraja Chair
Neil Crombie
Natasha Dack
Jasmine Dotiwala
Ben Gale
James Jones
Diene Petterle
Lucy Pilkington
Aysha Rafaele
Nick Stapleton
Jes Wilkins
L E ading aCTO r
Furquan Akhtar Chair
Rebecca Keane
Elizabeth Kilgarriff
Chaneil Kular
Georgia Lester
Bhavna Limbachia
Harry Munday
Nima Nourizadeh
Reg Poerscout-
Edgerton
Leo Reich
Fiona Weir
L E ading aCT r E ss
Marc Samuelson Chair
Kwadjo Dajan
David Evans
David Farr
Jane Featherstone
Emily Feller
Tara Fitzgerald
Rachel Freck
Nadine Marsh-Edwards
Neil McKay
Weronika Tofilska
Li M i TE d d ra M a
Denise Seneviratne Chair
Louisa ConnollyBurnham
Saul Dibb
Lesley Douglas
Jonathan Hall
Cherylee Houston
Neil Jones
David Katznelson
Christine Langan
Munir Malik
Preethi Mavahalli
Dave Nath
Nathaniel Price
rE a L i T y
Patrick Keegan Chair
Barnaby Coughlin
Demi Doyle
Alexi Duggins
Dani Dyer
Sophie Jones
Nick Mirsky
Benedict Townsend
Vanessa Van-Yeboah
John Whittle
sC ri PTE d C OME dy
Richard Watsham Chair
Aml Ameen
Christopher C.F. Chow
Margot Gavan Duffy
Sean Gray
Lucy Lumsden
James Reid
Esther Smith
Rebekah Staton
David Swetman
Leon Wilson
s h O r T F O r M
Adeel Amini Chair
Riffy Ahmed
Tulasi Das
Phin Glynn
Ksenia Harwood
Michael Hines
Ben Hyland
Megumi Inman
Emma Luffingham
Rupert Majendie
Jordan Schwarzenberger
Alex Segal
Kim Varvell
s ing LE dOC u ME n Tary
Mona Qureshi Chair
Ben Anthony
Jemma Chisnall
Jackie Clary
Edgar Dubrovskiy
Adam Hopkins
Mahi Iftikhar
Ed Kellie
Jane Rogerson
Kate Spankie
Jamie Tahsin
sPEC ia L is T FaCT ua L
Fraser Ayres Chair
Hugh Ballantyne
Kris Deedigan
Sue Gibson
Mark Henderson
Jason Osborne
Femi Oyeniran
Benedict Sanderson
Dawn Walton Delia Williams
s u PPO r T ing aCTO r
Hilary Rosen Chair
Madonna Baptiste
Dom Bird
Chris Brandon
Alesya Capelle
David P. Davis
Joe Griffith
Rae Hendrie
Julian Jarrold
Matthew Mosley
Grace Ofori-Attah
Erin Richards
Sunetra Sarker
s u PPO r T ing aCT r E ss
Caroline Levy Chair
Tim Bricknell
Nicolas Brown
Runyararo Mapfumo
Rhiannon May
Selma Nicholls
Nick Pitt
Kaya Scodelario
Jo Strevens
Leo Suter
Owen Tooth
P&O Cruis E s
M EMO ra BLE M OME n T
Hilary Rosen Chair
Kate Abbott
Roxy Bourdillon
Scott Bryan
Emma Bullimore
Rhianna Dhillon
Catherine Gee
Josie Gibson
Ed Gleave
Ria Hebden
Boyd Hilton
Morgan Jeffery
Rod McPhee
Nicola Methven
M EMBE r vOTE
International
Live Event Coverage
News Coverage
Soap
Sports Coverage
For details of the voting process, including any key changes made for 2026, please visit: awards.bafta.org/entry
OFFICERS OF THE ACADEMY
O FF i CE rs
HRH The Prince of Wales, K� , KT
President
Dame Pippa Harris DBE
Vice-President for Television
B Oard OF Trus TEE s
Sara Putt Chair
Hilary Rosen
Deputy Chair of BAFTA & Chair, Television Committee
Emily Stillman Chair, Film Committee
Tara Saunders
Chair, Games Committee
Ade Rawcliffe
Chair, Learning, Inclusion & Talent Committee
Bal Samra
Co-optee and Chair, Finance & Commercial Committee
Suzi Brennan
Chair, Audit & Risk Committee
Co-optees
Sally Habbershaw
Patrick Keegan
Ralph Lee
Rosemary Leith
Andrew Miller MBE
Joyce Pierpoline
Siobhan Reddy
Board Advisors
Medwyn Jones
Marc Samuelson
Shrina Shah Chair of the Governance & Appointments Committee
Ex EC u T iv E
Jane Millichip Chief Executive Officer
M EMBE rs OF T h E
TELE visi O n C OMM i TTEE
Hilary Rosen Chair
Christine Healy Deputy Chair
Furquan Akhtar
Adeel Amini
Camilla Arnold
Fraser Ayres
Alison Barnett
Emma Butt
Carl Callam
Caroline Levy
Kiran Nataraja
Mona Qureshi
Ade Rawcliffe
Hayley Reynolds
Denise Seneviratne
TELEVISION AWARDS PARTNERS
With enduring thanks to our headline sponsor and official partners to the BAFTA Television Awards with P&O Cruises in 2026
Beauty
Water
Partner
Partner
Scrutineers
Soft Drink
Hair
Hotel
Premium Beer
ACKNOWLEDGEMENTS
C E r EMO ny
BAFTA wishes to thank
P&O Cruises
Our headline sponsor
TV Companies and Broadcasters for their invaluable assistance
Greg Davies, Our host
Fleur East, Roman Kemp, Red carpet hosts, online content
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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I’m starring in my own adventure (and a romance, and a comedy...)
