2026 BAFTA Television Craft Awards with Samsung OLED
Thank you for making our TVs look good
Proud to be the Headline Partner of the BAFTA TV Craft Awards
As President of BAFTA, I am delighted to welcome you to the BAFTA Television Craft Awards with Samsung OLED. 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 focused 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 BAFTA Television Craft Awards with Samsung OLED.
Tonight, we celebrate an exhilarating mix of genres, voices and visions. From authored drama to live broadcast, this year’s roster reminds us that the TV community remains fearless, inventive and at the top of its craft.
BAFTA exists to champion screen culture, inspire new talent and 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
Thank you for making our TVs look good
Proud to be the Headline Partner of the BAFTA TV Craft Awards
Samsung is honoured to be the Official Screen Partner of BAFTA, proudly supporting the prestigious Television Craft Awards.
This collaboration is a testament to our shared appreciation of the artistry and craftsmanship that define the viewing experience. It is a celebration of watching films and TV as you, the creators, intended.
BAFTA’s unwavering commitment to recognising excellence in all of the creative disciplines resonates deeply with Samsung’s mission to deliver unparalleled viewing and audio experiences to the home. Our TV s are renowned for their exceptional contrast, colour accuracy and cinematic detail, ensuring that every frame earns the creative credit for all of you here tonight: those who are behind every moment displayed on screen.
Our hope is that the hours of work and dedication from all the talented people involved in the many elements of the creative industries are recognised by everyone. It’s our role to bring your work to life.
As the global TV leader for 20 consecutive years, we understand what it takes to continually deliver innovation and quality. We know that always wanting to improve and achieve perfection is a sentiment reflected in the work of all the talented individuals we are celebrating today. Tonight, we are honoured to celebrate an amazing year of television craft with you all.
Zeena Hill Senior Director of Home Entertainment and Appliances, UK and Ireland
THE HOST
Maisie Adam Sets the Stage
For comedian Maisie Adam, the route from small comedy clubs to national TV has been less a straight line than a steady series of increasingly surreal rooms: from pub backrooms, to live recording studios, to the odd “tiny little boardroom in a hotel” that doubles up as an audition space for your favourite panel shows.
Known for her quick-fire delivery and hyper-specific storytelling, Adam has become a familiar presence across our small screens, appearing on favourites such as Mock the Week and 8 Out of 10 Cats, all while continuing to build her stand-up career on stage. And, like most performers, she has learned that confidence has to develop bit by bit – through repetition, encouragement and the occasional well-timed nudge from someone more experienced.
Hosting this year’s BAFTA Television Craft Awards with Samsung OLED for the first time, Adam is sure to bring her warmth and sharp observational humour to an evening celebrating the people behind the scenes of our greatest watches.
Ahead of the ceremony, Adam took a trip down memory lane for us – including the ups and downs of her early panel show experiences. But it’s fair to say the beloved comedian has one eye to the future, too: always making space for new voices, both on stage and on screen.
“If we’re only gigging within the M 25, only writing about people from that perspective, only hearing those voices when we switch on the TV, that’s damaging for everyone”
Maisie Adam
Cr E dit tO th E Edit
Panel shows often record for up to three hours but are edited to as little as 30 minutes – a reminder of just how crucial the craft of editing is.
How does it feel to be hosting the Television Craft Awards? Are you looking forward to it?
I’m super excited. I mean, it’s a real honour to be asked, and it’s an exciting time as well to be honouring the people behind the camera, bringing all of these stories to life. It’s something that I don’t often get a good insight into, so it’s been really amazing taking all of that in.
Did you know much about the awards before?
I followed it for a while. It sounds so silly to say, but if you’ve ever watched something and watched the entire credits roll, you realise just how many people it takes. It takes an absolute village to make something that we enjoy for a couple of seconds sometimes. So it feels really special to be at the forefront of an evening that celebrates just those people.
Are there any behind-the-scenes roles you think you might have taken on in an alternative life?
God, certainly not that I could have done it, but hats off to anyone who is an editor. Especially as somebody who’s filmed panel shows where you think, “How are they going to click that together so that it has maximum effect or impact?” Somehow there will be so much to unpack from the live recording, and the editors manage to craft it into a nice, neat little package of an hour’s runtime. That is such a skill – making sure you’re getting the good stuff, but also that it’s got light and shade, that it makes sense to somebody who wasn’t there at the time, and that it doesn’t feel like it’s full of in-jokes. I think that’s always underestimated.
Was there a panel show appearance that felt particularly significant for you?
I can still remember the first time I got Mock the Week. And I remember exactly where I was. I was in a little flat in Brighton with my husband – who was then my boyfriend – and he was making a cup of tea. When
I got the email through saying I’d been booked, I just let out a little yelp. That show was such a huge part of my upbringing, I used to watch it on Thursdays but also the clips on YouTube. I remember scrolling down and down and down because I’d watched every single “Scenes We’d Like to See”. It had that chaotic improv feel of just going up and giving it a go, and to me I just thought these were the wittiest people in the world.
Were there other turning points, or people who helped you move to the next stage?
I have a good example in terms of mentorship from the first panel show I ever did: 8 Out of 10 Cats. I don’t think a lot of people realise you essentially audition for that in a tiny little boardroom in a hotel. I got booked, and was so excited – again, it was a show I’d watched as a kid. It was a lovely experience, but made particularly lovely by Sara Pascoe, who made a conscious effort to bring me in. It can’t be underestimated how daunting it is if you’re not from TV or haven’t grown up around it. Stand-up has gradual steps – pubs, clubs, theatres – but being funny on camera in front of a live studio audience alongside very experienced comedians is really weird.
During the recording, she clocked that I was trying to come in but getting pipped to the post, and she would say, “What do you reckon Maisie?” Or, “Maisie, you were about to say something?”
As a bright-eyed 23-year-old rabbit in the headlights, that was so instrumental. You’re nervous, it’s your first one, you just need a gap to say the thing you’ve prepared. Now, when someone’s doing their debut, I try to do the same, because I remember what it meant to me. You need to make sure you don’t bring the ladder up with you, and that everybody gets a chance to do what you do.
Have things improved for women in comedy?
I think it’s getting better. But frustratingly, it ebbs and flows. There are moments where people say,
“It takes an absolute village to make something that we enjoy for a couple of seconds… So it feels really special to be at the forefront of an evening that celebrates just those people”
Maisie Adam
An increasingly familiar presence on our screens, Maisie has appeared on more than 10 major UK panel shows: including Mock the Week, 8 Out of 10 Cats, Have I Got News for You and QI.
“Absolutely we’re going to make sure line-ups reflect the comedy scene,” and then it sort of slips back. The other day I saw a favourite comedy festival’s line-up: there were 42 comedians across a weekend and only six women.
It’s frustrating because you know how many brilliant, funny women there are. I’m not saying people should be booked purely because they aren’t a straight white man, but just go into any comedy club across the country and you’ll find a huge range of talent that still isn’t being reflected. That’s the world we have – different voices. It’s frustrating when we keep being fed the same voice.
What advice would you give to someone starting out in comedy now?
Never stop gigging, never stop writing. I know too many people who blew up really quickly and were brilliant, and then sort of rested on their laurels, or got to a point where they don’t have to gig outside the M25 anymore. But you should, because it makes you a better writer and performer. You get different perspectives from different audiences. I always used to say yes to every gig, and people would say, “Why are you doing that gig?” But it made me better. If we’re only gigging within the M25, only writing about people from that perspective, only hearing those voices when we switch on the TV, that’s damaging for everyone. It’s in all of our best interests if we hear from people from all different viewpoints, experiences and backgrounds. You need to gig in that weird little tent in a field just the same way you would gig in that lovely London theatre. If your job is to reflect the world, you need a rounded knowledge of what it is.
Final question – any plans yet for the night itself? Outfit? Hair?
God, I have absolutely no idea. No clue. We’ll cross that bridge when we come to it.
THE TELEVISION CHAIR
Excellence
Hilary Rosen Champions
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 Craft Awards with Samsung OLED, 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 take me 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, Kelly [Smith, Director of Awards] said, “We’d love you to think about standing for chair of the Television Committee.” 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.
“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
So people might be sitting in the room about to receive 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 tell me more 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.
“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
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 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 is distinctive about the Television Craft Awards?
The Craft Awards have a very special atmosphere. They are peer-to-peer, and they recognise very specific skills that people within the industry understand deeply. Many of the crafts represented involve decades of experience and development. Production work is often demanding and not particularly glamorous. The Craft Awards provide a moment to recognise that work and celebrate it collectively.
There is also a strong sense of mentorship within the craft community. Skills and knowledge are passed on informally between generations of practitioners. That sense of continuity is encouraging.
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 anyone 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.
tOOLS that turn int E nt intO aC ti 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.
aC ti O n S that aCCELE rat E P r O gr ESS
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 ryt ELL ing that ha S an i MPaC t
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.
THE NOMINATIONS BAFTA TELEVISION CRAFT AWARDS
with Samsung OLED
THE NOMINATIONS
Children’s Craft Team
Ben Bocquelet, Joe Sparrow, Luke Allen, James Lancett, Adrian Cathie, Andy Goodman
The Wonderfully Weird World of Gumball
Hanna-Barbera Studios Europe / Cartoon Network
Lucy Izzard, Andrew Mitchell, Fernando Lechuga, Jean-Marc Petsas, Owen Peters, Bronwen Slater
The Very Small Creatures Aardman / Sky Kids
Samantha Cutler, Jeroen Jaspaert, Steven Bloomer, Terry Davies, Adrian Rhodes, Shannan Taylor
The Scarecrows’ Wedding Magic Light Pictures / BBC One
Simon Partington, Andy Farago, Simon Couzens, Sandy Nuttgens, Alex Copley, Andy Brittain BooSnoo!
Visionality Media, Mackinnon and Saunders / Sky Kids
THE NOMINATIONS
Costume Design
Emma O’Loughlin Trespasses
Wildgaze Films / Channel 4
Maja Meschede
A Thousand Blows
The Story Collective, Matriarch Productions, Water & Power Productions / Disney+
Michael Wilkinson
Andor Lucasfilm / Disney+
Rhona Russell
Lockerbie: A Search for Truth
Carnival Films, Universal International Studios, Sky Studios / Sky Atlantic
THE NOMINATIONS
Director –Factual
Benedict Sanderson
See No Evil
Passion Pictures / Channel 4
Karim Shah Gaza: Doctors Under Attack
Basement Films / Channel 4
Olaide Sadiq
Grenfell: Uncovered Rogan Productions / Netflix
Rob Coldstream Vietnam: The War That Changed America Apple, 72 Films / Apple TV
Director –Fiction
Dawn Shadforth Trespasses
Wildgaze Films / Channel 4
Janus Metz
Andor
Lucasfilm / Disney+
Philip Barantini Adolescence
Warp Films, Matriarch Productions, Plan B / Netflix
Sam Donovan
Severance
Fifth Season / Apple TV
THE NOMINATIONS
Director
Multi-Camera
Ben Archard, Eddie Lewis, Marieke Barker-Benfield
The Celebrity Traitors
Studio Lambert Scotland / BBC One
Ben Hardy
Last One Laughing
Initial, Zeppotron / Prime Video
Diccon Ramsay
VE Day 80:
A Celebration to Remember
BBC Studios / BBC One
Laurence Cawsey
Super Sunday
Liverpool v Tottenham Hotspur
Sky Sports / Sky Sports Main Event
Editing –Factual
Jennifer Asheitu Hampson
Attack on London:
Hunting the 7/7 Bombers
The Garden Productions / Netflix
Mel Quigley, Andy Kemp
Gaza: Doctors Under Attack
Basement Films / Channel 4
Paul Hammacott
Louis Theroux: The Settlers
Mindhouse / BBC Two
Samuel R Santana
Grenfell: Uncovered
Rogan Productions / Netflix
THE NOMINATIONS
Editing –Fiction
Fiona Brands Slow Horses (Episode 6)
See-Saw Films, Apple / Apple TV
Úna Ní Dhonghaíle Prisoner 951
Dancing Ledge Productions / BBC One
Simon Smith The Last of Us
Sony Pictures Television, PlayStation Productions, Word Games, The Mighty Mint, Naughty Dog, HBO / Sky Atlantic
Yan Miles
Andor
Lucasfilm / Disney+
NOMINATIONS
Emerging Talent –Factual
Alexandra Lacey Writer/Director
The Twister: Caught in the Storm
Netflix, Raw / Netflix
Elle Mower Director
Convicting My Ex
Story Films / BBC Three
Olaide Sadiq Director
Grenfell: Uncovered
Rogan Productions / Netflix
Emerging Talent –Fiction
Chloe English Director G’wed
Golden Path Productions / ITV2
Emily McDonald Director
Am I Being Unreasonable?
Boffola Pictures / BBC One
Eros V Director
Juice
Various Artists Limited / BBC Three
Janice Okoh Writer
Just Act Normal
The Forge Entertainment / BBC Three
THE LION LOVES CINEMA
OFFICIAL VEHICLE PARTNER TO BAFTA
THE NOMINATIONS
Entertainment Craft Team
Ben Archard, Siggi Rosen-Rawlings, James Tinsley, Stuart Frossell, Martin Adams, Nathan Lindley
The Celebrity Traitors
Studio Lambert Scotland/ BBC One
Diccon Ramsay, Rikki Finlay, Mat Weekes, Ben Norman, James Tinsley, Robert Mansfield
Squid Game: The Challenge
Studio Lambert, The Garden / Netflix
Graham Proud, Toby Wilkinson, Sam Turner, Alex Weeks, Jennifer Ford
Rob & Romesh Vs…
CPL Productions / Sky Max
Philip Barantini, Nyk Allen, Jacob Smith, Joe Blodgett, Frank Larson, Brendan Poutier
ONE SHOT: With Ed Sheeran
Fulwell Entertainment / Netflix
Make Up & Hair Design
Lucy Sibbick, Victoria Money
Slow Horses
See-Saw Films, Apple / Apple TV
Sjaan Gillings
Lockerbie: A Search for Truth
Carnival Films, Universal International Studios, Sky Studios / Sky Atlantic
Sian Wilson, Caroline Greenough, Clare Ramsey, Cheryl Garvey, Madlen Mierzwiak
A Thousand Blows
The Story Collective, Matriarch Productions, Water & Power Productions / Disney+
Vickie Lang, Nik Williams, Barrie Gower
Amadeus
Two Cities / Sky Atlantic
THE NOMINATIONS
Original Music –Factual
Anne Nikitin
Pangolin: Kulu’s Journey
Anonymous Content, Dog Star Films,
Water Creature Films, Netflix / Netflix
Jessica Dannheisser
The Last Musician of Auschwitz
Two Rivers Media / BBC Two
Louis Dodd, Matthew Sanchez
The Sycamore Gap Mystery
Candour Productions / Channel 4
Sophy Purnell
Moon: Nature’s Secret Force
Humble Bee Films / Sky Nature
THE NOMINATIONS
Original Music –Fiction
Ariel Marx
Hotel Reverie (Black Mirror)
Broke & Bones / Netflix
Federico Jusid
A Thousand Blows
The Story Collective, Matriarch Productions, Water & Power Productions / Disney+
Nick Cave, Warren Ellis
The Death of Bunny Munro
Clerkenwell Films, Sky Studios / Sky Atlantic
Tom Rowlands
Mussolini: Son of the Century
Sky Studios, The Apartment, Pathé, Small Forward Productions, Fremantle, Cinecittà S.p.A. / Sky Atlantic
THE NOMINATIONS
Photography
Factual
Camera Team
Secrets of the Penguins
Talesmith, Lightstorm Entertainment,
National Geographic / Disney+
Jordan Bryon
Our Land: Israel’s Other War
Hardcash Productions / ITV1
Marcel Mettelsiefen State of War: Fighting the Narcos (Exposure)
Duskwater Films / ITV1
Stefano Ferrari, Tim Cragg
Surviving Black Hawk Down
RSA / Netflix
THE NOMINATIONS
Photography & Lighting –Fiction
Catherine Goldschmidt
The Last of Us
Sony Pictures Television, Playstation Productions, Word Games, The Mighty Mint, Naughty Dog, HBO / Sky Atlantic
Matthew Lewis
Adolescence
Warp Films, Matriarch Productions, Plan B / Netflix
Ryan Kernaghan Trespasses
Wildgaze Films / Channel 4
Suzie Lavelle Severance
Fifth Season / Apple TV
THE NOMINATIONS
Production Design
Gillian Devenney Trespasses
Wildgaze Films / Channel 4
Luke Hull, Rebecca Alleway, Toby Britton Andor Lucasfilm / Disney+
Philippa Mumford Juice
Various Artists Limited / BBC Three
Tom Burton, Grant Bailey, Barbara Herman-Skelding A Thousand Blows
The Story Collective, Matriarch Productions, Water & Power Productions / Disney+
Official Wealth Management Partner of BAFTA
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THE NOMINATIONS
Scripted Casting
Nathan Toth
What It Feels Like for a Girl
Hera Pictures / BBC Three
Nathan Toth, Julie Harkin
Reunion
Warp Films / BBC One
Shaheen Baig
Adolescence
Warp Films, Matriarch Productions, Plan B / Netflix
Shaheen Baig
Get Millie Black
Motive Pictures / Channel 4
THE NOMINATIONS
Sound –Factual
Andy Deacon, Kevin Duff, Will Thomas,
Jonathan Gibson
The Lost Music of Auschwitz
Windfall Films / Sky Arts Sound Team
The Celebrity Traitors
Studio Lambert Scotland / BBC One
Sound Team
Formula 1: Drive to Survive
Box to Box Films / Netflix Tristan Powell, Will Chapman
The Last Musician of Auschwitz
Two Rivers Media / BBC Two
THE NOMINATIONS
Sound –Fiction
Andrew Sissons, Martin Jensen, Ben Tisdall, Joe Beal, Duncan Price, Conor Thompson
Slow Horses
See-Saw Films, Apple / Apple TV
Danny Hambrook, David Acord, Margit Pfeiffer, James Spencer, Josh Gold, John Finklea
Andor
Lucasfilm / Disney+
James Drake, Jules Woods, Rob Entwistle, Kiff McManus, Kyle Pickford, Adam Méndez Adolescence
Warp Films, Matriarch Productions, Plan B / Netflix Lee Walpole, Stuart Hilliker, Saoirse Christopherson, Andy Kennedy, Lee Crichlow, Chris Campion
Lockerbie: A Search for Truth
Carnival Films, Universal International Studios, Sky Studios / Sky Atlantic
Special, Visual & Graphic Effects
James MacLachlan, Josie Henwood, Union VFX, Stargate Studios Malta, Magic Lab Studios, Sam Chynoweth
USS Callister: Into Infinity (Black Mirror)
Broke & Bones / Netflix
Mohen Leo, TJ Falls, Luke Murphy, Neal Scanlan, Jean-Clément Soret, Industrial Light & Magic
Andor Lucasfilm / Disney+
Russell Dodgson, Framestore, Andy Jones, Simon Bland, François Dumoulin, Gavin McKenzie
Prehistoric Planet: Ice Age
BBC Studios Natural History Unit / Apple TV Sara Bennett, Richard Reed, David Stephens, Jet Omoshebi, Caimin Bourne, Scanline
The Witcher Netflix / Netflix
Titles & Graphic Identity
Paul McDonnell, Hugo Moss, Ben Hanbury, Tamsin McGee
Code of Silence
Mammoth Screen / ITV1
Isabella Eklöf, Luke Dunkley, Mike Holliday, Tony Kearns, Dean Wares
The Death of Bunny Munro
Clerkenwell Films, Sky Studios / Sky Atlantic
Light Creative A Thousand Blows
The Story Collective, Matriarch Productions, Water & Power Productions / Disney+ Nicos Livesey, Bart Yates, Rebecca Little, Aron Sidhu, Steven Lownes UEFA Women’s Euro 2025 Sunset+Vine Scotland / BBC One
THE
NOMINATIONS
Writer –
Comedy
Daisy May Cooper, Selin Hizli
Am I Being Unreasonable?
Boffola Pictures / BBC One
Jack Rooke
Big Boys
Roughcut TV / Channel 4
Kat Sadler
Such Brave Girls
Various Artists Limited / BBC Three
Steve Coogan, Rob Gibbons, Neil Gibbons
How Are You? It’s Alan (Partridge)
Baby Cow Productions / BBC One
THE NOMINATIONS
Writer –Drama
Ailbhe Keogan Trespasses
Wildgaze Films / Channel 4
Jack Thorne, Stephen Graham
Adolescence
Warp Films, Matriarch Productions, Plan B / Netflix
Paris Lees
What It Feels Like for a Girl
Hera Pictures / BBC Three
Will Smith
Slow Horses
See-Saw Films, Apple / Apple TV
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
C hi L dr E n ’S
C ra F t t E a M
JURIES & CHAPTERS
Anna Rafferty Chair
Asim Abbasi
Tom Beattie
Dave Benson Phillips
Claire Dodgson
Laura Henry-Allain
Athena Kugblenu
Sarah Mattingley
Cheryl Taylor
Stephanie Zari
COS tu ME d ES ign
Christine Healy Chair
Kate Brontë-Stewart
Ian Fulcher
Patrick Grant
Sarah Hammond
Wayne Martin
Caroline McCall
Akaash Meeda
Sammy Sheldon
Kathy Strachan
Jany Temime
dir EC tO r : F aC tua L
Sara Putt Chair
Colette Camden
Sarah Carnie
Sophie Fuller
Thomas Griffiths
Alex Irvine Cox
Matt Kay
Finlay Pretsell
Dominique Walker
dir EC tO r : F i C ti O n
Hannah Wyatt Chair
Callum Akass
Shane Allen
Alexandra Brodski
Tilusha Ghelani
Darcia Martin
Kate Norrish
Sean Spencer
Dearbhla Walsh
dirECtOr: MuLti-CaMEra
Denise Seneviratne Chair
Richard Bainbridge
Del Brown
Abigail Dankwa
Malcolm Gerrie
Dan Greenway
Brian Hayes
Mark Hedgecoe
Lynsey Hooper
Claire McArdle
Danny Tate
Teresa Watkins
EME rging ta LE nt: F aC tua L
Lara Akeju Chair
Samantha Anstiss
Rafael Bettega
Harjeet Chhokar
Ewan Denny
Paddy Duffy
Sunshine Jackson
Underhill
Niamh Kennedy
Jessica Mitchell
Miranda Peters
EME rging ta LE nt: F i C ti O n
Emma Butt Chair
Lucinda Carter
Mollie Freedman
Berthoud
Benjamin Gerstein
Gill Isles
Gráinne McGuinness
Alex Newland
Jesse Quinones
Laura Sleep
Sumerah Srivastav
Stuart McCowan
E nt E rtain ME nt
C ra F t t E a M
Hayley Reynolds Chair
Ollie Bartlett
Nicola Bitton
Brendan Easton
Paul Farrer
Claire Goodlass
Peter Gordon
Ben Hoffman
Natalie Jamieson
Carys Lewis
Daniel Merrifield
Kelly Webb-Lamb
M a KE u P & hair
d ES ign
Camilla Arnold Chair
Paul Gooch
Davina Lamont
Sarah Jane Marks
Waldo Mason
Sarah Nuth
Bethany Swan
Alyn Waterman
Nicky Weir
Zaldy
O rigina L M u S i C:
F aC tua L
Alison Barnett Chair
Angela Byrne
Catherine Grieves
Amelia Hartley
Nick Hardie
Nick Harvey
Matt Loveridge
Lucy Mitchell
Joy Nkoyo
Jason Pinches
Richard Spiller
Jon Wygens
O rigina L M u S i C:
F i C ti O n
Caroline Levy Chair
Anne Booty
Laura Cotton
Timeri Duplat
Charlie Jefferson
Steven Julien
Kirsten Lane
Mike Goodridge
Luke Richards
Toby Sebastian Pugh
P h OtO gra P hy:
F aC tua L
Mona Qureshi Chair
Adrian Choa
Sophie Darlington
Dan Donnelly
Hassan Ghazi
Poppy Goodheart
Natalie Hill
Charlie Melville
Andrew Palmer
Kelvin Richard
Jasleen Sethi
P h OtO gra P hy &
L ighting : F i C ti O n
Nicky Sargent Chair
Joshua Callis-Smith
Scott Coulter
Lincia Daniel
Alexander Igbanoi
Laura Lankester
Claire Pie
Khurrum M. Sultan
Evelin van Rei
P r O du C ti O n d ES ign
Adeel Amini Chair
Emma Blauciak
Mike Britton
Cristina Casali
Daniel Gratton
Ashleigh Jeffers
Amy Maguire
Janeeta Panesar
Kate Stamp
SC ri P t E d Ca S ting
Carl Callam Chair
Ian Aryeh
Clare Batty
JJ Bee
Aisha Bywaters
Dan Hartley
Georgia Simpson
Melanie Stokes
Lucinda Syson
Jeremy Zimmermann
tit LES & gra P hi C
id E ntity
Fraser Ayres Chair
Beewan Athwal
Abigail Bills
Rachael Ellis
Carolina Giammetta
Leah Jones
Tosin Jegede
Owen Oppenheimer
Matt Roberts
Pete Thornton
Matt Wiley
Jude Winstanley
W rit E r : COME dy
Furquan Akhtar Chair
Vittorio Angelone
Dave Cohen
Howard Cohen
Karen Cogan
Kiren Dhadwal
Oliver Doone
Sophie Duker
Saima Ferdows
Douglas McKinnon
Thanyia Moore
Will Roach
W rit E r : dra M a
Ade Rawcliffe Chair
Raisah Ahmed
Daisy Allsop
George Aza-Selinger
Basi Akpabio
Tolula Dada
Richard Fee
David Hancock
Richard Laxton
Tim Renkow
Lauren Sequeira
C ha P t E r S
C ra F t C ha P t E r S
Editing: Factual
Editing: Fiction
Sound: Factual
Sound: Fiction
Special, Visual & Graphic Effects
Craft chapters consist of academy members with specialist experience in the relative field.
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 r S
HRH The Prince of Wales, K� , KT
President
Dame Pippa Harris DBE
Vice-President for Television
B Oard OF t ru S t EES
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 uti VE
Jane Millichip Chief Executive Officer M EMBE r S OF th E t V C OMM itt EE
Hilary Rosen Chair
Christine Healy Deputy Chair
Furquan Akhtar
Adeel Amini
Camilla Arnold
Fraser Ayres
Alison Barnett
Emma Butt
Carl Callam
Caroline Levy
Denise Seneviratne
Kiran Nataraja
Mona Qureshi
Ade Rawcliffe
Hayley Reynolds
MEET THE AFTERPARTY SPONSOR
BBC Studios is a global media company borne of the BBC. We make and share bold, brilliant content that starts conversations and changes perspectives, from homegrown hits like Baby Reindeer, Planet Earth III and EastEnders to globally loved brands like Dancing with the Stars and Bluey – always rooted in the BBC’s mission to inform, educate and entertain.
Craft is at the heart of everything we do, and we are committed to backing and nurturing talent behind the camera, collectively fuelling the global creative industry. Supporting the BAFTA Television Craft Awards is our way of celebrating the extraordinary skill, imagination and teamwork that make unforgettable TV possible.
To all the winners and nominees – huge congratulations. We’re proud to champion your work and can’t wait to celebrate with you at the BBC Studios and BAFTA Afterparty.
CELEBRATE WITH US AT THE BBC
Congratulations to all of the nominees and winners of the BAFTA Television Craft Awards with Samsung OLED in 2026. At BBC Studios, craft is at the heart of everything we do. We’re proud to collectively fuel a vibrant, world-class television industry. Join us to celebrate your incredible work behind the camera that brings unforgettable stories to life.
KING GEORGE III ROOM, THE BREWERY 22:00-00:30
TELEVISION CRAFT AWARDS
PARTNERS
With enduring thanks to our headline partner and official partners to the BAFTA Television Craft Awards with Samsung OLED in 2026
ACKNOWLEDGEMENTS
C E r EMO ny
BAFTA wishes to thank
Samsung OLED
Our Headline Partner
TV companies and distributors for their invaluable assistance
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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