Ariyon Bakare poses with the Supporting Actor Award for 'Mr Loverman'Getty Images
Charlotte Moore, the BBC’s outgoing Chief Content Officer, expressed immense pride in the network’s achievements, emphasising how the wins reflect the commitment to nurturing homegrown talent and bringing audiences together with diverse storytelling, applauding the creativity showcased by all the winners.
Among the BBC’s notable victories were awards in factual, drama, comedy, entertainment, and more. Rob and Rylan’s Grand Tour was named the best in Factual Entertainment, while Blue Lights took home the Drama Series award. The much-loved EastEnders won in the Soap & Continuing Drama category, adding to the broadcaster’s success.
Ruth Jones poses with the Female Performance in a Comedy Programme Award for 'Gavin & Stacey: The Finale'Getty Images
In comedy, Alma’s Not Normal earned recognition as the Best Scripted Comedy, while Ruth Jones won for Female Performance in a Comedy for her role in Gavin & Stacey: The Finale. Marisa Abela also celebrated a win as Leading Actress for her work in Industry.
This year’s ceremony marked a few firsts too. Danny Dyer claimed his first BAFTA for Male Performance in a Comedy Programme for Mr Bigstuff, and Joe Lycett continued his winning streak by bagging the Entertainment Performance award for Late Night Lycett.
Marisa Abela poses with the Leading Actress Award for 'Industry'Getty Images
Additionally, the event introduced new categories celebrating children’s television. CBeebies’ As You Like It took the Children’s: Scripted award, while Disability and Me won for Children’s: Non-Scripted.
The BAFTA TV Awards not only celebrated the finest in British television but also highlighted the importance of storytelling that resonates across genres. As the BBC continues to grow, its remarkable success this year stands as proof of their creative vision and dedication to quality programming.
This is not the first time Heard has taken the unconventional route to motherhood. Four years ago, she welcomed her first child, daughter Oonagh, via surrogacy, openly discussing her decision to become a single mother and talking about the importance of women making choices about their lives without societal pressure. At the time, she spoke candidly about the significance of normalising the desire to have a child without necessarily being married.
Heard’s post on Mother’s Day also included a message of solidarity to mothers everywhere, celebrating the diverse paths women take to become parents. “To all the mums, wherever you are today and however you got here, my dream family and I are celebrating with you,” she wrote, signing off with gratitude and love.
Amber Heard cradles her new-born twins Agnes and Ocean in a heartfelt Mother's Day postGetty Images
After welcoming Oonagh in 2021, Heard has been vocal about balancing motherhood with her career, often expressing her appreciation for the freedom to raise her daughter on her own terms. Following her high-profile legal battles with ex-husband Johnny Depp, she moved to Spain, seeking a quieter life focused on family. In recent interviews, friends and colleagues have shared that Heard is thriving, embracing motherhood wholeheartedly while maintaining a sense of peace and fulfilment.
The Hollywood star embraces life in Spain with her three children after welcoming twins Agnes and OceanGetty Images
Though Heard keeps much of her personal life private, this heartfelt announcement shows how deeply she values family and the joy her children bring. As she embarks on this new chapter with Agnes, Ocean, and Oonagh, Heard’s story continues to resonate with many who choose unconventional paths to parenthood.
Coke Studio debut: It was a full-circle moment to step into a space I had admired for years, contributing Cricket Khidaiye and Peechay Hutt. We introduced an experimental sound to its vast audience – something we do not usually lean towards – and that felt ground-breaking.
Talal Qureshi redefining the sound of Pakistani music
Awesome album: I was really excited to put my album TURBO together. It felt like the right time to craft a body of work that truly represented my sound – high energy, experimental and unapologetically me. The album was about pushing boundaries and having fun. When TURBO was featured on a billboard in New York’s Times Square, it was a personal milestone. That visibility marked a turning point, validating years of genre-defying work and showing how far Pakistani electronic music had come.
Working with Atif Aslam: I mean, who is not an Atif Aslam fan? Getting the chance to work with him was surreal – but even more special was having him as a friend and mentor during the process. He was open, honest and incredibly generous with his time and knowledge. Watching his work ethic up close reminded me – and should remind anyone chasing a dream – that success is not out of reach if you stay committed and true to your craft. It was more than a collaboration – it was a learning experience I will always be grateful for.
Aag featuring Naseebo Lal: I had never experienced a session like this before. When I created the beat and composition, I knew I had to get her on the track and explore the potential for blending genres. While we were in the studio, she called me a “music director”, which genuinely surprised me. She told me, “Your ideas can truly come to life,” and that meant a lot.
Performing at Mad Decent Block Party alongside artists like Diplo, Marshmello and Swae Lee: This was not just about being on a global stage – it was about representing Pakistani electronic music in a space where it had not been seen before. It proved that South Asian artists can hold their own, and it helped shine a light on the underground scene back home. Hanging out with Diplo was a moment I never saw coming. I have always respected his journey, but actually spending time with him and talking music was something else. I learnt a lot just by being around him – the way he approaches collaboration, brings out the best in others, and balances his own vision while amplifying theirs. It really opened my eyes to new ways of working with artists – and how to help their ideas grow.
Talal Qureshi sets fire with his track Aag
Photo memories: There was a time I was shooting all my own visuals – just me, a borrowed DSLR, some lights and a projector. I was compiling, editing and figuring it all out as I went. Now I have a team and resources to help take my vision further, but I am still extremely proud of the work I shot for myself. Some of those early pieces are my favourites – they helped me grow as a visual artist.
Building my studio: After moving out of my parents’ house, I did not have a space of my own. I crashed on floors and couches – anywhere I could. I was lucky to have friends who let me stay with them. I made music wherever I could find a corner to set up. Years of grinding, experimenting, failing and learning led to me finally building my own studio, investing in gear, and getting analogue synthesisers like the Korg Minilogue and Modwave. Having my own creative space really puts everything into perspective. I am grateful for the journey.
A proud moment Qureshi's tracks featured in Ms Marvel
Ms Marvel soundtrack: Having two of my favourite tracks – Aag and Peechay Hutt – featured in not just any series, but a Marvel one, was surreal. It was a proud moment both personally and for the global representation of our music.
Finding my people through music: I have been lucky to find friends like family through my work. Some of the most important people in my life began as collaborators. Now they are my support system.
Revamping Pakistani pop: With songs like Shaam, Faltu Pyar, Sweetu, Ronaq (album), Jogi, Paisa and many more, I feel we really broke the fourth wall. These songs played a huge role in shaping the direction of modern Pakistani pop music.
