'The Crown', 'Black Mirror' lead nominations for BAFTA Television Awards 2024
Black Mirror casting Anjana Vasan received the second highest nominations, while Amit Shah made it to nominations for Happy Valley
By Vibhuti PathakMar 22, 2024
The British Academy of Film and Television Arts (BAFTA) unveiled the nominations for their 2024 Television Awards on Wednesday.
Leading the pack are The Crown with 8 nominations and Black Mirror with 7 nominations. Both dramas are up for the prestigious "Best Drama Series" award, alongside Happy Valley, Slow Horses, and The Sixth Commandment, which all received 6 nods each.
Following closely behind with 5 nominations each are The Last of Us, The Long Shadow, and Succession. Other notable shows included in the nominations are Extraordinary and Good Omens.
There were 17 first-time nominees across the performance categories, including David Tennant (Good Omens), Hannah Waddingham (Eurovision Song Contest 2023), Amit Shah (Happy Valley), Bella Ramsey (The Last of Us), and Bridget Christie (The Change).
The Crown received a significant number of nominations in the performance categories. Actresses Elizabeth Debicki (portraying Princess Diana) and Lesley Manville (Princess Margaret) are both nominated for Supporting Actress. Additionally, Dominic West (Prince Charles) is up for Leading Actor, with Salim Daw (Mohamed Al-Fayed) contending for Supporting Actor.
Other big names in the acting categories include Brian Cox (Succession), Steve Coogan (The Reckoning), Timothy Spall (The Sixth Commandment), Helena Bonham Carter (Nolly), Sarah Lancashire (Happy Valley), Sharon Horgan (Best Interests), Jack Lowden (Slow Horses), and Matthew Macfadyen (Succession).
Competing for the best international series award are The Bear, Succession, Beef, and The Last of Us.
The BBC leads the way with sixty-five nominations. Netflix is a close second with a record-breaking thirty-five nods, followed by Sky Max with thirty-one, ITV1 with twenty-three, Channel 4 with sixteen, Apple TV+ with thirteen, Disney+ with eight, Prime Video with four, and Channel 5 with two.
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The BAFTA ceremony recognises "the most gripping, entertaining, challenging, funniest, most informative, highest quality, and most impactful TV programs of 2023, as voted for by BAFTA members," said BAFTA CEO Jane Millichip. BAFTA chair Sara Putt added, "Water-cooler TV moments, brave documentaries that expand our worldview, and powerful real-life inspired dramas—these are just some of the BAFTA nominated TV programs for audiences to watch. I'm delighted to see so many first-time nominees, so much new and emerging talent, and so many debut projects recognised today."
The BAFTA Television Craft Awards will be held on Sunday, April 28th, at The Brewery in London, while the BAFTA Television Awards will be held on Sunday, May 12th, at London's Royal Festival Hall (and also airing on BBC One and the BBC iPlayer).
In 2023, I Am Ruth, Bad Sisters, Derry Girls and The Traitors were the top winners at the BAFTA Television Awards. Kate Winslet won the BAFTA for Leading Actress for her role in I Am Ruth, which was also honoured as the Best Single Drama.
Bad Sisters took home the award for Best Drama Series, with star Anne-Marie Duff receiving the award for Best Supporting Actress for her portrayal of Grace Williams. Siobhán McSweeney won the honour for Best Female Performance in a Comedy Programme for Derry Girls, which also received the Best Scripted Comedy honour.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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