When Adolescence dominated the Emmys last September, taking home awards for best limited series, writing, directing, and cinematography, one victory stood apart from the rest.
Best casting.
Shaheen Baig earned that Emmy for assembling the cast that brought the acclaimed series to life—including discovering 14-year-old Owen Cooper, whose debut performance became the show’s emotional core.
Yet when speaking over Zoom, Baig keeps her trophy strategically out of frame, mortified at any suggestion of boasting.
Finding Lightning in a Bottle
Cooper’s casting wasn’t luck—it was the result of six months of methodical searching across northern England.
I chose five cities. We then thoroughly researched those cities. We created databases. We looked at schools, youth groups, art groups, music groups. We talked to people that ran the clubs.
Baig’s team distributed flyers through social media and community organizations before hitting the streets. Street casting—directly approaching potential actors in public spaces—became their primary tool.
We go, we talk to people, we hand out flyers, we engage with people. It’s a lot of work, and it takes time, but that’s how you get the best results.
From 600 audition tapes, Baig’s process gradually refined the pool through increasingly sophisticated rounds of improvisation and script work.
What Made Cooper Exceptional
All five finalists earned roles in Adolescence, but Cooper possessed something extraordinary for someone with zero acting experience.
He had this wonderful quality on screen. There was a real innocence to him visually, and a clarity which I thought was just wonderful.
Beyond natural presence, Cooper demonstrated technical maturity that defied his age.
Owen had this ability to really listen and connect with Stephen. But also he wasn’t scared of repetition. We went over scenes time after time, trying different things. We wanted to push him to see where he could go, and he had this extraordinary focus for somebody so young. I mean, that’s a rare find.
His performance—heartbreakingly vulnerable yet incandescently vicious—made it nearly impossible to believe this was his first role.
Making Casting Visible
Baig’s Emmy represents broader industry recognition for a craft long overlooked. Her impressive credits span Black Mirror, Peaky Blinders, Sherwood, and this year alone: A Thousand Blows, Toxic Town, and BBC Three’s Just Act Normal.
Despite her success, Baig describes herself as shy and typically avoids interviews.
I think Adolescence has made me more visible. I’d normally run a mile from doing anything like this interview. But actually it’s really good to talk about casting, because it makes the profession more visible.
Recognition is expanding. BAFTA recently added casting to awards night, and the Oscars will introduce the category next year.
It’s great that the craft is being finally recognised as an essential element of film-making. Because it really is. If you don’t have the actors, you can’t make the thing.
The Collaborative Art of Casting
While directors often receive credit for everything on screen, casting requires specialized skills comparable to cinematography or costume design.
It’s my job to find the tone of a project. Some directors are more visual than others. Some are very focused on the script. Directors have all got different strengths.
Baig emphasizes flexibility and collaboration, even when disagreements arise.
I have to find a way to make it work, because I’m not the director of the film. I want my directors to have the best experience they can with the cast that we’ve put in front of them.
Breaking Down Barriers
After starting as a production assistant in the 1990s and working under Bond casting director Debbie McWilliams, Baig launched her independent practice in 2000.
She noticed something troubling.
There weren’t really many other people like me. Working-class, from Birmingham, mixed race. Even now, it’s not really a very representative industry, and that has to change.
This drove her involvement with Open Door, an organization helping young actors without financial means to access drama school.
The barriers are substantial:
- Drama school application fees add up quickly
- Travel costs for multiple auditions create financial burden
- Lack of industry connections leaves talented performers isolated
We work with people on movement, on voice, on auditions. We pair people with buddies, so they have somebody to connect to who has got a career. It’s all about making sure there are people in our industry that are recognisable to you.
After nearly 10 years, results are tangible.
I’ve really noticed a difference. I’ve seen a real change in intake at drama schools. So many of our students have been successful and are working and have got really good careers.
What’s Next
Baig’s 2026 slate stays characteristically ambitious, including Daisy Haggard’s Scottish thriller Maya, Riz Ahmed’s Bait about a struggling actor landing his breakthrough role, and the upcoming Peaky Blinders film.
When asked about celebrating Adolescence’s success, Baig deflects toward others.
I’m so happy that Warp Films are getting their flowers. They have been doing brilliant work for a really long time. They’re great people. They care about people. They’ve got a proper moral code.
But her pride for Cooper shines through unmistakably, like a mother watching her child succeed.
He’s looking fantastic. There are a lot of very fancy photoshoots with him at the moment.
Then, with characteristic groundedness, she adds perspective.
He’s still got to do his GCSEs, though. That’ll bring him down to earth.