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Starting this week and ending June 27, Emmy voters will select the 2016 nominees. And they need help. And I am happy to help, out of the pure goodness of my heart, and also out of the fear that yet another year will pass without due acknowledgment of “The Americans.”

So here’s my ballot, chosen from the hundreds of shows and performers that were submitted to the Academy of Television Arts & Sciences (the lists are online at www.Emmys.com). Generally, each category has six nominees; best comedy and best drama have seven each. The nominees that the Emmy voters finally choose — all of which will, of course, exactly mirror my choices — will be announced on July 14, with the final ceremony airing on Sept. 18.

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Drama Series

“Horace and Pete” (LouisCK.net)

“The Knick” (Cinemax)

“The Americans” (FX)

“Better Call Saul” (AMC)

“Game of Thrones” (HBO)

“UnREAL” (Lifetime)

“Happy Valley” (Netflix)

This has to be the season — now that “Mad Men” is gone — when voters open their eyes to “The Americans.” Right? Right. Fortunately, since some of the year’s best drama, including “American Crime” and “Fargo,” falls under the “Limited Series” banner, there is room here for lesser knowns. I’m happy to have slots for the fascinating, if overheated, reality-show drama “UnREAL,” the miraculously transporting and gritty “The Knick,” the wonderfully stagey “Horace and Pete,” and the compelling “Happy Valley.” My emotional response to the end of “The Good Wife” almost inspired me to include it, but really the last season was mediocre.

Comedy Series

“Man Seeking Woman” (FXX)

“black-ish” (ABC)

“Master of None” (Netflix)

“Shameless” (Showtime)

“Transparent” (Amazon)

“Veep” (HBO)

“Silicon Valley” (HBO)

A fellow can dream, can’t he? I think “Man Seeking Woman” is hallucinogenic brilliance, as it dips into and out of — but mostly into — surreality. Will it ever get the attention of a voting group that still hasn’t given “Shameless” its proper due? Nah. And anyway, the competition is big and strong this year. Before I pruned this category down to seven, I had 14 possibles, including “Love,” “Girls,” “Desperate People,” “Survivor’s Remorse,” “Brooklyn Nine-Nine,” “Catastrophe,” and “Lady Dynamite.” “Black-ish” can be silly, but it can also be powerful and relevant. “Transparent” had a stellar second season, “Master of None” was a revelation, and the timely shows “Veep” and “Silicon Valley” continued to deliver the best comedy ensembles currently on TV.

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LEAD Actor, Drama

Travis Fimmel, “Vikings”

Aaron Paul, “The Path”

Matthew Rhys, “The Americans”

Steve Buscemi, “Horace and Pete”

Clive Owen, “The Knick”

Bob Odenkirk, “Better Call Saul”

I suspect one or both of the “Billions” leads — Paul Giamatti and Damian Lewis — will be irresistible to voters, despite Giamatti’s overacting and Lewis’s miscasting. And I suspect the hammy Kevin Spacey will make the list, too. But I’d rather see Fimmel here; long ignored, he is still sensitively playing out the arc of Ragnar Lothbrok, now losing his confidence to drugs. Alas, no room for Aden Young of “Rectify” and Titus Welliver of “Bosch.”

LEAD Actor, Comedy

Aziz Ansari, “Master of None”

William H. Macy, “Shameless”

Thomas Middleditch, “Silicon Valley”

Jeffrey Tambor, “Transparent”

Rob Delaney, “Catastrophe”

Will Forte, “The Last Man on Earth”

Ansari delivered a rich leading performance that fans of his more caricaturish turn on “Parks and Recreation” didn’t see coming. Middleditch has beautifully opened up his twitchy Richard into a full set of neuroses and insecurities. Tambor was magnificent once again as a trans woman, although — like Edie Falco was in “Nurse Jackie” — he’s more dramatic than comedic. And Delaney was charming, boyish, and steady as the supportive hubby on “Catastrophe.”

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LEAD Actress, Drama

Michelle Dockery, “Downton Abbey”

Taraji P. Henson, “Empire”

Sarah Lancashire, “Happy Valley”

Tatiana Maslany, “Orphan Black”

Keri Russell, “The Americans”

Shiri Appleby, “UnREAL”

Russell delivers every single week on “The Americans,” as a woman made of steel — almost. She’s remarkable, and so is Lancashire, an emotional lightning rod on a dark and stormy series. Appleby is fantastically twisty, Dockery continued to play against her show’s sentimentality, and Henson, well, she’s undeniable.

LEAD Actress, Comedy

Emmy Rossum, “Shameless”

Julia Louis-Dreyfus, “Veep”

Gillian Jacobs, “Love”

Sharon Horgan, “Catastrophe”

Aya Cash, “You’re the Worst”

Tracee Ellis Ross, “black-ish”

I will never stop believing that Rossum has delivered one of the era’s strongest TV performances on “Shameless,” as the complex Fiona. It’s not quite comic, but so goes the odd strategic decision-making that has “Shameless” submitting as a comedy. Cash managed to deepen her willfully superficial character as we learned of her clinical depression, Jacobs was wonderfully self-unaware as a romantic lead, and Ross takes a stock sitcom character — the long-suffering wife — and individualizes it beautifully. Of course Louis-Dreyfus owns this category, because she is just too funny.

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Supporting Actor, Drama

Alan Alda, “Horace and Pete”

Peter Dinklage, “Game of Thrones”

Andre Holland, “The Knick”

James Norton, “Happy Valley”

Ray Romano, “Vinyl”

Nick Sandow, “Orange Is the New Black”

If you saw “Happy Valley,” you probably still get the chills from Norton, who was as evil as his “Grantchester” character was not. Alda continues to move from strength to strength, this time with his original twist on an Archie Bunker type. Holland is outstanding as a black doctor driven to practice medicine, despite the obstacles. Sandow is wry, pathetic, and memorable. Dinklage, as always, is extraordinary, even if he has had relatively little screen time this season. Alas, no room for David Dawson, who was riveting as King Alfred on “The Last Kingdom,” and Frank Langella as the fatherly handler on “The Americans.”

Supporting Actress, Drama

Maura Tierney, “The Affair”

Siobhan Finneran, “Happy Valley”

Miranda Otto, “Homeland”

Holly Taylor, “The Americans”

Alison Wright, “The Americans”

Constance Zimmer, “UnReal”

What a wonderful state of affairs, when I have no room for the great work of Jessica Lange on “Horace and Pete,” Emilia Clarke and Lena Headey of “Game of Thrones,” and Christine Baranski of “The Good Wife.” Tierney has been submitted in this category, but those who watch “The Affair” know that she led the season. It’s rare for a performer to bring such dimension and complexity. Otto was a genre villain, but a haunting one. Finneran — she was the nefarious O’Brien on “Downton Abbey” — was touching as a recovering addict. And Wright was magnificent as the ordinary Martha, dragged into an extraordinary situation. But my very favorite is Taylor, who is both knowing and innocent as the teen daughter of Russian spies. She defined the last season of “The Americans” with her growing awareness.

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Supporting Actor, Comedy

Louie Anderson, “Baskets”

Andre Braugher, “Brooklyn Nine-Nine”

Alex Karpovsky, “Girls”

Fred Melamed, “Lady Dynamite”

Jeremy Allen White, “Shameless”

Timothy Simons, “Veep”

Anderson is remarkable, as a passive-aggressive but lovable mom. He is the one actor on this entire list who absolutely must be nominated or the center will not hold. It’s easy to overlook Karpovsky on “Girls,” where he’s surrounded by more eccentric characters. But as the voice of sanity, sincerity, and love, he’s a standout. Melamed, a TV staple, gets to show his chops. And we could fill out the category with side characters from “Veep” and “Silicon Valley,” including Hugh Laurie from the former and Zach Woods and T.J. Miller from the latter; but space allows only the miraculous Simons. And of course I’ve kept a slot for a “Shameless” actor, since White has had such a powerful season as a kid caught between his scrappy past and college life.

Supporting Actress, Comedy

Ana Gasteyer, “Lady Dynamite”

Martha Kelly, “Baskets”

Jemima Kirke, “Girls”

Claudia O’Doherty, “Love”

Amanda Peet, “Togetherness”

Jenifer Lewis, “black-ish”

Peet is a force of nature on “Togetherness,” or was, since the show got canceled. Gasteyer goes way over the top, and expertly so, as the venal agent on “Lady Dynamite,” and it pays off beautifully. Lewis shoots one-liners with precision. Deadpan takes on new facets in the hands of Kelly. Kirke had a great story line on “Girls,” as she and Adam finally understood that they should both be crazy together instead of apart. And O’Doherty was a breath of fresh air as the odd roommate on “Love.” Alas, no room for Noel Wells of “Master of None” and Donna Lynne Champlin of “Crazy Ex-Girlfriend.”

Limited Series

“London Spy” (BBC America)

“The People v. O.J. Simpson” (FX)

“Show Me a Hero” (HBO)

“Roots” (History)

“Fargo” (FX)

“American Crime” (ABC)

What a dazzling category this year. I didn’t have room for two deserving series, “11.22.63” and “The Night Manager,” both of which were entertaining if uneven. “American Crime” was extraordinary — and less obscured by cinematic gimmickry — this year, as it dug into the theme of school rape. “Roots,” “Fargo,” and “The People v. O.J. Simpson” were spellbinding, although in my heart of hearts I’m rooting for “Fargo.”

TV Movie

“All the Way” (HBO)

“Confirmation” (HBO)

“The Dresser” (Starz)

I couldn’t even fill this category with six nominees. It was as lousy a year for TV movies as it was a spectacular year for miniseries — er, I mean limited series.

LEAD Actor, Movie or Limited Series

Bryan Cranston, “All the Way”

Oscar Isaac, “Show Me a Hero”

Malachi Kirby, “Roots”

Regé-Jean Page, “Roots”

Courtney B. Vance, “The People v. O.J. Simpson”

James Franco, “11.22.63”

Both Kirby and Page helped make “Roots” not just brutally illuminating but also emotionally gripping. Franco was a sympathetic and irony-free lead, Isaac was fascinating as a man chewed up by the political system, and Vance brought us inside a complicated public figure. And Cranston made you feel as though you were watching LBJ himself. Sadly, no room for Ian McKellen of “The Dresser,” Ben Whishaw of “London Spy,” and Paul Dano of “War & Peace.”

LEAD Actress, Movie or Limited Series

Kirsten Dunst, “Fargo”

Felicity Huffman, “American Crime”

Sarah Paulson, “The People v. O.J. Simpson”

Kerry Washington, “Confirmation”

Riley Keough, “The Girlfriend Experience”

Audra McDonald, “Lady Day at Emerson’s Bar and Grill”

Most likely, they’ll lose to Paulson, who made “The People v. O.J. Simpson” so poignant. But they all deserve note, particularly Huffman, who was so effectively slimy as a school headmaster.


Matthew Gilbert can be reached at gilbert@globe.com. Follow him on Twitter @MatthewGilbert.