Today marks the beginning of Emmy nomination voting for the Television Academy. Voting runs until June 22nd, and final nominations will be announced on July 8th. As always, there are so many shows to consider, both new and returning, but some members of NBP wanted to share which shows and performances we’re hoping voters will consider for their ballots this year.
The FYC mentions below are made by Matt Neglia, Lauren LaMagna, Giovanni Lago, Megan Lachinski, Nadia Dalimonte, Tom O’Brien, Alyssa Christian, Daniel Howat & Amy Kim
Outstanding Drama Series – “A Knight of the Seven Kingdoms”
In a television landscape filled with prestige dramas competing for voters’ attention, HBO’s “A Knight of the Seven Kingdoms” arrived as something unique and special: a show that wears its heart on its sleeve in the dark world of Westeros. The six-episode drama series (Based on one of several novellas by George R.R. Martin) stripped away many of the aspects that made “Game of Thrones” and “House Of The Dragon” so grim and replaced them with a simple story about friendship, honor, and what it means to face death with dignity. What showrunner Ira Parker and his team have accomplished is nothing short of remarkable, and fans of the other two HBO series have responded kindly to this kind-hearted show that isn’t afraid to throw in some comedy and not take itself too seriously at times. It was a refreshing change of pace for George R.R. Martin adaptations with one of the best on-screen pairings of the year in Peter Claffey and Dexter Sol Ansell, making Dunk and Egg two of the most genuinely lovable protagonists this medium has produced in years. And despite all light moments, the series knew when to crank up the tension and action with the incredibly intense fifth episode, “In the Name of the Mother,” that stands as one of the most exhilarating, heart-pounding, dramatic, and technically accomplished episodes of television in 2026. “A Knight of the Seven Kingdoms” doesn’t just deserve a nomination because it’s another successful adaptation of George R.R. Martin; it deserves it because it took risks and they paid off.
– Matt Neglia
Outstanding Comedy Series – “Jury Duty Presents: Company Retreat”
When “Jury Duty” burst onto the TV scene back in 2023, it exploded in popularity for several reasons, but the element of surprise was one of them. It came out of nowhere, with little fanfare, dropped in its entirety on a now-defunct Amazon spinoff streamer (remember Freevee?). But its freshness, somewhere between reality TV, a prank show, and a heartwarming sitcom, made it a huge success, with word of mouth propelling it to an Emmy nomination for Outstanding Comedy Series. Now, three years later, the show has returned in a new setting with “Jury Duty Presents: Company Retreat.” While the second season no longer comes with that jolt of surprise, it leans in on something equally rare on TV these days: sincerity. That sounds strange for a show about duping a man into unwittingly starring in a series, but it’s true. This second season focuses on a (fictional) family business wrestling with its future, dropping in Anthony, the non-actor, as a temp. It culminates in a genuinely heroic, stand-up-and-cheer sort of moment that hits so much harder knowing that Anthony didn’t script a single moment of it. “Jury Duty Presents: Company Retreat” surpasses the first season not in surprise, but in unabashed kindness. There’s just nothing else on television like it. The series is very silly, very over-the-top, but the humanity on display unequivocally deserves recognition among the best comedy series of the year.
Outstanding Lead Actor in a Drama Series – Antony Starr for “The Boys”
For five blood-soaked seasons, “The Boys” has given us a lot to react to, and that’s mainly thanks to Antony Starr’s brilliant lead performance as Homelander. The New Zealand-born actor fully transformed into the villain who launched many memes and gifs, all the way to his appropriately humbling (and satisfying) ending. Starr made Homelander into so much more than a one-note, cartoonish character—he turned him into one of the most complex, memorable characters in TV history. His facial expressions alone, sometimes changing within seconds, were so unique. While his performance was showy when it needed to be, he also gave us some magnificent, more interior work that you don’t necessarily see with superhero villains. Even when Homelander made bad decisions, Starr had already done the work needed for you to buy into his actions. And while the final season of “The Boys” was arguably messy, Starr was a consistent bright spot. He could be menacing one moment, and utterly pathetic and vulnerable in the next. As Homelander became more power-hungry and as the world of “The Boys” mimicked our own even more, Starr made us terrified of him, hate him, and also feel (a bit) sorry for him—often all at once. This is the last chance to nominate him for this iconic performance, so he deserves it now as much as he ever did.
Outstanding Lead Actress for a Comedy Series – Malin Akerman in “The Hunting Wives”
“The Hunting Wives” was the surprise hit for Netflix. There is just something about watching women behave badly and have fun while doing it. And no one is behaving worse than Malin Akerman’s Margo Banks, the seductive, manipulative Queen of the South who does exactly what she wants when she wants to. Everybody falls under Margo’s spell, and that is all because of Akerman’s mesmerizing performance. Her confidence, swagger, & hypnotic gaze make it impossible to look away or root against her. It seems like this is the role that Akerman was born to play, where she can use her comedic expertise and fierce sexuality while creating a deep and flawed character who just wants to be free. We probably would do things differently than Margo, but we always understand her intentions, which is the result of a skilled actor understanding their character and the project’s tone. “The Hunting Wives” may call itself anti-prestige, & competing in the comedy category definitely makes its Emmy journey an uphill battle. But Akerman has been putting in constant work over the years, and this feels like the stars are aligning for her. It is the character of her career, and it is definitely a performance worthy of recognition.
Outstanding Lead Actor in a Limited Series – Jamie Bell for “Half Man”
There is a particular cruelty in casting Jamie Bell as Niall, an actor whose career has long been defined by an open, vulnerable sensitivity, and then asking audiences to watch that very quality become the instrument of a man’s self-destruction. Bell understood this tough assignment completely, and what he delivers across six episodes of Richard Gadd’s unsparing “Half Man,” particularly in episodes 4 and 6, is stunning. Niall is not an easy character to play. He’s passive, where Ruben (Gadd) is explosive in a far showier role. He’s cowardly instead of where he might be brave, and so thoroughly trapped in a bed of his own making that the moments of genuine feeling from him still feel almost as though they’re conflicted. Bell navigates all of this without ever tipping into the kind of actorly self-consciousness that would break the level of immersion we have into Niall’s psyche. His performance is built on the subtlest possible deteriorations, before they’ve all but consumed him from the inside out. The final episode, which demands Bell reckon with the terrible grief and violence of everything Niall has refused to acknowledge about himself, is simply stunning work from an actor who has been delivering consistently great work for years. This is the role Jamie Bell was always capable of, and with Gadd’s introspective, thoughtful writing, he delivered the performance of his career.
Outstanding Supporting Actress in a Drama Series – Karolina Wydra in “Pluribus”
There really hasn’t been a role, or performance, like Karolina Wydra’s Zosia in “Pluribus.” Layered is an understatement – she’s portraying a single character who is technically “everyone,” while attempting to allure one specifically miserable target. Cold yet pleasant, manipulative yet caring; a lot of “Pluribus’s” success relies on Wydra toeing many lines – and she does so masterfully. A role that’s anything but an easy, straightforward performance, Zosia’s “Other” is deceptively hard to play. There have been interviews detailing the work Wydra put in behind Zosia – from researching spiritual leaders to meditation, the innate understanding she has for this character is clearly reflected in her dynamic depiction. Many lesser actresses would lean into the robotic-ness of this sentient being. Still, Wydra so carefully builds trust in her audience while standing toe-to-toe with the powerhouse Rhea Seehorn’s dismal Carol. Wydra matches Seehorn’s micro-expressions so delicately that there’s almost a “blink-and-you-miss-it” subtleness to her performance, all at once natural yet intense. Her chemistry with Seehorn is electric, and culminates in one of the most engaging, complex, and captivating on-screen performances – and relationships – of the decade. Three years ago, Wydra had stepped away from acting when a surprise audition request came in. We’re lucky she seized the opportunity, because “Pluribus” wouldn’t work as well without this nuanced performance from such a dynamic actress. Wydra deserves – at the very least – her first-ever Emmy nomination, and arguably a win, for her breakout role in “Pluribus.”
Outstanding Supporting Actress in a Comedy Series – Kate O’Flynn in “Widow’s Bay”
Hilarious one moment and devastating the next, Kate O’Flynn’s masterful performance as Patricia on “Widow’s Bay” echoes why the show is taking audiences by storm. Creator and showrunner Katie Dippold strikes a seamless horror-comedy balance: the scares are genuinely spooky, and the humor is smartly character-driven. At the heart of “Widow’s Bay” is its community, filled with enjoyably flawed characters (such as town hall assistant Patricia), whose journeys hook you into a series of island haunts. Patricia lives on a haunted island of her own, the depths of which are brilliantly mapped out through O’Flynn’s work. The first three episodes spend little time with her, though O’Flynn’s delightfully wry comedy and off-kilter energy make for a dynamic first impression. The devil is in the details, each one adding to a compelling sense of discovery as we watch her character unfold. Diving into the backstory of Patricia’s loneliness, episode four gives us a “Carrie” coded cocktail party from hell. O’Flynn plays a brilliant arc of desperation, euphoria, and tragedy as she dances her way through a terrifying possession. She deftly channels Patricia’s heartbreak from a party gone wrong, and relief from the chosen family who help her pick up the emotional pieces. When thrown into horror slasher mode with episode eight, O’Flynn excels at a scream queen role that flips the “final girl” trope on its head. For all her traits and killer one-liners (“I forgot my purse” amongst several others), Patricia has quickly become one of the most engaging characters on television this year. Wherever the finale takes her, O’Flynn has ensured that we’re on board every step of the way. And with buzz for “Widow’s Bay” approaching phenomenon status, the Emmys would feel especially incomplete without her.
Outstanding Supporting Actor in a Drama Series – Ken Leung in “Industry”
Leung’s ability to make the sexually promiscuous and volatile Eric Tao an endlessly captivating presence in an all-star ensemble is why he’s managed to steal our hearts for all these years. His effortless ability to bring Mickey Down and Konrad Kay’s beautifully demented dialogue to life has made Leung a bona fide meme generator. He showcases years of work as a formidable character actor, only to casually flex his skill set every moment he appears on screen. With his work here, Leung is always a magnetic presence, whether he is peacocking his aptitude for his trade, scheming a backhanded plan to keep himself above water, or sparring with his surrogate daughter, whom he loves more than his actual children. His ability to disarm audiences with an emotionality that breaks away from the grimmest aspects of Eric is a testament to how he challenges our feelings despite every transgression. Each expression is undoubtedly the most enthralling emotive work of Leung’s career, reeling us in to the unpredictability the baseball bat-wielding trader has maintained all these seasons. Leung’s unceremonious farewell marks some of the best acting of his career as he swings for the fences in his grand farewell. For years, he’s delivered exceptional work. Still, with the fourth season of “Industry,” Leung reaches new heights, not only making Eric Tao one of television’s most provocatively root-able characters but, point-blank, one of the greatest performances ever to grace television.
Outstanding Writing for a Drama Series – “Landman”
For years, the awards conversation around Taylor Sheridan has been defined by a curious paradox. He’s the man responsible for some of the most-watched television in America, yet someone whose relentless writing (He writes all of the episodes himself, sometimes doing that for multiple shows at the same time) has gone almost entirely unrecognized by the Television Academy. “Landman’s” second season makes that oversight even harder to justify considering it’s far more successful than the first season in terms of character and story as everyone is pushed to deeper, more consequential and dangerous directions in that rugged, everyman, tough-guy attitude Sheridan has exhibited across not just his television work (which also includes “The Madison” this year) but also his film work. The film Academy has recognized this with an Oscar nomination for Sheridan in 2015 for “Hell or High Water.” Still, season 2 of “Landman” finds him doing some of his most controlled and best work to date, especially if you bought stock in the series during season one. Billy Bob Thornton’s nomination at the Actor Awards should be a signal of how well Sheridan wrote Tommy Norris this season, but will the Television Academy care? Everything Sheridan touches turns to gold, especially for his diehard audience. Shouldn’t that level of admiration be reflected somewhere?
Outstanding Writing for a Comedy Series – “The Chair Company”
You will not watch a more singular series this year than “The Chair Company,“ a show with an initially amusing premise that quickly devolves into a complex conspiracy that only gets more enigmatic and entertaining as it continues. While the show of this caliber merits recognition across the board, it is particularly deserving of a nomination for its writing. The way that it ties these complicated machinations our protagonist must unravel together with the show’s core characters’ fundamental insecurities is nothing short of genius. But of course, a writing nomination is for a single episode, and this show has submitted its brilliant pilot for consideration. The entire series is worth watching, but the pilot’s achievement is particularly astonishing for how well it lays the groundwork for the show’s central mystery while being hysterical in its own right. Its initial, off-putting mundanity becomes almost charming before the series of increasingly strange events hooks you completely. Tim Robinson’s unhinged but fundamentally likable protagonist elevates this story further, as it quickly becomes clear that only this character could escalate these events to such a degree. Yet as much as I could gush about this show endlessly, it is quite difficult to explain the brilliance of this pilot further without getting into spoilers. So, to any Emmy voters on the fence about whether “The Chair Company“ is worth their time: let me assure you that this 32-minute heater of a first episode absolutely is.
– Amy Kim
Outstanding Guest Actor In A Comedy Series – Peter Dinklage for “The Lowdown”
From the moment he emerges from a rundown bathroom, wiping his hands on his leather jacket, Peter Dinklage hijacks Episode 5 of “The Lowdown” and never lets it go. As Wendell, the one-time business partner and ex-best friend of Lee (Ethan Hawke), he’s shown up at Lee’s door for their annual ritual of celebrating the birthday of their friend Jesús, who died of an overdose years before. Dinklage is in total control throughout, bickering with Hawke’s Lee as if they’re an old married couple, yet dropping everything to help his friend on his current investigation. But from the very first scene, Dinklage expertly adds a dark layer of simmering resentment just beneath the surface of his interactions with Lee, which finally boils over into a dynamic confrontation in which Wendell reveals the ugly truth for all to hear. How Dinklage modulates the build-up to that moment is thrilling to behold, but not surprising from this four-time Emmy winner. As Wendell finally says goodbye, Lee suggests they could hang out again sometime “like normal people.” Here’s hoping that Dinklage says yes in Season 2.
Who/what are you hoping will be nominated at this year’s Emmy Awards? Please let us know in the comments section below or over on our X account and check out our latest Emmy nomination predictions here.
