It’s hard to argue with dominance. For the seventh straight year, FX Networks has been named North America Marketing Team of the Year.

The network’s marketing—led by FX Networks CEO John Landgraf and Stephanie Gibbons, president, marketing and on-air promotions – in 2016 featured work around such critically acclaimed programs as Archer, Atlanta, The Americans, American Horror Story, Baskets, Fargo, Legion, The Strain and more.

The network’s work is vast and differentiated, including everything from promos to key art to social media activations.

RELATED: FX Networks Named North America Marketing Team of the Year

A sampling of FX’s award-winning work from 2016 is featured below:

One of the network’s most sophisticated shows, FX manages to keep the marketing for The Americans as subtle and layered as the show itself. Here’s an example where one iconic symbol everyone thinks they know evolves into something much different, much like the show’s cast of characters.

RELATED: How FX’s Fortuitous Campaign for ‘The Americans’ Intersects with the Time of Trump

American Horror Story – an anthology series that has starred such diverse and talented actors as Lady Gaga, Sarah Paulson, Jessica Lange, Kathy Bates and Angela Basset over its six seasons – had a lot of fun with season six, spending much of its campaign enticing fans to guess what that year’s season would be about.

The latest entry to FX’s pantheon is a re-imagining of the X-Men story, Legion, starring Dan Stevens, Rachel Keller, Aubrey Plaza and Jean Smart.

Even from the earliest glimpses, the Noah Hawley creation looked like nothing else on television, and that vision was proven out through the show’s first season.

The show’s key art also took a colorful approach to the main character’s inner mental life:

FX also had a blast taking over Sports Illustrated with an Archer-inspired swimsuit issue. Who says animated characters can’t be sexy?

RELATED: Girls of ‘Archer’ Make Splash in ‘Sports Illustrated’ Swimsuit Issue

Finally, Donald Glover’s Atlanta, arguably the year’s breakout comedy, felt like a realistic portrayal of a specific American culture, while still being wry and occasionally absurdist.

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