The awards will be handed out at a May 20 gala in New York, hosted by Rashida Jones.
Beyonce's Lemonade, Donald Glover's Atlanta and Julia Louis-Dreyfus starrer Veep are among the winners in the entertainment programming category for this year's Peabody Awards.
A total of seven winners in the category were revealed Thursday as part of the annual Peabody 30 honorees. Other winners are Better Things, Happy Valley, Horace and Pete and National Treasure.
According to the Peabodys, the entertainment winners "represent sharp explorations of character, community and craft in the best stories of today’s scripted television landscape."
The announcement follows Tuesday's news that O.J.: Made in America and Ava DuVernay's 13th had been selected as two of the 12 documentary winners. And last week, Norman Lear and the Independent Television Service were named as individual and institutional winners, respectively, for the 76th annual Peabody Awards, for "their longstanding commitment to excellence in television programming."
Additional Peabody Award winners in news, radio/podcast and other categories, as selected by a board of jurors including The Hollywood Reporter's editor-at-large Kim Masters, will be revealed April 25.
The Peabody Award winners will be celebrated at a May 20 gala in New York, hosted by Rashida Jones, which will be taped for a TV special to air on PBS and Fusion on June 2 at 9 p.m. ET. The awards are based at the Grady College of Journalism and Mass Communication at the University of Georgia.
A complete list of winners announced so far, along with the Peabody jurors' description of each, follows.
Updated 8 a.m. April 20: Entertainment winners added.
FX Productions (FX Networks)
Donald Glover’s enchanting series on the struggles of two young black men trying to make it in Atlanta’s rap scene blends vibrant character study and rich socio-political commentary in delivering a detailed and textured exploration of a Southern city.
FX Productions (FX Networks)
Co-created by Pamela Adlon and Louis C.K., the result of this searingly funny and beautiful show is an at-times raw examination of the vicissitudes of working motherhood, crackling with feminist verve and energy, that consistently cuts new ground.
BBC One (BBC One, Netflix)
A fresh take on the British crime drama that deals boldly and unflinchingly with the darkest human behavior while keeping its heart and even a tart sense of humor. Series creator Sally Wainwright has given us perhaps the greatest female lead on television today in Catherine Cawood, played by Sarah Lancashire in a stunning performance.
Horace and Pete
Pig Newton, Inc. (louisck.net)
A true original that melds contemporary politics and serialized storytelling with a throwback approach, Horace and Pete is a truly independent and groundbreaking demonstration of how quality television is expertly produced for the new media environment, all the while building upon decades of artistry and craft.
HBO Entertainment in association with Parkwood Entertainment (HBO)
Lemonaded raws from the prolific literary, musical, cinematic, and aesthetic sensibilities of black cultural producers to create a rich tapestry of poetic innovation.The audacity of its reach and fierceness of its vision challenges our cultural imagination, while crafting a stunning and sublime masterpiece about the lives of women of color and the bonds of friendship seldom seen or heard in American popular culture.
The Forge (Channel 4)
A dark and timely examination of sexual abuse at the hands of privileged celebrity, National Treasure is an engrossing series that explores the loyalty of family and friends during crisis, the impact of sexual abuse on victims, and the legal system itself. As in real life, there’s no neat ending in this dramatic rendering of one man’s choices and the collateral damage he creates.
HBO Entertainment (HBO)
A rare show blessed with a perfectly cast ensemble, including the comedic genius of Julia Louis-Dreyfus, VEEP is a workplace comedy that not only captures the zeitgeist of the current bizarre political moment but transcends its own form to deliver a sobering message, with sharp dialogue, street savvy — and lots of laughs.
Audrie & Daisy
AfterImage Public Media in association with Actual Films (Netflix)
Filmmakers Bonni Cohen and Jon Shenk present a heartbreaking and timely tale of how social media shaming enacts a secondary and sometimes even more impactful traumatization of teen rape victims.
The New York Times Op-Docs (NYTimes.com)
Desperate journeys undertaken by refugees risking their lives to cross the Mediterranean and find safe haven in Europe is well-documented. Daphne Matziaraki’s short film differs in its point-of-view and raw imagery of one Greek boat captain thrust into the breach.
Frontline: Confronting ISIS
Veteran correspondent Martin Smith’s deliberate reporting provides context to America’s ongoing war against Islamist extremists in this essential primer on the origins and timeline of the conflict. “Confronting ISIS” clearly articulates the political complexities behind the rise of the terrorist group, their strategies in recruitment and tactics, and America’s diplomatic missteps and heightened challenges.
An intimate take on the refugee and migrant crisis distinguished by its specificity of the people it follows. James Bluemel eschews the need to render his subjects pathetic, instead showing their humanity and their attempts to keep this humanity in the face of their journey.
Banger Films (Netflix, HBO Canada)
An entertaining, consummate history of hip-hop music told in a series of interviews with influential MCs, DJs, and moguls who were there at the beginning of the genre’s birth and through its dynamic evolution.
Independent Lens: Trapped
Trilogy Films LLC, Bigmouth Productions, Cedar Creek Productions and the Independent Television Service (ITVS) (PBS)
A timely report that examines the motivation and politics surrounding “TRAP” laws, specifically designed to restrict access to abortion. Director Dawn Porter goes behind-the-scenes to follow the people working on a daily basis to keep clinics open under challenging circumstances.
Film First and HBO Documentary Films (HBO)
More than just a biopic, this story celebrates the deep influence of Mavis Staples and the Staple Singers across music genres—from gospel to soul and rock-and-roll. Mavis! illustrates the history of social movements in America and is a powerful reminder of one woman’s impact on popular culture.
O.J.: Made in America
ESPN Films and Laylow Films (ESPN)
Ezra Edelman takes a story we all think we know—the rise and fall of Orenthal James Simpson—and adds successive layers of context and depth until ultimately it becomes a masterful examination of American culture, race, celebrity, masculinity, and criminality.
POV: Hooligan Sparrow
POV | American Documentary (PBS)
First-time filmmaker Nanfu Wang takes personal risks to follow the story of Ye Haiyan, aka “Hooligan Sparrow,” and a small group of women’s rights activists protesting the state of sexual assault crises in schools in China.
Southwest of Salem: The Story of the San Antonio Four
Deborah S. Esquenazi Productions, LLC (Investigation Discovery)
A modern tale of colonial-style persecution follows four Latina lesbians wrongfully accused of sexual assault in the mid-1990s. Picking up a decade after conviction, the film chronicles their struggles as homosexual women of color in their conservative Texas community and their battle for eventual exoneration.
Forward Movement LLC and Kandoo Films (Netflix)
Filmmaker Ava DuVernay deconstructs the criminalization of African-Americans—from racial slavery to convict leasing systems, from Jim Crow terror to mass incarceration—as a means of exercising social control of black populations.
Magnolia Pictures and Participant Media, in association with Showtime Documentary Films, Global Produce/Jigsaw Productions (Showtime)
Alex Gibney sheds light on the dark world of cyber warfare and its threat to global peace in this suspenseful story mapping how cybersecurity experts discovered the computer worm known as Stuxnet. The documentary is a call-to-action for countries and citizens to address the issue of cyberattacks and to start public discourse on what could happen if, and when, diplomacy fails.
Norman Lear changed the face of television — and the faces. He revolutionized and democratized a traditionally timid, overwhelmingly white-bread medium with a collection of recognizable, risible characters whose racial and gender diversity was as unprecedented as their biases and brash opinions. From All in the Family and Sanford and Son to Maude, Good Times and The Jeffersons, all the Lear hits shared, to one degree or another, a grounding in the real, polarized America we all knew, not some fantasy nation crawling with dreamy genies, twitchy witches and friendly Martians. In Lear’s watershed shows of the ’70s, no topic was too touchy to tackle — not racial discrimination, not sexism, not homosexuality, not abortion, not even rape. Better than anyone working in television, Lear has created an influential body of work that politicized the personal, personalized the political, and showed us ourselves in all our ridiculousness and nobility.
Independent Television Service (ITVS)
If any organization can claim a foundational place in the flourishing of documentary film over the past generation, it is the Independent Television Service (ITVS). Conceived by independent filmmakers who saw a paucity of diversity in public media, ITVS was formed by Congress in 1988. Since then ITVS has had a broad transformative impact on the media landscape, particularly in public media. With more than 1,400 films funded and a staggering 32 Peabody Awards, ITVS’ output represents an accomplished range of work as rich as any broadcaster or funder. Landmark films within the Peabody canon include: How to Survive a Plague by David France; Marco Williams and Whitney Dow’s Two Towns of Jasper; Leslee Udwin’s India’s Daughter and The Invisible War by Kirby Dick and Amy Zeiring. These works remain as relevant today as when they were initially broadcast and have made an impact that is impossible to measure. At a time when public media is under political attack, there is no better time to recognize the vital contributions to public discourse and knowledge than that provided by ITVS.