Reelz will distribute an additional 90 episodes of its On Patrol: Live police documentary series. 

The series' third season will continue to document in realtime the everyday work of police officers on patrol, said the network, according to Reelz. The network last February greenlit a similar 90-episode order for the show's second season.  

“We are thrilled to renew the program for another year and to see viewers come together on Friday and Saturday nights as On Patrol: Live chronicles police on patrol in communities across America,” Reelz CEO Stan E. Hubbard said in a statement.

Added Abrams, who hosts the series alongside Sgt. Sean “Sticks” Larkin (ret.), Deputy Sheriff Curtis Wilson and other guest experts: “There would be no OPL without #OPNation – more than just a dedicated audience interested in the work of law enforcement, these engaged viewers often reach out to help with the show’s ‘Missing’ and ‘BOLO’ (“Be on the Lookout”) segments and they make real contributions in aiding communities and families. It’s one of the most gratifying parts of working on On Patrol: Live and we’re so glad the show will continue.”

On Patrol: Live is produced by Big Fish Entertainment's Half Moon Pictures division, with Abrams, Dan Cesareo, John Zito, Lucilla D’Agostino, Paul Gordon and Joe Venafro serving as executive producers. 

On Patrol Live's third season announcement comes six months after a U.S. District Judge dismissed a motion brought by Big Fish Entertainment to dismiss an A&E copy infringement lawsuit against Big Fish and Reelz over whether On Patrol: Live mirrors A&E's Live PD series, which the network ended in 2020.

Peacock on Wednesday will launch Reelz Channel on its subscription streaming service, while highlighting the indie cable network's hit reality police show On Patrol: Live. 

Reelz will stream its linear channel 24/7 on Peacock, which will also make available on-demand episodes of On Patrol: Live the day after their regular linear airings on Friday and Saturday nights 9 p.m. - 12 a.m.

Debuting last July, On Patrol: Live has averaged nearly 4 million viewers in live-plus-seven-day Nielsen ratings, helping the network boost its primetime audience by 270% among adults 25-54 in 2022, Reelz said.

Reelz is now fully engaged in the "law-enforcement docuseries' genre, also airing spinoff show On Patrol: First Shift, as well as Jail, Autopsy: The Last Hours of…," and the reality series that started it all, Cops.  

Less than three years ago, Cops and the whole reality police genre it inspired seemed to be, well, under arrest, with the Paramount Network pulling Cops after 30 seasons amid the aftermath of the brutal murder of George Floyd at the knees of Minneapolis police. 

But Peacock and parent NBCUniversal are finally on a roll, doubling paid watchers to 20 million last year. The year 2020, and the social-justice movements and moments inspired therein, are long gone, and they clearly see additional streaming audience here. 

As for the Reelz Channel, its pay TV distribution is downright solid for an indie channel, with carriage on Comcast's Xfinity TV, Charter Spectrum TV, the full lineup of DirecTV platforms, Dish Network and Sling TV, Verizon Fios TV and Philo. 

Now, Reelz can appeal to cord-cutters, too, via Peacock's $4.99 "Premium" and $9.99 entirely-commercial-free "Premium Plus" tiers. 

Peacock notes that it has already built a dedicated fan base for documentaries and true-crime series with shows including Casey Anthony: Where the Truth Lies, which launched as Peacock’s most-watched unscripted series.

Reelz joins an incumbent collection of brands and channels across categories spanning sports (NFL Channel, GolfPass, Premier League), news (NBC News Now, Sky News, Today All Day) and entertainment (Hallmark Channel, WWE and Saturday Night Live Vault).

Reelz will continue its On Patrol: Live documentary series through January 2024 with the addition of 90 new episodes, the network said Tuesday.

The series, which follows law-enforcement officers on patrol in real time, debuted on Reelz last July, two years after its predecessor, Live PD, was canceled by A&E in the wake of protests against the police after the murder of George Floyd. 

Also: A+E Networks Sues Big Fish, Reelz Over ‘Live PD’

The weekly series, which airs Friday and Saturday nights, averaged nearly 4 million viewers in live-plus-seven-day Nielsen ratings, helping the network boost its primetime audience by 270% among adults 25-54 in 2022, Reelz said.

“The growth Reelz experienced in 2022 was remarkable by any measure and since the July 22 premiere of On Patrol: Live, our audience has increased every month and we expect that trend to continue into 2023 and beyond,” Reelz CEO Stan E. Hubbard said in a statement.  “On Patrol: Live viewers come together to create a massive, engaged audience for three amazing hours every Friday and Saturday night.”

Also: Stan Hubbard: Reelz’s ‘On Patrol: Live’ Won’t Be a ‘Woke’ ‘Live PD’

The series is co-hosted hosted by Dan Abrams, retired police Sgt. Sean “Sticks” Larkin  and Deputy Sheriff Curtis Wilson. On Patrol: Live is executive produced by Abrams, Dan Cesareo, John Zito, Lucilla D’Agostino, Paul Gordon and Joe Venafro. ■

Reelz has acquired the rights to a new pro wrestling series launching in February.

The weekly primetime series, Major League Wrestling, debuts February 7 and will feature a mix of world class fighters entering the ring to battle one another in front of a new generation of fans, according to the network. Immediately following the one-hour shows, Reelz will debut classic episodes from the MLW library.

MLW will feature the next generation of some of the most iconic wrestling families in the sport including the Samoan Dynasty, the British Bulldogs and more. 

Also: Stan Hubbard: Stan Hubbard: Reelz’s ‘On Patrol: Live’ Won’t Be a ‘Woke’ ‘Live PD’

“Major League Wrestling is for a new generation of fans and we’re thrilled to bring our viewers a ringside view with exciting nights at the fights,” Reelz Senior VP of Programming Steve Cheskin said in a statement. “With the strong response from our viewers to several Reelz originals celebrating the extraordinary lives and careers of professional wrestlers we’re stepping into the ring to bring them new Major League Wrestling events every week.” ■

A+E Networks has filed suit in federal court against Big Fish Entertainment, Half Moon Pictures and ReelzChannel over the series On Patrol Live, charging a “brazen theft” of its rights to the TV series Live PD.

A+E took the high-rated series off the air after George Floyd was killed by a Minneapolis police officer in 2020. Live PD was one of many shows highlighting law enforcement officers that were cancelled at the time. 

In June, the Reelz cable channel said it would launch On Patrol: Live in July, produced by Big Fish with Live PD hosts Dan Abrams, Sean “Sticks” Larkin and Curtis Wilson reprising their roles and incorporating many other Live PD features.

The suit is seeking to recover actual damages, the profits generated by the new show, and punitive damages. It also wants the defendant enjoined from continuing to reproduce and distribute the show.

ReelzChannel said it "has not been served with nor had an opportunity to review the Complaint in detail, and thus has no comment at this time beyond denying liability and expressing its ongoing commitment to On Patrol: Live."

A spokespersons for Big Fish had not responded to requests for comment as of when this story was posted.

In its suit, filed in U.S. District Court for the Southern District of New York, A+E said it is the sole and exclusive owner of any and all rights to Live PD, which aired on A&E between 2015 and 2020.

“Without any authorization from AETN, Big Fish (the show’s former producer) created a clone of Live PD featuring the same primary hosts, content, format, segments, and more, and sold that virtually identical show to Reelz, a cable network seeking its first breakout hit, which then aired the show over AETN’s repeated and vociferous objections,” the suit said.

The suit also notes that when marketing the new series, the defendants said they were “bringing back” Live PD on a new network.

The suit includes a tweet from Abrams from June that says “the show will be back on Friday and Saturday nights sometime later this summer!”

“So far, defendants’ plan has worked as intended: the infringing series has single-handedly drawn millions of viewers to Reelz, which was the 89th ranked television network in total viewers in 2021,” the suit says. “Facing such a blatant rip-off, AETN brings this action against Defendants for copyright infringement under the Copyright Act and for trademark infringement and unfair competition under the Lanham Act and New York law.”

A+E Networks said in the suit that when production of the series — the highest-rated show on A&E — was suspended, it never “relinquished or assigned rights to create episodes of Live PD nor has it authorized anyone to prepare derivative programs based upon Live PD.”

A+E said it has sent cease-and-desist letter to the defendants warning them not to infringe on A+E’s intellectual property rights, but they went forward anyway with On Patrol: Live.

“On Patrol: Live copies nearly every aspect of Live PD: it covers the same, crime-related subject matter through the same format (i.e., a live series following police units around the country in real time, with hosts in studio curating and guiding the action, and pre-produced packages about cops/areas/hot cases during moments of quiet); it features the same primary studio host and co-host, who describe the unfolding action using the exact same catchphrases they used on Live PD while dressed as they often were dressed on Live PD; it has live feeds in multiple cities following several of the same police departments as Live PD and even some of the same individual officers; it utilizes similar percussive opening and closing music; it copies the same program segments (e.g., “Crime of the Week,” “Missing,” and “Wanted”); it displays the officers’ locations and their activity the same way; it transitions from scene to scene in the same way; episodes end in the same way, with footage of a police interaction continuing to play in the upper-middle part of a screen while credits flash underneath in white font, with police lights flashing in the background; and it even airs during the same time slots (Friday and Saturday nights from 9 p.m.-12 a.m.),” the suit claims.

A+E Networks is also seeking damages for the defendant using its trademarks. 

“As a direct and proximate result of Defendants’ infringement of the Live PD series, including the Registered Episodes, AETN has been damaged by such infringement including, inter alia, through lost licensing revenue and other opportunities to exploit the Live PD series, and Defendants have profited and are continuing to profit from such infringement, all in an amount to be proven at trial,“ the suit said. “Accordingly, AETN is entitled to actual damages and any additional profits of Defendants.

“Because defendants are engaging in new acts of infringement on at least a weekly basis and such infringement is willful, AETN, at its election, as an alternative to an award of actual damages and Defendants’ profits, is entitled to recover the maximum amount of statutory damages available  … for each infringed work,” the suit said. “Because Defendants are engaging in new acts of infringement on at least a weekly basis, AETN is entitled to recover its costs, including its attorneys’ fees, in prosecuting this action,” the lawsuit said. ■

The former network home of Live PD will will jump back into the live crime genre as A&E debuts courtroom-themed series Court Night Live on August 10.

The series, produced by Live PD creators Big Fish Entertainment, will focus on civil cases from across the country litigate live from pop-up courtrooms in Philadelphia, Tampa and Chicago in front of a gallery of community members, according to the network.

Court Night Live comes two years after A&E cancelled Live PD – which followed law enforcement officers on patrol in real time – in the wake of protests against police brutality stemming from the death of George Floyd. Reelz last month debuted On Patrol: Live, an offshoot of Live PD.

Also: Stan Hubbard: Reelz's 'On Patrol: Live ' Won't Be a 'Woke' 'Live PD'

Court Night Live, hosted by Vinnie Politan and Judge Greg Mathis -- with analysis from retired Judge Vonda Evans -- will give viewers an opportunity to have their voices heard as they vote on the verdicts in select cases in real time via text message. A&E added that pending civil court cases have jumped over 30% over the last few years, with some people waiting over a year to get to trial.

“Court Night Live will combine the inherent drama of live civil court proceedings with context and expert legal analysis, elevating the traditional court shows that have been a staple of the television landscape for decades,” A&E executive vice president and head of programming Elaine Frontain Bryant said in a statement. “Court Night Live gives viewers a chance to experience public trials live in the virtual courtroom gallery on air.” ■

Reelz’s much publicized Friday night launch for its On Patrol: Live series was delayed for more than one hour due to technical issues, according to network officials.

The three-hour series, a reboot of A&E’s canceled series Live P.D., was supposed to debut at 9 pm (ET), but viewers who tuned in instead saw re-runs of another law enforcement-themed series, Jail: Las Vegas, as well as commercials promoting the network's upcoming programming.

On Patrol: Live was back on the air around 10:15 pm (ET), according to the network.

“On premiere night of On Patrol: Live, Reelz experienced a technical difficulty that delayed airing of the show at its scheduled time," the network said in a statement. "We are back up and running and will be airing tonight’s show in its entirety, from the beginning and commercial free. We apologize for the delay and hope everyone enjoys the debut of On Patrol: Live”!

Series executive producer and co-host Dan Abrams also confirmed in a Friday night tweet that the show would be shown commercial free in its entirety. “OK, so bad news we had nothing on air for 75 minutes or so … the good news is I’m told the show will be played in it entirety and commercial free!,” Abrams said in the tweet.

Also: Dan Abrams: The Time is Right for 'On Patrol: Live'

The three-hour live show, which follows several police departments from across the country on patrol in real time, airs on Reelz Fridays and Saturday nights. The series is co-hosted by Abrams, former Tulsa Police Department Sgt. Sean “Sticks” Larkin and Deputy Sheriff Curtis Wilson.

Also: Stan Hubbard: Reelz's 'On Patrol: Live' Won't Be a 'Woke' 'Live PD'

The live exploits of police officers from around the country return to television Friday (July 22) as Reelz launches On Patrol: Live, a series from the producers of the former A&E series Live PD.

As with Live PD, which was canceled by A&E in 2020 in the wake of protests against police brutality stemming from the death of George Floyd, ABC News chief legal affairs correspondent Dan Abrams will serve as executive producer and host of Reelz’s three-hour On Patrol: Live show. He‘ll be alongside former Tulsa Police Department Sgt. Sean “Sticks” Larkin and Deputy Sheriff Curtis Wilson. The series will follow the efforts of police officers on patrol across the country in real time. 

Reelz’s launch of On Patrol: Live adds to its lineup of controversial, police-themed shows such as Cops and Cops Reloaded.

Abrams, who is also founder of the Law&Crime Network and host of Dan Abrams Live on NewsNation, recently spoke to Multichannel News about his expectations for On Patrol: Live, his disappointment with A&E’s cancellation of Live PD and the current environment for unscripted, police-themed television programming. Here’s an edited version of the discussion. 

MCN: Do you think the political and social environment in the country surrounding law enforcement that helped lead to Live PD’s cancellation two years ago has changed heading into On Patrol’s launch? 

Dan Abrams: Yes, I do think the environment has changed. My perspective hasn't changed from the beginning, but I think that the perspective in the country has changed. I think that there is a recognition again about the challenges of being a police officer, and polls show that the vast majority of Americans support police in the country. I think that certainly helps a little, but I think an argument could have been made that it would have been nice if the show was on a year ago. 

MCN: How did On Patrol: Live end up on Reelz?

DA: We had been talking to a number of potential partners about a live police show, and Reelz just stepped up in a bigger way than others did. They just were more committed to the project and the fit was just better. Over the last couple of years, I've been approached by a number of networks about possibly doing a live police show, and this just ended up being by far the best fit.

MCN: How is the show similar to Live PD and how will it differ?

DA: Just like Live PD, this is a live police show that will be covering police departments in real time. It’s going to be different in the sense that we’re going to have citizen ride-alongs, which hadn’t been part of the [Live PD] show. We’re going to work with different [police] departments from those that were involved in Live PD. So it’s definitely going to be a new show, but I think the fans of Live PD are certainly going to enjoy it.

MCN: Given Live PD’s ratings success, how disappointed were you that A&E pulled the plug on the show?

DA: I was very disappointed that Live PD was pulled. I understand the decision on the part of A&E — I wasn’t angry at A&E, but I was very disappointed.

MCN: Having said that and given the uptick in crime across the country, are you approaching the production of On Patrol: Live any differently than you did Live PD?

DA: Look, I think policing is policing. I don’t think we’re gonna see sort of a fundamental difference in the amount of police activity. The people who appreciated Live PD, I think, wanted to watch the police in real time. I think that there were certainly a lot of people who supported the police and who wanted to watch the show from the police officer’s perspective, but I think there were also police critics who wanted to watch the show. There were elements on the show where things would happen and people would disagree with what the police did. I would expect that that will happen as well with this show, but I don't think there’s going to be a fundamental difference in terms of ‘policing’ that we see now rather than two years ago.

MCN: Beyond Live PD, how is Law&Crime faring in a very competitive television environment?

DA: Law&Crime is doing great. We have three arms to the business: the production arm, where we produce content for a whole host of networks; then there’s the website, lawandcrime.com; and there’s the live network, which is now available on Dish, Verizon and a number of major cable services, in addition, to all the major OTT platforms, and it’s really exploded. The business was going great, and then the [Johnny Depp vs. Amber Heard defamation trial] happened, and that sort of catapulted things to a different level, especially in the YouTube world. That added a new element to things, so overall the business is thriving. ▪️

Reelz hopes this summer’s launch of On Patrol: Live, from the producers of the former A&E series Live PD, will help lure new viewers to the independently-owned cable network.

The series, which will follow police officers on patrol in real time, will provide the 15-year-old Reelz network with important and appealing live programming on Friday and Saturday nights, CEO Stan E. Hubbard said. On Patrol: Live comes two years after A&E canceled its ratings-strong Live PD in the wake of protests against the police after the murder of George Floyd.

Former Live PD host Dan Abrams will serve as host and executive producer for On Patrol: Live. Reelz has yet to set a specific premiere date for the series, which will join other police-themed series such as Cops and Cops Reloaded on the 40 million-subscriber service.

Hubbard recently spoke to Multichannel News about the strategy behind creating On Patrol: Live, as well as the value of live programming for linear cable networks in a crowded multiplatform television industry. An edited version of the discussion follows.  

MCN: Why do you feel a live law-enforcement show fits well with the Reelz brand?

 Stan Hubbard: Our brand has evolved like all brands, but we are about real people, real stories and real celebrities. Some of our top shows like Autopsy: The Last Hours of …, where we dig into the last hours of a celebrity's life, do really well for us. So bringing in some law enforcement programming is a natural fit. When Live PD, Cops and all programs like it were dropped a couple years ago by most of the networks, it opened up some different opportunities. For the last year or so we've had Cops and Cops Reloaded on Reelz. We've more recently added Jail to the mix; that fits nicely in our brand. Based on the success of those programs we're a top-10 growth network. Then, when you get viewers coming for those things, they stay to watch our other programs that still define who we are. I think On Patrol: Live is a perfect fit for what we're doing and for us it's perfect programming in today's environment where live is what keeps viewers from drifting off to streaming and other platforms on a regular basis.

MCN: Why do you think the time is right now to bring a live law-enforcement show back to TV, and are you concerned about receiving any backlash? 

SH: When we brought Cops, Cops Reloaded and Jail to the network, we didn’t receive any backlash. What we heard from viewers were thank yous for bringing this back and not being afraid of it. We’re in 2022 and we as a country are divided politically, socially and culturally in so many ways. I hope at some point we get over that, but there are going to be some voices that say, what you are doing isn’t right, and there are going to be voices that say thanks for bringing it back and helping me find your channel. I think we’re a responsible network and a responsible company, and we do what we think is right. We did other things that people told us we shouldn’t have done and it worked out just fine. We picked up the Miss USA Pageant [in 2015 after NBC dropped the Donald Trump co-owned pageant] when it needed a home 11 days before it was going to air. We picked up the [A&E-dropped] Kennedys series [in 2011] when everybody said it was too hot to touch, but once it aired it wasn’t a really big deal and it was a really good program. 

MCN: What will viewers see with On Patrol: Live? 

SH: With the show, the viewer gets to participate in being with those officers as they are doing their job, given what policing has become in 2022. We're going to get out there and show it, and it’s going to be transparent. We're adding some interesting elements to the show with some viewer ride alongs and responses. It’s not gonna be a woke program — we're not trying to bow to anybody. This is going to be a real live look at the state of policing in 2022 and beyond.

MCN: Do you see an opportunity to extend the Reelz brand beyond linear TV? 

SH: We’re streaming now. You can go to Samsung TV and other distributors and get our app, but it’s not the live network. As an independent, we can’t risk trying to go around our distributors. If we were one of the big six programming companies, we could do it. As an independent, Reelz is trapped in linear TV. We know what helps distributors keep their linear subscribers and keep viewership on their system instead of going off to streaming is live TV. We’re not going to compete for NFL football or pro hockey, but we are bringing six hours of really-high-profile live TV every week to those systems, and I think it's going to help subscribership. It’s going to give people a reason to stick around on their cable, satellite and telco systems. I'm hopeful that we're gonna find some more distributors who want to melt down some of the tiers they have us on or others that don't carry us. We’re probably punching above our weight for an independent, but we’re going to do it. ￭

Philo has added five movie channels--Sony Movies, Reelz, HDNet Movies, MGM HD and Cenémoi--to its $3 premium network add-on bundle, Movies & More.

Launched in June 2020, Movies and More adds Epix and Starz to the more than 60 entertainment-themed channels Philo offers for a base price of $25 a month. 

Philo also announced that it's building out a fledgling FAST lineup that launched with Bloomberg TV and Revry--Pocket.watch, Ryan and Friend, Players TV and Gusto TV have been added to the service's FAST programming guide. 

Like most other virtual pay TV services, Philo hasn't published a subscriber count in a while--it said in November of last year that it was reaching 800,000 paid users. 

Startup Philo was the last vMVPD to announce a significant price increase--it bumped its monthly bill up to $25 a month back in May. 

QTT, a division of Viamedia, is launching a platform where buyers can access linear television advertising inventory for data-driven advertising.

A+E Networks, Fox and Reelz are the first TV network participants in the QTT Marketplace.

Magnite is the initial supply-side platform working with the QTT marketplace.

“The last mile to activate linear TV advertising through existing digital platforms is finally here,” said John Piccone, president of QTT. “Buyers and sellers can now take advantage of their investments in data-driven audience planning tools by activating at scale through QTT’s seamless translation platform. As a result, we now have an array of partners offering premium television inventory through demand- and sell-side platforms to connect them directly with traditional and new digital advertisers.”

The marketplace gives TV networks access to the growing volume of digital video ad add dollars.

"A+E Networks has been on the forefront in building scalable demand-side partnerships,” said Ethan Heftman, senior VP, advanced advertising and digital sales at A+E Networks. “QTT and its Marketplace are a one-two punch that automates access to new demand while ensuring control over our pricing and inventory.”

“At Fox, we continue to find ways to better serve our clients and look for solutions to drive incremental yield while reducing the workflow efforts to leverage our advanced TV technologies,” said Dan Callahan, senior VP, data strategy and sales innovation for Fox. “Earlier this year, we partnered with Operative to move all linear sales to a single cloud system and, in turn, this allowed a seamless partnership with QTT to connect specific cable network linear avails to digital ad platforms.”

“More and more digital advertisers are looking to linear TV to increase their reach efficiently,” said Bill Rosolie, senior VP, advertising sales at ReelzChannel. “We see QTT as a platform to unlock the value of target-rich audiences across our portfolio of independent networks.”

The QTT Marketplace is an extension of QTT software developed to allow agencies and media buyers to see the linear ads made available by MVPDs, broadcast television stations and broadcast and cable networks. The launch follows QTT getting patents for the process it uses to integrate digital and linear television ecosystems.

Magnite developed its own process that complement’s QTT’s technology and allows QTT inventory to be bought programmatically based on TV metrics. 

“Our clients have been asking for streamlined tools to enable programmatic monetization of their linear inventory and complement their CTV advertising efforts,“ said Todd Randak, senior VP, strategy and partnerships at Magnite. “With QTT we can now offer premium linear TV opportunities through the Magnite platform as if they were any other digital video ad.”

Hubbard Broadcasting is suing Facebook over its new TikTok alternative, Reels.

Hubbard has filed suit in a Minnesota U.S. district court alleging "trademark infringement, trademark dilution, and unfair competition," citing its REELZ® cable/satellite video service, which is also available on computers, smart TV's and other devices, it points out.

Claiming ongoing and irreparable harm, Hubbard is asking the court to enjoin Facebook/Instagram from using the "Reels" name and seeks trebled damages as well as whatever profits the company has derived from use of the allegedly infringing name, plus court costs and any other relief the court wants to grant.

Facebook's Reels is a way to create and post short-form videos to Instagram. Reels was rolled out last week, looking to capitalize on the fact that the U.S. government is banning similar service, TikTok.

Defendants’ use of 'Reels' as the banner name of their new media service infringes Hubbard’s valuable REELZ® trademarks. This should come as no surprise to Defendants — they knew about Hubbard’s trademarks before choosing 'Reels' over innumerable other options," Hubbard told the court. "Defendants’ use of “Reels” usurps the goodwill embodied in Hubbard’s REELZ® trademarks and is likely to confuse consumers."

"It is crucial to Plaintiffs’ continued success in an ever-changing and evolving digital environment to distinguish and differentiate the REELZ® brand from the constant stream of new services and competitors, as a linear network, an on-demand service, and as part of any other media platforms on any and all devices."

Hubbard pointed out that at least one news outlet had already confused Reels and REELZ.

B&C has partnered with always-on TV ad measurement and attribution company iSpot.tv to bring you a weekly chart we call Promo Mojo: exclusive data showing the top five TV promos ranked by ad impressions. Our data covers the seven-day period through Aug. 9.

On the strength of 552.8 million TV ad impressions, a Discovery promo for Shark Week is No. 1. The network also takes second place for a show-specific promo for Tyson vs. Jaws.

Once again, our ranking is entirely dominated by cable networks, with Discovery joined by HGTV, which promotes Christina on the Coast; Reelz, which hypes Autopsy; and MTV, which gives some love to Catfish.

Notably, the Autopsy spot has the highest iSpot Attention Score (95.85) in our ranking, meaning viewers were on average more likely to watch it all the way through (vs. interrupting it by changing the channel, pulling up the guide, fast-forwarding or turning off the TV).

1) Shark Week, Discovery

Impressions: 552,828,809

Attention Score: 94.43

Attention Index: 116 (16% fewer interruptions than avg.)

Imp. Types: National 82%, Local 17%, VOD/OTT 1%

In-network Value: $2,798,092

Out-of-network Est. Spend: $464,801

2) Tyson vs. Jaws, Discovery

Impressions: 357,204,649

Attention Score: 94.65

Attention Index: 119 (19% fewer interruptions than avg.)

Imp. Types: National 95%, Local 4%, VOD/OTT 1%

In-network Value: $677,171

Out-of-network Est. Spend: $958,527

3) Christina on the Coast, HGTV

Impressions: 272,266,878

Attention Score: 95.41

Attention Index: 130 (30% fewer interruptions than avg.)

Imp. Types: National 97%, Local 2%, VOD/OTT 1%

In-network Value: $1,504,490

Out-of-network Est. Spend: $0.00

4) Autopsy, Reelz Channel

Impressions: 254,092,028

Attention Score: 95.85

Attention Index: 137 (37% fewer interruptions than avg.)

Imp. Types: National 48%, Local 51%, VOD/OTT 1%

In-network Value: $104,540

Out-of-network Est. Spend: $1,074,028

5) Catfish, MTV

Impressions: 206,816,340

Attention Score: 94.02

Attention Index: 109 (9% fewer interruptions than avg.)

Imp. Types: National 83%, Local 16%, VOD/OTT 1%

In-network Value: $1,825,637

Out-of-network Est. Spend: $432,196

*Data provided by iSpot.tv, TV Ad Measurement for Disruptive Brands*

Impressions - The total impressions within all US households including National Linear (Live & Time-shifted), VOD+OTT, and Local.

Attention Score - Measures the propensity of consumers to interrupt an ad play on TV. The higher the score, the more complete views. Actions that interrupt an ad play include changing the channel, pulling up the guide, fast-forwarding or turning off the TV.

Attention Index - Represents the Attention of a specific creative or program placement vs. the average in its respective industry. The average is represented by a score of 100, and the total index range is from 0 through 200. For example, an attention index of 125 means that there are 25% fewer interrupted ad plays compared to the average.

Imp. Types - Impression types tracked include National (Live + Time-shifted), Local, VOD & OTT. See below for further details.

In-network Value - Estimated media value of in-network promos.

Out-of-network Spend - The estimated amount spent on TV airing time for this promo's spots during a given date range.

National: Live - A national promo which was viewed during live linear television broadcast or same day, via DVR or on-demand.

Local - A promo that was aired during a local ad break slot.

VOD - This includes promos that run in on-demand content past three days (i.e. do not contain the linear promo load)

OTT - On-demand streaming content (i.e. Hulu, Roku, Fire TV Stick, Chromecast).

B&C has partnered with always-on TV ad measurement and attribution company iSpot.tv to bring you a weekly chart we call Promo Mojo: exclusive data showing the top five TV promos ranked by ad impressions. This is the programming the networks have been promoting most heavily to drive tune-in (our data covers the seven-day period through June 21).

On the strength of 400.8 million TV ad impressions, a promo for Paramount Network’s Kevin Costner-led drama Yellowstone is number one.

Cable networks once again dominate our ranking, with Paramount joined by Nickelodeon, which promotes a Loud House/The Casagrandes marathon; Disney Channel, which declares that “We stand for humanity” in a spot that calls attention to its support of Black Lives Matter; CNN, with its continuing “Facts First” campaign; and HGTV, which hypes its new series Design at Your Door. 

Notably, the Nick spot has the highest iSpot Attention Index (148) in our ranking, getting 48% fewer interruptions than the average promo (interruptions include changing the channel, pulling up the guide, fast-forwarding or turning off the TV).

1) Yellowstone, Paramount Network

Impressions: 400,834,587

Attention Score: 90.37

Attention Index: 61 (39% more interruptions than avg.)

Imp. Types: National 88%, Local 10%, VOD/OTT 2%

In-network Value: $2,786,534

Out-of-network Est. Spend: $1,862,304

2)  The Casagrandes | The Loud House, Nickelodeon

Impressions: 194,084,113

Attention Score: 96.92

Attention Index: 148 (48% fewer interruptions than avg.)

Imp. Types: National 98%, Local 1%, VOD/OTT 1%

In-network Value: $8,154,589

Out-of-network Est. Spend: $8,591

3) Black Lives Matter, Disney Channel

Impressions: 187,809,450

Attention Score: 95.81

Attention Index: 129 (29% fewer interruptions than avg.)

Imp. Types: National 97%, Local 1%, VOD/OTT 2%

In-network Value: $1,498,207

Out-of-network Est. Spend: $0.00

4) Facts First, CNN

Impressions: 163,355,103

Attention Score: 96.54

Attention Index: 141 (41% fewer interruptions than avg.)

Imp. Types: National 98%, Local 1%, VOD/OTT 1%

In-network Value: $541,288

Out-of-network Est. Spend: $0.00

5) Design at Your Door, HGTV

Impressions: 161,075,572

Attention Score: 96.08

Attention Index: 133 (33% fewer interruptions than avg.)

Imp. Types: National 100%, Local 0%, VOD/OTT 0%

In-network Value: $1,012,996

Out-of-network Est. Spend: $0.00

B&C has partnered with always-on TV ad measurement and attribution company iSpot.tv to bring you a weekly chart we call Promo Mojo: exclusive data showing the top five TV promos ranked by ad impressions. This is the programming the networks have been promoting most heavily to drive tune-in (our data covers the seven-day period through June 21).

On the strength of 400.8 million TV ad impressions, a promo for Paramount Network’s Kevin Costner-led drama Yellowstone is number one.

Cable networks once again dominate our ranking, with Paramount joined by Nickelodeon, which promotes a Loud House/The Casagrandes marathon; Disney Channel, which declares that “We stand for humanity” in a spot that calls attention to its support of Black Lives Matter; CNN, with its continuing “Facts First” campaign; and HGTV, which hypes its new series Design at Your Door. 

Notably, the Nick spot has the highest iSpot Attention Index (148) in our ranking, getting 48% fewer interruptions than the average promo (interruptions include changing the channel, pulling up the guide, fast-forwarding or turning off the TV).

1) Yellowstone, Paramount Network

Impressions: 400,834,587

Attention Score: 90.37

Attention Index: 61 (39% more interruptions than avg.)

Imp. Types: National 88%, Local 10%, VOD/OTT 2%

In-network Value: $2,786,534

Out-of-network Est. Spend: $1,862,304

2)  The Casagrandes | The Loud House, Nickelodeon

Impressions: 194,084,113

Attention Score: 96.92

Attention Index: 148 (48% fewer interruptions than avg.)

Imp. Types: National 98%, Local 1%, VOD/OTT 1%

In-network Value: $8,154,589

Out-of-network Est. Spend: $8,591

3) Black Lives Matter, Disney Channel

Impressions: 187,809,450

Attention Score: 95.81

Attention Index: 129 (29% fewer interruptions than avg.)

Imp. Types: National 97%, Local 1%, VOD/OTT 2%

In-network Value: $1,498,207

Out-of-network Est. Spend: $0.00

4) Facts First, CNN

Impressions: 163,355,103

Attention Score: 96.54

Attention Index: 141 (41% fewer interruptions than avg.)

Imp. Types: National 98%, Local 1%, VOD/OTT 1%

In-network Value: $541,288

Out-of-network Est. Spend: $0.00

5) Design at Your Door, HGTV

Impressions: 161,075,572

Attention Score: 96.08

Attention Index: 133 (33% fewer interruptions than avg.)

Imp. Types: National 100%, Local 0%, VOD/OTT 0%

In-network Value: $1,012,996

Out-of-network Est. Spend: $0.00

Reelz is the latest network to launch on AT&T's OTT-TV service DirecTV Now.

DirecTV Now subscribers will now have access to Reelz documentary/unscripted programming including The Last Hours Of …, Under the Influence and National Enquirer Investigates, said company officials.

READ MORE: Reelz turns 10, license fees kick in

Reelz is the latest network to join the DirecTV Now lineup, following the recent addition of broadcast network CBS and sister services CBSN and Showtime. Reelz also was added to Dish Network's Sling TV lineup recently.

“We’re thrilled to launch on DirecTV Now and show new viewers our diverse lineup of original programming including several new series and new episodes of returning series in our recently debuted summer and fall slate,” said John deGarmo, senior vice president of distribution at Reelz. “The DirecTV Now launch is another exciting milestone in the network’s momentum as we continue our commitment to expanding distribution.”

For independent and niche-targeted cable networks, it’s tough to stand out from peak television’s burgeoning crowd. Such programmers are counting on this week’s cable portion of the nearly three-week Television Critics Association Winter Press Tour to put themselves in the spotlight.

Durning the two-day cable schedule (Jan. 13-14), more than 30 cable networks and streaming services will present their new and current scripted and reality shows to the more than 200 TCA member writers gathered in Pasadena, Calif. The cable sessions are facilitated by the Cable & Telecommunications Association for Marketing.

Get complete coverage of the 2017 Winter Press Tour.

The Winter TCA, which officially launched last Thursday (Jan. 5) with presentations from the broadcast networks, generated headlines this past November when NBC, ABC and CBS decided to eliminate the tour’s traditional executive panels. Those sessions allow reporters to ask executives about industry trends and upcoming show developments.

Premium programmer Starz, as well as streaming services Amazon and Netflix, decided to sit out the winter tour, leading some industry observers to question the event’s continued news value.

But Reelz, WGN America and other small players set to present this week say TCA is an invaluable forum to get the word out on their upcoming projects.

“TCA is critical because an independent network doesn’t have the reach and clout that the big conglomerates have for their broadcast and cable networks to speak to media of all shapes and sizes,” Reelz CEO Stan Hubbard said. The network will look to promote its upcoming miniseries The Kennedys — After Camelot, starring Katie Holmes and Matthew Perry.

“TCA provides to an opportunity for an independent network like Reelz to really put our best foot forward in a forum that would otherwise be difficult for us to duplicate,” he said.

The tour gives WGN America, which will promote its drama series Underground and Outsiders at TCA, a means to reach out to entertainment media alongside larger network and streaming service competitors.

“In a world of 400-plus scripted shows, not to mention the competition of all other forms of entertainment, TCA is an opportunity to take an audience that comprises the majority of the entertainment press and to capture their attention and imagination,” WGN America president and general manager Matt Cherniss said. “If your show and network can intrigue in an environment in which hundreds of shows, compressed in a few weeks, are attempting to set themselves apart from the crowd, then it’s a strong sign that the show can do the same for the audience as well.”

Even though it’s not scheduled to present a particular show, El Rey Network president and general manager Daniel Tibbets said the ability to talk to TV critics about the network’s development and future plans in an executive forum is important for the emerging network.

“TCA offers a great opportunity for me to have an actual conversation with critics from all over the country about our strategy, which is unique in this ever-shifting media landscape,” Tibbets said.

Even with opportunities to promote shows on digital platforms and through social media, Hubbard said there’s no substitute for talking and promoting television shows through forums that are TV-oriented.

“At the end of the day TV is TV,” Hubbard, who is also an investor in independent arts network Ovation TV, said. “YouTube is not TV, and TV is not YouTube.

“People still watch a lot of TV shows by sitting down and viewing it on a television set,” he said. “For a network like ours, it’s still about people watching television and that’s what advertisers still pay for, and that’s why TCA is so critical for us.”

Reelz channel’s coverage of the 2015Miss USA Pageant drew 925,000 viewers, according to Nielsen.

The Donald Trump-owned pageant, which Reelz picked up two weeks ago after NBC and Univision dropped the TV rights over remarks presidential candidate Trump made disparaging Mexicans, also drew 296,000 adults 18-49 and 296,000 adults 25-54, according to Nielsen.

The event also drew a unique audience of 2.4 million Twitter users, topping all TV shows for the evening, according to Nielsen 

Reelz reported that the Miss USA Pageant, which was won by Miss Oklahoma Olivia Jordan, drew 2.5 million viewers including the live telecast and an encore presentation. The network also said the event was the most watched telecast ever on Reelz for women 18-34 and ranks as the highest premiere night in network history behind the Kennedys miniseries.

“The last two weeks have been a whirlwind for Reelz and we are proud to have had the opportunity to partner with the incredibly capable Miss Universe/Miss USA organization,” said Stan E. Hubbard CEO of Reelz. “Their capability and the value we bring as an independent network produced an extraordinary night of television that America tuned in to watch.”

Reelz network’s telecast of the Trump Organization-owned 2015 Miss USA Pageant Sunday night generated more Twitter usage than any cable and broadcast show for the night, according to Nielsen.

The pageant, which Reelz picked up two weeks ago after NBC and Univision dropped the TV rights over remarks presidential candidate Donald Trump made disparaging Mexicans, drew a unique audience of 2.4 million Twitter users, according to Nielsen. HBO’s True Detective was second with 1 million unique users. VH1’s Basketball Wives LA, MTV’s 2015 MTV Fandom Awards and VH1’s Love & Hip Hop: Atlanta rounded out the top five shows for the night.

 Miss Oklahoma Olivia Jordan was crowned Miss USA 2015 during the event, which Trump did not attend.

Hubbard Broadcasting's Reelz cable network said it will exclusively telecast the 2015 Miss USA Pageant live on Sunday, July 12, at 8 p.m. ET after NBC and Univision dropped the telecast over remarks presidential candidate Donald Trump made disparaging Mexicans. Trump Organization co-owns the Miss USA, Miss Universe and Teen Miss USA pageants.

“The decision on the part of Reelz to acquire the rights to the Miss USA Pageant was based on our belief that this special event, and the women who compete in it, are an integral part of American tradition,” Stan E. Hubbard, CEO of Reelz, said in a release issued on an embargo basis late Wednesday night. “As one of only a few independent networks, we decided to exercise our own voice and committed ourselves to bringing this pageant to American viewers everywhere. For us, this decision is about the dreams of the contestants who come from all walks of life across the United States, the city of Baton Rouge that has proudly come together to host this pageant and the viewers who will be watching and celebrating its 54th year on television. The Miss USA Pageant is a perfect fit on Reelz where movies, entertainment and celebrity come together every day of the year.”

The Reelz release did not mention Trump. In recent days, scheduled celebrity judges including Emmitt Smith, Flo Rida and Jonathan Scott also reportedly have stepped away from plans to participate in the pageant.

Reelz has a history of picking up projects abandoned over controversy, notably The Kennedys, a miniseries that History opted not to air amid pre-emptive criticism, though the program went on to win Emmys. Reelz has about 70 million subscribers on carriers including DirecTV, Dish Network, FiOS TV and Time Warner Cable.

Rapper and music mogul Master P and his children will star in an original reality series for Reelz premiering in November, the network said.

Master P’s Family Empire will follow the single father of five, whose real name is Percy Miller, as he manages his own projects alongside his kids' careers in singing, modeling, acting and sports.

The series, scheduled to premiere on Nov. 28, will offer an up-close look at how he "juggles his roles as entrepreneur, philanthropist and hip-hop artist with his most important role: being a dad," Reelz said.

After growing up in the infamous Calliope projects of New Orleans, Master P engineered a career in which he has sold more than 75 million records and has established other business ventures, earning a spot on the Forbes list of America’s 40 Highest Paid Entertainers.

As his five kids pursue their own passions -- Romeo, 25, a child actor turned rapper; Veno, 22, a model with a tendency to get distracted; Cymphonique, 18, an aspiring actress; and Hercy, 12, and Mercy, 9, who dream of basketball careers -- Master P follows a strict mantra to keep them on track: "I'm your father, not your friend."

“Master P is a true American success story, rising from the most humble of beginnings to the top of the entertainment world completely on his own,” said Stan E. Hubbard, Reelz CEO. “The Miller family’s infectious chemistry, genuine love for each other and commitment to working hard and following their father’s rules makes them as relatable as they are entertaining.”

Reelz has promoted national director of distribution Andrea Jomides to vice president of distribution, the network said.

Jomides, who joined the Albequerque, N.M.-based network in 2013 as director of distribution for the Eastern region and expanded her scope last year, will continue working to secure, maintain and grow Reelz's distribution, HD carriage, VOD and TV Everywhere platforms, promotions and contractual negotiations.

“We’re thrilled to promote Andrea given her strong performance in all areas of our affiliate business, including recent distributor renewals,” said John deGarmo, Reelz senior VP of distribution.

Jomides has 25 years of media industry experience, including 14 years at Scripps Networks Interactive in New York.

Reelz has renewed its distribution deal with satellite provider Dish Network, the two parties announced Thursday.

The renewal , which keeps Reelz on Dish’s America’s Top 120 programming package, will provide Dish customers with access to Reelz original shows such as Hollywood Hillbillies and The Kennedys-After Camelot, said network officials.

Terms of the agreement were not released at press time.

Reelz will air AARP’s 14th Annual Movies for Grownups Awards Gala on Sunday, Feb. 22 at 1 p.m. ET/ 10 a.m. PT, honoring 2014’s best movies with special appeal to audiences over 50 years of age. The hour-long broadcast airing on Oscar day will feature red-carpet scenes and highlights from the awards podium as told by KTLA entertainment anchor Sam Rubin and former Good Day LA co-host Dorothy Lucey.

Hosted by John Leguizamo, this year’s affair presents top honors to Julianne Moore as “Best Actress” for her heartbreaking portrayal of a woman’s battle with early onset Alzheimer’s in Still Alice and Steve Carell as “Best Actor” for his gifted performance in Foxcatcher. Plus, The Lego Movie is deemed the “Best Movie for Grownups Who Refuse to Grow Up”, Eddie Redmayne and Felicity Jones take the stage to accept the award for this year’s “Best Picture” The Theory of Everything and Kevin Costner receives a Career Achievement award adding him to an illustrious list of past honorees including Robert De Niro, Robert Redford and Susan Sarandon.

Reelz will re-air the event on Sunday, Feb. 22, at 2 a.m. ET/ 11 p.m. PT and Monday, Feb. 23, at 9 a.m. ET/ 6 a.m. PT.

“AARP’s Annual Movies for Grownups Awards is all about celebrating movies and stars with universal appeal,” Stan E. Hubbard, CEO of Reelz, said in a release. “Reelz is proud that an independent network is able to bring this event to television for the first time, connecting viewers across the country with the excitement of Hollywood wherever it happens -- especially just ahead of Oscar night, the biggest movie celebration day of the year.”

The gala raised more than $100,000 for the AARP Foundation, AARP’s affiliated charity, which works in communities across the nation to help struggling older adults meet their basic need for nutritious food, safe and affordable housing, adequate income and much-needed personal connections.

Multiple networks are set to honor the troops on Veterans Day, presenting a host of series of documentaries, awards, tributes and more. Discovery Communications and Education, six Scripps Networks Interactive outlets, AHC, ESPN, Sportsman Channel, Reelz, INSP, HBO and Pivot are just some of the programmers involved.

The National Military Family Association, a nonprofit that works to protect military families, has paired with Discovery Communications for three Veterans Day events in New York City. A fundraiser reception, a comedy show and a float in the annual America's Parade will be included to support the troops and their families.

Six Scripps Networks Interactive outlets will roadblockA Hero’s Welcome (pictured), a special program that aims to honor one of our nation’s most deserving heroes in the biggest, most emotional, most memorable way imaginable. After serving his country for more than 25 years and recovering from life-threatening injuries, Staff Sergeant Tony Woods is preparing to retire from the military. He will return home to discover, with the help of Food Network’s Robert Irvine, HGTV’s Genevieve Gorder and Gary Sinise, the actor, humanitarian and founder of the Gary Sinise Foundation, a completely renovated house for Tony and his family to retire comfortably. Airing on Veterans Day across Food Network, HGTV, Cooking Channel, DIY Network, Travel Channel and Great American Country (click this link for primetime schedules), surprises and emotions will be on display as the team races around the clock to make sure they are ready to say “Welcome Home!”

The American Veterans Center Honors awards show will air on Reelz to honor the U.S. military on Nov. 15 at 5 p.m. Humanitarian Gary Sinise, Joe Mantegna, Lorraine Bracco, Mark Valley, Taylor Kitsch and Pat Sajak are some of the stars who will share the heroes stories over the past 75 years.

Sinise will also host the start of Sportman Channel's, Salute to Service initiative sponsored by Bravo Company, which will air the documentary MURPH: The Protector, back-to-back episodes of Beyond the Battlefield and an hour of NRA NEWS Cam & Co. The channel will also begin voting for the best in outdoor television for the 2014 Sportsman Choice Awards on Nov. 10.

American Heroes Channel will dedicate eight days of special programming in November, with the premiere of The Real Inglorious Bastards on Nov. 11 at 10 p.m. and a new episode of D-Day To Victory on Nov. 15 at 10 p.m. The shows are among the  highlights of "Duty, Honor and Courage Week."

ESPN plans to air a week of programming as well with the sports giant's sixth annual America’s Heroes initiative. Live, day-long coverage will take place with ESPN2’s First Take at Joint Base McGuire-Dix-Lakehurst in New Jersey on Nov. 10 and the Armed Forces Classic from the U.S. Coast Guard’s Air Station Borinquen in Puerto Rico on Nov. 14.

Pivot is set to premiere That Which I Love Destroys Me on Veterans Day, Nov. 11 at 7 p.m., to honor troops coming home with PTSD. Ric Roman Waugh’s documentary follow Veterans Tyler Grey (Delta Force) and Jayson Floyd (Army Ranger) through their personal and family struggles with the disorder.

The short film Not Forgotten will also premiere on Nov. 11 to tribute the POW/MIA service members on INSP, in partnership with The United States of America Vietnam War Commemoration.To view a screener of Not Forgotten, click here, and enter the password:moment. 

HBO is set to air The Concert For Valor, a live show saluting America’s veterans from the Mall in Washington, D.C., at 7 p.m. (ET) on Veteran’s Day. Artists scheduled to perform include The Black Keys, Bruce Springsteen, Carrie Underwood, Eminem and Metallica.

Discovery Education has taken a different route to commemorating the veterans, providing the first live, global, virtual field trip from the historic Tower of London. To honor the armed forces and Remembrance Day in the UK and Canada, students from the U.S. and Canada will have the opportunity to get a closer look into the First World War.

Sony Movie Channel has turned its “Mandays,” “The Recline” and “Friday Features” blocks to critically-acclaimed war films, military classics, and modern favorites. The month-long tribute is highlighted by the 2nd Annual “21 Film Salute Marathon,” as SMC honors Veterans Day with a two-day event starting Saturday, Nov. 8 at 5:20 a.m. ET, through Sunday, Nov. 9. The channel will present the 1982 miniseries The Blue and The Gray on Thanksgiving Day at 8 p.m. ET.

Reelz Channel has named Rob Swartz Senior Vice President of Development and Current Programming. 

Swartz joins Reelz from his previous position as President of production company Venn Media, where he was responsible for developing programming for networks and digital distribution. Prior to joining Venn Media, Swartz served as Vice President of Original Series for Cartoon Network. He has additional executive experience with SyFy, as well as industry experience at NBC Entertainment, Walt Disney/Touchstone Television, and MXG. 

In his new role at Reelz, Swartz will lead the development team and oversee production of the network’s newly-announced original programming slate.