Dirty Jobs is a program on the Discovery Channel, produced by Pilgrim Films & Television, in which host Mike Rowe is shown performing difficult, strange, disgusting, or messy occupational duties alongside the typical employees. The show premiered with two pilot episodes in November 2003. It returned as a series on July 26, 2005, running for 8 seasons until September 12, 2012. The show’s setting was refocused in Australia for the eighth season, advertised as Dirty Jobs Down Under.

There is also a European edition of the show, hosted by Danish former goalkeeper Peter Schmeichel.

On November 21, 2012, Mike Rowe announced that Discovery Channel had cancelled Dirty Jobs.

Documentary following the officers of Britain’s biggest and busiest police service as they deal with life, death, crime and its victims, all across the capital.

What does it take to build a house totally off the grid in some of the most unforgiving terrain on the planet? We follow a cast of characters who set out to construct three incredible cabins in the obscure Alaskan wilderness. With no roads and no building supply centers, they’ll have to get creative in a new season of Building Alaska.

Documentary series exploring three aspects of the sex industry in the UK – porn, escorts working from their own homes and prostitutes working on the streets. Not for the faint-hearted.

Documentary series chronicling the journey of world’s next great soccer players on their quests to represent their respective countries in the 2018 World Cup™.

The companion show to the popular BBC One programme Strictly Come Dancing which features interviews and training footage of the couples competing in the main Saturday night show, opinions from the judges on the previous Saturday show and the training footage for the next, and interviews with celebrities who have been watching the show.

Ex-CIA operatives Doug Laux and Ben Smith search for the rumored millions hidden by Pablo Escobar in Colombia and Central America.

South Beach Tow is an American truTV reality television series that portrays dramatized reenactments of the day-to-day business of Tremont Towing. Although the program is fictionalized, Tremont Towing is a real Miami towing company. The series premiered on July 20, 2011. The first part of Season 2 premiered on September 19, 2012, and returned after a four month hiatus on May 15, 2013. Season 3 will premiere on October 30, 2013.

This docuseries examines the decades-old murder of Sister Catherine Cesnik and its suspected link to a priest accused of abuse.

An investigator and a historian seek to uncover information about Nikola Tesla’s mysterious life and inventions.

Follow Golden Road Brewing founder, Meg Gill, as she sets out on a cross-country journey to meet with home-brewers and find the best brews in each city she travels to.

The Story of Film: An Odyssey is a documentary series about the history of film, presented on television in 15 one-hour chapters with a total length of over 900 minutes. It was directed and narrated by Mark Cousins, a film critic from Northern Ireland, based on his 2004 book The Story of Film.

The series was broadcast in September 2011 on More4, the digital television service of UK broadcaster Channel 4. The Story of Film was also featured in its entirety at the 2011 Toronto International Film Festival, and it was exhibited at the Museum of Modern Art in New York City in February 2012. It was broadcast in the United States on Turner Classic Movies beginning in September 2013.

The Telegraph headlined the series’ initial broadcast in September 2011 as the “cinematic event of the year”, describing it as “visually ensnaring and intellectually lithe, it’s at once a love letter to cinema, an unmissable masterclass, and a radical rewriting of movie history.” An Irish Times writer called the program a “landmark”.

In February 2012, A. O. Scott of The New York Times contrasted the project with its “important precursor”, Jean-Luc Godard’s Histoire du cinéma. In contrast to the Godard project, which Scott called “personal, polemical and sometimes cryptic”, Scott described Cousins’ film as “a semester-long film studies survey course compressed into 15 brisk, sometimes contentious hours” that “stands as an invigorated compendium of conventional wisdom.” He also commended its “refusal to be nostalgic”.