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Quoting TheMadMartian:

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Have you nothing better to do? 

Have you?   

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Seems quite obvious to me that the person in the middle, the Supervising Producer, is the mid-level producer.  The person at the bottom, the Producer/Co-Producer, can't be 'mid-level' because he is at the bottom.

No, he's not: you're merely trying to make it look like that by leaving off "Line Producer" and "Associate Producer". Those are at the bottom, making, by your own misguided logic, both the Producer and the Supervising Producer "mid-level".

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It really doesn't matter, though, since this is really perfectly obvious to everyone else:

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the Supervising Producer supervises the Producers, just like the Supervising Art Director supervises the Art Directors, the Supervising Editor supervises the Editors and the Supervising Sound Mixer supervises the Sound Mixers. And we track all of them, all of them using the corresponding "base" credit. It's simple, consistent and accurate, and I can't imagine why it's all so hard to grasp, and why this perceived "level"-nonsense is being brought up. Again: feel free to assign a "level", a color, a nickname or a number to all of those "Supervising" credits however you deem fit, but regardless of whatever label you try to stick to them, the whole "Supervising credits are to be included" premise still remains astoundingly obvious.

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EXECUTIVE PRODUCER

  1. The credit of Executive Producer is to be granted to the individual whose only reporting responsibility is to the entities financing and distributing the series.
  2. Subject to the control of the Owner (see Rules of Arbitration, section I.B), the Executive Producer has final responsibility for the creative and business aspects of the production of the series, with direct participation in making decisions concerning a majority of the producing functions (see Section 3 for comprehensive list).

CO-EXECUTIVE PRODUCER

  1. The Co-Executive Producer reports directly and immediately to the Executive Producer, from whom the Co-Executive Producer assumes direct supervisory responsibilities for above and below the line operations.
  2. The credit of Co-Executive Producer is granted solely at the discretion of the Executive Producer (previous producing credits are not required).
  3. The credit of Co-Executive Producer shall apply only to primary creative contributors to the series that qualify under one of three categories:
        1. If performing services as a writer on the series, the contributor also must perform, in a decision-making capacity, a preponderance of the producing functions listed in PCOC Section 3; OR
        2. If performing services as a director on the series, the contributor also must perform, in a decision-making capacity, a preponderance of the producing functions listed in PCOC Section 3; OR
        3. If performing "Produced By” services on the series, and so long as no other person receives the "Produced By” credit on the series, the contributor must perform, in a decision-making capacity, a majority of the producing functions described in PCOC Section 3.

SUPERVISING PRODUCER

  1. The Supervising Producer reports directly to the Exec. Producer and/or Co-Exec. Producer.
  2. The credit of Supervising Producer is granted solely at the discretion of the Exec. Producer.
  3. The credit of Supervising Producer shall apply only to primary creative contributors to the series that perform, in a decision-making capacity, a substantial number of producing functions.
  4. The credit of Supervising Producer only shall apply to primary creative contributors to the series that qualify under one of three categories:
        1. Having received the credit of Writer-Producer for no less than two full seasons of this or other series episodes that have been nationally telecast; OR
        2. Having received the credit of Producer or "Produced By” for no less than two full seasons of this or other series episodes that have been nationally telecast; OR
        3. As a director who has responsibility for supervising all episodic directors on the series.

PRODUCED BY OR LINE PRODUCER

  1. The individual receiving the Produced By credit reports directly and immediately to the Executive Producer.
  2. There never shall be more than one Produced By credit on any episode of a series.
  3. The individual receiving the Produced By credit has the primary responsibility for the logistics of the production of the series, from pre-production through delivery of each episode; all Department Heads report directly to the Produced By.
  4. If the individual who performs the Produced By functions is granted the title of Co-Executive Producer, there shall be no Produced By credit afforded on the series.

PRODUCER/CO-PRODUCER

  1. The Producer/Co-Producer reports directly to the Supervising Producer.
  2. The credit of Producer/Co-Producer is granted solely at the discretion of the Exec. Producer.
  3. The credit of Producer/Co-Producer shall apply only to primary creative contributors to the series that perform, in a decision-making capacity, a substantial number of producing functions.

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So, in TV, producer is really near the bottom of the producer chain of command.

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Quoting TheMadMartian:

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The fact of the matter is, northbloke is the only one who gave me an answer.

No, that's *not* the fact of the matter. Instead, that's just your opinion, and in in my opinion, you're wrong once again.

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Northbloke's answer basically boiled down to "because there's a direct chain of command", and I had been doing my very best to explain the very same thing - just using different  terminology. You either failed to grasp it, or you just didn't want to.

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Quoting TheMadMartian:

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All your very best did was repeat, over and over again, why we track all supervisor credits...something I already knew.

Not true at all. I did much more, but you chose to ignore it. Note, for instance, the documented Merri D. Howard example I gave on page #2 - apparently that didn't suit you, so you just ignored it. Fine, but then don't come whining now that I didn't answer your question. I did, but you didn't want to hear it. That's the fact of the matter.

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Well, I've re-read northbloke's post several times, and I don't see it. I see a quick comment about what line producers do, essentially confirming what the PGA-page I had linked to earlier said about them, but nothing more. For what it's worth, rather than explaining why we don't track, say, a co-executive producer, northbloke actually expressed his surprise at why we don't track them. So quite the opposite of what you seem to think, really.

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A line producer tends to work alongside a producer, doing a slightly different job (the line producers I know are more responsible for crewing up and dealing with the production office side of things), so I can understand why we skip them.
As to why we skip co-executives - I don't know, I've never understood why we skip co-anything. Although sometimes "co-" can be used to mean assistant, so maybe that's why.

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Once again: the question you asked was "What makes this mid-level producer more worthy than the other producers?" While voicing my surprise over that strange and misguided "mid-level" qualification of yours, I answered that by providing a link to the PGA-website (here), which extensively explains what the Supervising Producer is and does, and what his position is with regards to the "regular" Producers. That answered your question in detail, as far as I'm concerned. Northbloke may have rephrased that for you, making it easier to grasp, apparently, but it's really all there. Additionally, I provided a real-life example for you, showing how PGA's dry matter works in reality. Again: you're free to ignore my posts, but don't come complaining that I didn't answer your question. I most certainly did.