Shows Which Changed Production Companies In Mid-Stream

[tyshaun1]

I mean...I've openly acknowledged that Monty was brilliant because he was a used car salesman who could charm you into buying that lemon. Wayne doesn't play that up nearly as much, and I think it's similar to Drew in that neither want to be a carbon copy of the host whose shoes they want to fill.

There's things I'd do differently with the show but the essence is still there.

My biggest gripe with current day LMAD is how the crew has a TON of crutches that makes it difficult to tell one episode from another. For a show that leans on improv, they seem to have a hard time coming up with new ideas.

[Jeremy Nelson]

What are your gripes. I watched it at the gym a few weeks ago, and it's clunky in some areas but mostly inoffensive IMO. Wasn't Monty a consultant up until his death?

Watch a show hosted by Monty and one hosted by Wayne. If you can't tell the differences, I don't think it'll do much good to try to explain them to you.

That said, saying "this is a freak show, but I'd rather you blindly look for my personal issues of a reasonably well produced show than just tell you" isn't a productive way to move the conversation forward.

[Neumms]

There’s a tiredness about it, but that was there with Monty, too. I like Wayne. He doesn’t get a frenzy going over how much he’s offering for the door, but I find him less patronizing to the contestants.

I’d like more bits that go beyond a blind decision, such as when one spouse tries to convey something to another or when they put inventions or historical events in order. I didn’t even mind Billy Bush’s notorious “which is the transvestite” deal.

We talked about Art James’ Temptation recently, and that would be a fun new addition. It’s not necessarily a deal per se—though you could add one—but it would certainly fit in. Something like How Much Is Enough would, too.