Final Post of the Series - Response to TV Show Viewers: Post 71

Response to TV Show Viewers: Post 1 - January 23, 2026

Response to TV Show Viewers: Post 70 - July 3, 2026

Apologies from me have been long overdue. So many worked hard on my behalf making American Rehab Charleston and then Restoring Charleston. I wanted to do better, to be better, and was far too short-sited on the ways things would play out. As I’ve mentioned, despite how I may have appeared within each series, I am aware than I was out of my depth in these circumstances, and for that I am sorry, for both myself and others. The most recent posts were intended to recognize efforts of the key construction protagonists who made me look capable and competent throughout ARC and RC, as I was actually struggling to keep my head above water for most of this experience.

On the production side, diligence on the part of producers gave me a shine that only they were capable of doing. For example, at times, it seems as if they often had me wearing blue to make my eyes grab attention, perhaps distracting from my asymmetrical mug. They kept me focused by scripting much of what they needed me to say, and this took a toll on all of us. Remaining patient with me throughout could not have been easy. The teams of people that had come to record me in action were used to working with pros, some trained, others naturally gifted. Although I showed up, put in time as asked, I was just unable to deliver on camera as they needed.

There were many times when I would say something in a filming, almost as producer’s would have liked, only to have an auditory hiccup make what I’d said unacceptable. Maybe some people can just rewind and say what they’d just said over again verbatim. But I never got there. At least not as easily as most would have liked and my efforts led to a stuttering issue, something that I’d never had to deal with before. I’m not sure how this Porky Piggishness works. Maybe it was my brain and mouth in some sort of conflict over pressurized calls to speak with so many listening. I had bright moments, but the skips in speech increased over time. This oratory accessory was not permanent though, and eventually faded away sometime before the pandemic, as casually as it had waltzed in.

I’m mentioning this as a lead in to talking about my appreciation for the show producers. I still don’t hold much confidence in the dos and don’ts of the television industry. I felt like I did a lot more incorrect than I did right in working with them and I continue to be uncertain of many things, off camera and on. I do candidly have serious concerns that more than a few might see my doing this—mentioning names without role/contribution precision—as further examples of my flaws and unworthiness. However overblown this may be in my head, I am using it as an explanation for not mentioning the champions on the production side by name.

Enough of the pity party though.

 

Within my dive into TV, I felt the red-hot desire to hit home runs on camera for the teams around me. And through this, opinions were naturally formed about addictions taking root for those desperately trying to deliver for people supporting and pouring into them. However, other than high doses of caffeine, I am able to report that I remained drug free for the duration and aftermath of this TV foray. And there are those you will see this position as one more issue.

Regarding my verbal fumbling and stumbling on camera, that was pureness. No cue cards or teleprompters were used in the making of either series, not by this guy or anyone else, never in the three years. Producers and I ground it out painfully together, from the pilot to the final day of RC. No shade cast toward newscasters, SNLers, or others. I’m envious, wondering if I could have even pulled off using those sorts of aids.

I worked with at least four different production companies. And I’m still foggy about who worked for which, those serving as independent contractors, members of the interior design teams vs. production, and on and on. I will say that of the things we really needed going into making Restoring Charleston in 2016, the one addressed was the experience of the production crew that the network executives were able to surround me with. In lieu of reality show backgrounds, we had producers more seasoned in home renovating. Maybe not condemned houses, but highly applicable knowledge and that was critical in us all working together to meet the tight schedule requirements.

As I touched on in a previous post, settling in down on the region’s historic peninsula for three months is a major expense for anyone. But along with this, was the cost of time and the extra wear and tear this choice placed on the production team. Without traffic, St. George is an hour from Charleston. But coming and going Monday through Friday, getting vehicles from parking garages, etc. and then dealing with rush hour traffic equated to nearly three hours of stressful commute adding in to each long workday.

It must have been thrilling to stay downtown. And crews were troopers about any supplemental burden this created. However, it couldn’t have been easy. And as I mentioned before, I should have suggested they stay somewhere closer. Easier scoots back and forth on I-95, like coastal situations on Lake Marion, would have done the trick. Then they could have escaped each weekend to the Holy City for R&R. Budget wise, this would have been best. But being candid, I was oblivious to much of this until afterwards. That’s on me and another thing I have regrets over.  

In 2016, my imagined adversarial presence with producers seemed to evaporate and I was included more into the circle of collaboration. This was not just helpful to me, but it made the summer more enjoyable, and in my view, it led to greater productivity. Over the course of three months, I learned to really appreciate while simultaneously trust the producers. These days working and filming throughout Berchador and I am unable to say enough hearty things about this crew I still feel blessed to have gotten to work with. I may be wrong, but I think they’re the blend of a team that could pick up next week where we left off a decade ago, the production/construction combo working together on opposite ends of St. George through triple digit heat.

With this appreciation for the teamwork and natural comradery we developed, I am also wholeheartedly grateful for several crucial producers who looked out for me. They advised and mentored me discreetly, pulling me aside as needed, whispering in my ears like veteran teammates or wise older siblings. I listened and it was life altering advice I’ll likely never be able to appropriately repay them for. In some perilous ways, these strangers who’d quickly grown into confidants and friends, also served as my guardians, saving my family from what I came to realize would have likely been devastating missteps on my part. Although I would like to mention these folks, as much or more than the contractors, they very specifically advised me that their anonymity was paramount for their own careers. I see this as cloak and dagger means and methods of thoughtfulness. So, for them in particular, I’m obliged to write of my nonspecific gratitude. You know who you are and I am forever appreciative beyond my words.  

Throughout this experience, I had perhaps been too overly focused on the boatloads of positives. Many can say I was naïve and too trusting. And yet I survived. We survived. And the shows are still out there getting attention. Could it have been better? Clearly, yes. But could it have been worse? Absolutely.      

I caught a shooting star in one hand and then was pulled and pushed out of the path of an erratic rolling boulder. And for both of these, I’ll always be indebted.

FINAL POST OF SERIES