My wife will be the first person to tell you that my handyman skills are somewhat limited. My biggest transformation job in the past few years was to paint, repair and retile my son's bathroom. And by the time I ended up having to replace and update the toilet, I felt as if I had been working on the project for years.

Like a lot of people, I have this dream of owning a cool old house filled with history and old light switches that don't seem to be connected to anything. Like dating a supermodel, home restoration feels like it would be a wonderful life, albeit one that is way out of my income bracket.

But that doesn't mean that I can't vicariously live the dream and since the show debuted on the old DIY Network, my favorite go-to series has been Restored, starring Brett Waterman. Waterman is a lanky guy in a Stetson who looks as if he was picked out of a casting call of people responding to an ad asking for someone who looks like a guy in Southern California who is passionate about architecture and restoring old houses back to their original beauty. But unlike a lot of TV hosts, he also comes off as casual and knowledgeable without veering into the over-rehearsed territory.

I recently had the opportunity to speak with Brett about the show, what led him from a political science path in college to home restoration, and whether or not he still sleeps in the houses he's renovating. The conversation lasted nearly a half hour and honestly, I would have been happy speaking with him for another 30 minutes.

The interview has been lightly edited for clarity.

Q: When I was doing research for this interview, I saw that you had studied political science at UCLA. I did the same thing, so it's good to see us both taking advantage of our education by not working in the field.

Brett Waterman: (laughing). It certainly didn't work out quite the way we planned.

Q: So how did you get from a guy studying political science and history to home restoration? It doesn't seem like a natural progression.

Brett Waterman: It's certainly not a natural progression, but it's certainly one that's evolved over a lifetime. Everything really starts with the Stetson. I come from a beef and dairy cattle family, originally from Oklahoma. And a good portion of my family came out here to run Adohr Dairies in L.A. So my mom, my grandmother had come out for that. That's how I got here.

But it all started in Oklahoma. I fell in love with the dairies and silos and barns and this great architecture from the turn of the century. It started something in my mind, looking at the purpose of buildings and understanding the architectural structure. And that's been my love my whole life. 

In fact, I didn't want to go to college. My parents forced me to go to college, they told me "You're going to get an education." Because all I ever wanted to do as a kid was restore houses. My sister will tell you I was one of those crazy kids who down every toy, every stereo we ever had, every bike, every piece of furniture. I wanted to rip everything apart to know how it was built. And I want to put it all back as if I'd never touched it. Because I really love that idea of fixing things and it started early.

So when I got to UCLA, I had to pick a major. And I love history. I love world history and social political science. And studying all of that really melded everything together. It combined my love of world history and architecture and how that all ties in. 

But it's funny, when I came out of UCLA, I didn't start in the building trade. In fact, in the late, in the later 1980s and early 90s there was a housing crisis. So I actually ended up in Boston in the computer industry because I was recruited by Wang Computers. And they shipped me to Boston. Which was great, because it seeded my love of New England and everything around there. I hated computers. I wanted nothing more to do with them. But I loved the architecture.

So after a year there I came back here and said "I've got to find something I love to do," and there was nothing going on in housing. I ended up in the auto industry, I was recruited by Lexis before the division ever started and I was in the auto industry for many years. And then I left to some of the .com craziness in the late 90s and early 2000s. I was one of the original guys at Realtor.com. 

I ended up doing fairly well in the corporate world and it fueled - or should I say, funded - my love of architecture. So the entire time I was doing this other stuff, I was buying really interesting dilapidated beautiful houses. I would live in them as I restored them and as they moved me around the country, that's what I would do. And that's kind of how it happened. I just followed my passion in any way I could. And at one point someone asked if I wanted to do a TV show. That's kind of how it all started.



Q: Well, congratulations, you have a more eclectic resume than I did. Which I thought was impossible. But you were talking about the housing drop in the 80s and 90s and it's a very different situation now. And one of the things that strikes me watching Restored is that these houses are now worth a million, two million dollars. I just watched an episode from the new season that highlights a home in Pasadena and my first thought was "I wonder how much that house is worth in 2023?"

Brett Waterman: They bought that house 30 years ago and if I remember what Karen and Tom told me, I think they paid about $300,000 for the house back then. Which in my mind was a lot of money. But they scraped together the money and it is obviously worth a lot more than that now.

I think it's interesting because certainly in areas like Southern California, housing prices are ridiculous. The good thing about it's driven a lot of families and young people and even people that are kind of empty nesters to move out to find interesting places to call home in areas that were kind of on the fringe or further out from the greater metropolitan center of Los Angeles. It's fueled a major revitalization of some communities that have almost been neglected for 50 or 60 years. People are rediscovering the beauty of all these communities all over Southern California. And they're doing it through some of these older homes that kind of capture your imagination for a different era.

Q: From watching the show I know you have a love of the Arts and Crafts style and Mission-style of homes. How much is driven by this is the type of architecture you're naturally drawn to and how is the result of living in Southern California and that's the housing stock that is there? If you're drawn to Victorian style, Southern California might not be the best place to be.

Brett Waterman:  So L.A. was one of North America's largest Victorian cities, but we've decimated so much of the Victorian infrastructure. People don't realize that. And you're I think your question is more like, what's my architectural style? Where do I go to? And is it just Southern California? No, I love it all. In fact, my favorite style...are you familiar with Richardsonian Romanesque?

Q: Yeah, I've seen some some pictures of it.

Brett Waterman: We had a lot in LA, this was a very prolific architectural style that was kind of a reemergence of the old Spanish and Roman influences and much of what you see in the gothic influences throughout Europe. An architect named Henry Hobson Richardson was very brilliant and I would argue was America's greatest architect. And you see that style everywhere if you look. It's in the New York State Capital. You'll see it in Cincinnati. You'll see it in Chicago, here in California. I grew up in Fountain Valley, Santa Ana and our courthouse is a Romanesque structure. That's my favorite style. 

I mean, I love French Provincial and if you live in Southern California, anywhere in the Southwest, you've got to love Spanish Colonial and then Arts & Crafts. I just love the woodwork. I guess for me, it's the detail. I love the details in architecture, regardless of the style. I love Art Deco, I love Modern. But it's always about the detail. 

And too often today, I think architecture is dumbed down. People say "Hey, we're doing modern" and I'm thinking "No, you're doing cheap." There is a difference because modern architecture is Uber expensive to achieve. And I don't mean that in a disparaging way. But I think too often people destroy these grand old houses, even the beautiful Victorian cottages and these bungalows from the 30s and 40s. People will say, "Oh, you know, it's a simple box." And I'll tell them that it's more than that, you just have to look. It was affordable housing when they built it, but it's also quality if you look at the millwork, the details around the doors, the hardwood flooring, the fireplaces...the craftsmanship is unbelievable. But it's always about the detail.

Q: How much of all of this is driven by nostalgia? The funny thing is that I see people getting all giddy over a "mid-century-style" home and I'm thinking "No, this is the basic ranch house I grew up in."

Brett Waterman: I think there is a solace in that. I think for a lot of people, where you live in a ranch home, you live in the country, you live in an apartment or condo...people want to feel as if their home is the place where they nest and where they feel the most comfortable. But it should also evoke something that they think of as how they want to see themselves. I think sometimes we go back to our roots, or our grandparents or something that feels very comfortable to us. And often we pull that into our own spaces trying to recapture some of that sense of comfort and maybe a place of belonging.

Q: Listening to you talk about that ties into something else I wanted to ask you. It strikes me that one of the things you probably had to learn was to be a bit of a psychologist with people. I can always tell you have this desire to take their home back to the way it was originally a hundred years ago. And there will be these discussions where you'll tell them, "No, the crown molding was pink with little lion's heads." And the homeowners look at you like "That may be, history boy. But I'm not living like that." So you have to do this triangulation between restoring as much authenticity as you can, but also respecting their desires.

Brett Waterman: I think that's always a challenge. And I think actually, it's a real privilege. To be able to work with people and restore their homes, because they let you into their lives, right? These are people that are trusting you with their largest investment. It's where they have most of their security infrastructure, and they're turning it over to me.

They're saying, "We want you to help us make the house of our dreams here." And somewhere along the line, I always remind people that I am never going to tell them what to do. But I'm definitely trying to put up a few guardrails, and I'm trying to bolt them down a path to something that I think will achieve the results they're hoping for. But also pay respect to the property. Because I'm a firm believer that we don't own anything in this life. We are all just stewards for a future generation. And if we do a good job in our humanity, we help those around us, we try to make our lives better. And we try to leave something of the past for the future so that they can appreciate all the sacrifices and investments that our grandparents and people before made in our communities. That drives a lot of my mindset for not only my work life, but also what I do personally.



Q: I'm just curious how the show has changed for you over the seasons. Because it seems like I recollect that early on in the show there was an episode where you were sleeping in the house the day before, which I don't think lasted long.

Brett Waterman: Don't kid yourself, I still do that. They just don't film it. I mean, I live in Redlands. So when I'm working in Pasadena or Glendale...I mean, there are nights when I used to keep a sleeping bag around just in case it's a late night. And I think that's one of the biggest challenges the producers have with me. They can't get me out of the dirt. I still want to get in and do a lot of the work. I love to be very much involved in the restoration because that's what drives me. So no, I don't sleep in the houses as much as I did back in the early days. But I still do it.

I think some of the biggest changes over the years have just been my relationship with the producers and production companies. When we first started doing the show, the producers would say "Okay, we're going to set up this thing that's going to happen to you. And we've got to create this act outs." And "act outs" are like a little commercial break. And I would say, "Okay, but why do you have to set something up? When we need to create something in the house, it's going to happen." The house has so much story, don't set something up, just let the house evolve. Don't try to fake it, because it's all there. And they eventually realized that I'm a 57-year-old man, I've been around the block and I am not going to let anyone put something in the way of what I want. And over the years, they kind of figured out that Brett is actually right. The house does always have interesting pieces if you just follow it along and let the house unfold. I think that's one thing that has definitely changed over the years. They've learned to just expect that it is going to happen.

Q: Another thing I suspect that has changed for you over the years of being on the show is that you inevitably become a TV brand. How do you keep all of that other stuff from distracting your work on the house? You've got commercial deals, you got to go to some promotional appearance. But you also have this house the owners have entrusted to you. How do you balance all of those competing conflicts on your time?

Brett Waterman: Well, my family and friends will tell you basically, that I'm all in. So when we're filming the show, it's seven days a week, there's no way around it. Because I want to be involved in the process. I don't have a design team behind me that comes in and says, "Here's what the rooms gonna look like. And here's the paint colors." I'm still doing all that.

I'm working with interior decorators, but I'm out with them nailing down the pieces. I still pick all the colors in every house, I picked all the materials out. Maybe that's crazy. And I know the production company would like me not to do that. But I kind of feel that's what I owe the homeowners. These people that sign up to do the show, they're not signed up to the show for me to shine. They want to improve their house. So I want to make sure as much as I can, that I got my hands in every piece of it all the way along. It's all-consuming.

So a lot of other things kind of fall to the wayside. I don't get to go to the gym. I don't get to go waterskiing, I miss a lot of family trips, I've missed a few weddings. Yeah, it's all consuming. But I also recognize that this stuff in life, this is a blessing. It's a gift to get to be able to do this in front of a national audience. It's super fun, I get to share my passions with a broader audience. Not everybody gets to do that. And I recognize it's most likely a short window. This is a point in your life that you're gonna look back on and go, "that was really fun." And I just want to enjoy it while I'm here. And I'm giving it my all.

Q: I have a suspicion that you are a bit of a perfectionist. And I'm curious, do you ever look back on an episode and think "Wow, I wish I would have done this differently" or made a different decision about something?

Brett Waterman: I do that with every single house. And it's hard for everyone who works for me, for the production company. Because I just get in and see what I see. And I want to fix it. I want to fix that window and they'll tell me "we don't have the budget to do that." But I can't leave it and a  lot of times I am fixing stuff way more than we said we were going to do. And I think that's what makes our show a little different from a lot of the shows out there. But as much as we do, I always think about the little thing we couldn't get to.

By the way, are you still in California?

Q: No, I am living in the Midwest now. The Twin Cities. 

Brett Waterman: Awesome. My grandpa on my dad's side is originally from Mankato. Oh, my gosh. So are you in Minneapolis or St. Paul?

Q: No, I live in the suburbs just south of St. Paul. The area is great because there are all of these 100-year-old houses that were originally built for meatpacking employees and people who worked at the big Ford plant in St. Paul. People are starting to discover all of these great houses that one family has lived in for 60 or 80 years.

Brett Waterman: St. Paul. Oh, the Summit Avenue area. Oh my gosh. Some of those houses. I remember seeing those 10-15 years ago and even then they were going for like $500,000. And even providing the materials I couldn't have built them for that. 

I know we have to go. But I wanted to say that you asked me earlier about living in California. I think there are amazing places all over this country. California architecture is kind of my focus. But there's beautiful architecture in every city across North America. There's a story in every one of those towns and how that house came to be or why that building is built that way. If you've got a city of more than 10,000 people, I gotta tell you, there's a reason they're there. So I love discovering those things.

New episodes of Restored premiere Tuesday nights on Magnolia and previous seasons are available on demand on on Discovery+



Have feedback or more information about this page? Email me at This email address is being protected from spambots. You need JavaScript enabled to view it.

Also, subscribe to my free, daily Too Much TV newsletter at toomuchtv.substack.com

Here is a complete list of all the new TV and streaming services premieres, finales and specials airing this week.

SUNDAY, MARCH 26TH, 2023:
Eva Longoria: Searching For Mexico (CNN)
Great Expectations (PBS)
Housebroken Season Two Premiere (Fox)
John Wayne: Cowboys & Demons (Reelz)
Rabbit Hole Series Premiere (Paramount+)
Ride (Hallmark)
Seeking Brother Husband Series Premiere (TLC)
Stranger In My House (Lifetime)
Succession Season Four Premiere (HBO)
24th Mark Twain Prize For American Humor (CNN)
Yellowjackets Season Two Premiere (Showtime)

MONDAY, MARCH 27TH, 2023:
American Dad! (TBS)
CMT Music Awards Nominee Special (CMT)
Independent Lens: Hidden Letters (PBS)
Like A Girl Series Premiere (Fuse)
Murdoch Mysteries (Acorn TV)
The Young & The Restless 50th Anniversary Celebration (CBS)
2023 iHeartRadio Music Awards (Fox)

TUESDAY, MARCH 28TH, 2023:
CMT Storytellers: Kane Brown (CMT)
Mae Martin: SAP (Netflix)
Renovation 911 Series Premiere (HGTV)
Restored Season Six Premiere (Magnolia)

WEDNESDAY, MARCH 29TH, 2023:
Abominable And The Invisible City (Peacock)
AEW: All Access (TBS)
A-Ha: The Movie (Viaplay)
CMT Storytellers: Dierks Bentley (CMT)
Emergency NYC Series Premiere (Netflix)
No Way Out (Tubi)
Riverdale Season Premiere (The CW)
Star Wars: The Bad Batch Season Finale (Disney+)
The Big Door Prize Series Premiere (Apple TV+)
Unseen (Netflix)
Wellmania (Netflix)

THURSDAY, MARCH 30TH, 2023:
Big Mäck: Gangsters And Gold (Netflix)
CMT Defining: Carly Pearce (CMT)
From Me To You: Kimi ni Todoke (Netflix)
Prom Pact (Disney+)
RapCaviar Presents Series Premiere (Hulu)
Silent Road Series Premiere (Topic)
The Croods: Family Tree (Peacock)
The Dreamer: Becoming Karen Blixen (Viaplay)
Unstable Series Premiere (Netflix)

FRIDAY, MARCH 31ST, 2023:
Black Clover: Sword of the Wizard King (Netflix)
Copycat Killer (Netflix)
Die Hart 2: Die Harter (Roku Channel)
Doogie Kamealoha, M.D. Second Season Premiere (Disney+)
Eva The Owlet Series Premiere (Apple TV+)
Kill Boksoon (Netflix)
Monumental: Ellie Goulding At Kew Gardens (Freevee)
Murder Mystery 2 (Netflix)
Rye Lane (Hulu)
Tetris (Apple TV+)
The Great American Joke Off Series Premiere (The CW)
The Power Series Premiere (Amazon)
The Unheard (Shudder)
2023 Gershwin Prize (PBS)
Whose Line Is It Anyway? Season Premiere (The CW)

SATURDAY, APRIL 1ST, 2023:
Love In The Maldives (Hallmark)

Sometimes it's easy to forget that not everyone is an expert on the the ins and outs of the streaming television business. Most people have...more well-rounded lives. And they likely have some basic questions about the streaming television industry and how it works. 

This the first in a series of pieces designed to provide an entry-level look at the business of streaming television and it's written for the general consumer.

Today's question: "Is it better to binge release episodes of streaming television rather than release one episode per week?"

A: There are several reasons why binge-releasing episodes of streaming television has become a popular strategy for many platforms, compared to releasing one episode per week:

1. Audience retention: By releasing all episodes at once, binge-watching becomes an option, and audiences can watch the show at their own pace. This can help to keep viewers engaged for a longer time, as they can watch the whole season in one sitting, rather than waiting a week for the next episode.

2. Word of mouth: When all episodes are released at once, viewers can quickly start talking about the show and share their experiences on social media, leading to more buzz and excitement around the show. This can also help to attract new viewers who may not have considered watching the show if it were released one episode at a time.

3. Convenience: Releasing all episodes at once allows viewers to watch the show on their own schedule, which is particularly appealing to those with busy schedules or who live in different time zones. This can make the show more accessible and convenient for a wider range of viewers.

4. Avoiding spoilers: By releasing all episodes at once, viewers can watch the show without fear of spoilers or having the plot ruined by others who may have seen the next episode. This can create a more immersive viewing experience and keep viewers engaged without having to worry about avoiding spoilers.

Overall, binge-releasing episodes of streaming television has become a popular strategy for many platforms because it offers a more convenient, engaging, and immersive viewing experience for audiences.

But let's not forget the other side of the argument: Why is it better to release episodes of streaming TV shows at a rate of one or two per week, instead of all at once in a binge release?

Releasing one episode of streaming television per week instead of releasing the entire season at once can have several benefits. Here are a few reasons why:

1. Keeps viewers engaged: Releasing one episode per week keeps viewers engaged and excited about the show, as they look forward to the next episode. This helps to build a sense of anticipation and excitement, which can help to maintain interest in the show over a longer period.

2. Allows for social media discussion: With a weekly release, viewers can discuss each episode on social media platforms like Twitter, Instagram, and Reddit. This creates a sense of community around the show and allows for more in-depth analysis and discussion of each episode.

3. Maximizes exposure: By releasing one episode at a time, the show can stay in the cultural conversation for a longer period. This can lead to more media coverage and social media buzz, which can help to attract new viewers.

4. Can increase viewership: Releasing one episode per week can help to build momentum and buzz for the show, leading to increased viewership over time. In contrast, releasing an entire season at once can lead to a spike in viewership initially, but then the show may quickly fade from the public consciousness.

Overall, releasing one episode per week can help to keep viewers engaged, create a sense of community around the show, and maximize exposure and viewership over time.

Have feedback or more information about this page? Email me at This email address is being protected from spambots. You need JavaScript enabled to view it.

Also, subscribe to my free, daily Too Much TV newsletter at toomuchtv.substack.com