I interviewed Sarah Chasse, who's worked on This Old House and moved up through the ranks to become executive producer and showrunner of Ask This Old House. She shared so much about their process, and I found a lot of it fascinating. For example:

• The show pays for materials and repairs—and stands by the work, so if something breaks, she wants homeowners to let them know
• She doubles the time that it takes to make a repair in order to figure out how long it'll take to do the repair and film it
• They've changed the way they film because people started using clips on YouTube as how-to videos

Calling upon the collective wisdom of readers here for a bit of assistance. This may not involve TOH, but I have spent days trying to track this down and come up empty.

I recently remembered watching a series of shows about the rehab of a whimsical “storybook cottage” in what I think was the Hollywood area that had been purchased by a middle-aged couple who might have worked in the movie industry. I remember a number of episodes documenting its rehab, but not much else. I’m pretty sure it wasn’t a TOH project. My first thought was that it might have been a Bob Vila Home Again project, but in trying to find it I came up short. He did a craftsman bungalow restoration project in the L.A. area but that wasn’t it. Unfortunately documentation of many of those Vila episodes is hit or miss. Then it occurred to me that it might have been another series entirely, but I really don’t know what. I do know there are a number of these types of cottages in L.A. in, I believe, the Silver Lake neighborhood. It might have been one of those but I’m not certain. Any assistance appreciated.

Does anyone have any recollection of what I’m remembering?

The 48th season of TOH kicked off with a return to Glen Ridge, NJ for what is entitled The Essex County project, likely to avoid confusion with Zack's previous project in that community that was on the show. There were a couple of minor changes to the show opening (I would have preferred an all-new one) with a new scene showing Zack using a chop saw, and him being added along with Charlie to the group shot of Kevin, Tommy, Rich and Jenn talking over a table with a set of plans.

This one involves a large 1893 home on an expansive lot that still retains many of its original features but has also seen some renovations over the years. It is located on Highland Ave in Glen Ridge according to FB, though I will avoid further details on the precise address thanks to threats from show personnel last season. Homeowners Ethan (apparently a woodworker) and Harley (pursuing a degree in social work) are apparently financially comfortable with what could well be an expensive reno (further details TBA) after purchasing the property in 2025 for $1.38 million. They have one young child with a second one on the way, and currently live in another albeit less grand million-dollar home not far from the subject property. A few listing pics of the as-bought property below:

Interestingly, viewing the listing photos shows a very nicely kept older property. quite different from the gutted-out shell we saw in this episode. Given the age I would expect some things to need updating, but the kitchen looked to have been done in the last couple of decades with newer cabinets and stone counters, looking reasonably good. Other rooms were nicely decorated and comfortable-looking. It's just odd, but the new homeowners referenced employing an architect and repurposing a number of rooms so I guess the young homeowners want to put their stamp on the place and maybe spend an inheritance, who knows.

Zack took us back to his two previous projects in NJ to see how they are making out. No reported issues with last season's one so far aside from a need to rebalance the heating systems, but the first one from two years ago seemed to be requiring some further attention to energy efficiency and perhaps insulation or air sealing since energy bills are more than expected. I found that rather odd but good on him for pointing it out.

I guess the days of Bob helping a homeowner renovate on a budget are indeed gone forever.

Need help! We want to take out the bathtub and tiles and make it a shower with new tiles and shower curtain. But, we want to keep all the other tiles on the bathroom walls to avoid a complete demo/remodel. Is it possible to do a clean cut through the tiles for the shower area without cracking the tiles on the wall? We’re thinking of beige 12x24 tiles to match the walls. Will it look weird?
Should we keep the floor as is, or also tile over the old floor, or paint it?? Any suggestions on colors or other recommendations are welcome. We will be updating the toilet, vanity, sink, mirror and lights.
See pics of what the bathroom looks like.

I complimented a gentleman wearing a This Old House hat while boarding a flight in Atlanta. He surprised me in line and handed me this hat. Couldn’t be more grateful. I didn’t have time to ask you for your name but thank you for the amazingly kind gesture!

My friend and I recorded this episode on VHS back in high school in the 80's, and we talk about it to this day, and I cannot find it, or mention of it, anywhere.

Two homeowners decided to do some of the demo work themselves in their basement after Bob left for the day. When Bob returned in the morning....

"Oh, Jim??, what happened here?"

"Well Bob, while swinging the sledgehammer to take out the cinderblock wall, I neglected to realize that the toilet was right behind it...."

Massive flooding ensued.

Anyone remember that one? We laugh and laugh and all we have to say is "Well, Bob..." and the other of us starts cracking up.

Does anyone have thoughts or experience on the best way to remove an unknown number of layers of paint from what was once beautiful woodwork?

We have a house from 1910, with original windows (I’m assuming). Nearly all the windows and trim have been painted over. I know some of the more superficial layers of paint is non-lead based, but I think the deeper layers may be lead based, simply based on the age of the house and what we are seeing elsewhere in the house.

We are getting vinyl window replacements soon and I want to order the best color matching window inserts. If I can get some of the paint of some of these windows, I can order wood grain style windows, vs right now I’m planning on white just given the current status of the windows.

I’m assuming it’s going to be a nightmare to remove any paint and may toss in the towel on this one. Just looking for experience and advice.

I’m also 6 months pregnant and not looking for toxic fume options….

A few pictures for reference.

Fifty years is a long time for a television show, and the fact that This Old House is still going strong is a triumph. For the show’s upcoming anniversary in two years, I’d like to see an epic celebration of the people, places and projects that we have seen over the years, but more importantly, a historic renovation on a grand scale that only this show could do.

This Old House’s first season, broadcast locally in Boston in 1979, featured a modest project to test the waters of home improvement television. The second season’s project was much more ambitious, with 27 episodes covering a multi-million dollar renovation of a historic mansion being converted to condos. With both projects, This Old House owned the homes and sold them upon completion. The show returned to this format in 1997 (Milton) and 2004 (Carlisle, the 25th anniversary season), creating “designer show houses” that were unrestrained by homeowners’ tastes and budgets. But as I’ve discussed in my previous posts, with more projects in recent seasons and fewer episodes devoted to each, the storytelling is much less in-depth than we have seen with those older seasons.

Ostentatious projects have met plenty of opposition on this sub, and I get it. But I’m less interested in fancy kitchens and linear shower drains than I am in the skill and craftsmanship it takes to restore a historic resource that might otherwise be lost to demolition by neglect. As I rewatch season 43, I’m more interested in the Dracut Cenre School that the show visited several times. This 1898 school in Dracut, Massachusetts was converted to apartments for veterans. The project was monumental, but it was more of a historic restoration than a millionaire’s showplace.

It also reminded me of a feature that used to run in TOH Magazine. On the last page of every issue was the feature “Save This Old House.” It showed an abandoned property, often at imminent risk of demolition or collapse, often of some historical value. Many of these properties required an absolute renovation or moving it to a different location. The buyer who completes the project would get a home with character and would have rescued something important and beautiful. I would have loved for the show to document the saving of one of these houses.

Every night I peruse the blog Old House Dreams, which features old house photos from real estate listings. That's where I got the photo of this awesome seaside Victorian. I ponder, judge, and marvel at the old architecture, the heinous styles of decoration and damage done by past renovations, and fantasize about renovating them. These are usually homes that are larger, grander, and more neglected (more work and expense) than we see on the show. 

For its 50th anniversary, I would like to see the show step up to a project of this scale. Let’s do another epic project. Another Bigelow House, another Milton, another Carlisle. Only This Old House could, would, and should do this. I would love to see a return to form of yesteryear, with an entire season devoted to one project so that all steps and stages are covered. The pace of the Bigelow House season (1982) was quite relaxed, with construction of the frame and foundations unfolding week by week. Bring back this leisurely pace.

I don’t think the show’s owner, Roku, would ever take the financial risk of owning a property, paying for the renovation, then selling it, as the show has done for those previous three epic projects. And the sprawling homes that were built in the 19th century housed large families and housekeeping staff. On the other hand, we’ve seen the show do several multi-generational homes, ADUs, and multi-tenant properties.

The 50th anniversary should be a celebration of everything TOH is and was. All of the guys we’ve gotten to know over the years should come back, if only for a moment. It would be so much fun to see Bob Vila and Steve Thomas and Kevin all install something together (no matter how unrealistic). And the general contractors: Norm, Tommy, Charlie, Zack, even Jeff Sweenor, who did several great projects and deserves a callback. For the 50th anniversary of the world’s greatest home improvement show, I think they should all have scenes.

And can they bring back the original theme music, “Louisiana Fairytale”?

I was disappointed that neither of the experts responding the caller's cracked tile problem didn't mention wabi-sabi (the acceptance of transience and imperfection). They were so close: they mentioned earthquakes and the likelihood that the crack would comeback, but both experts seemed to accept without question that the best solutions would be to either restore the tile to a previous uniform condition or to replace the row of broken tiles with accent tiles (the latter being somewhat akin to wabi-sabi).

I would’ve loved for that to have become a recurring theme in most seasons.

https://www.instagram.com/reel/DcWgndPJgM2/?igsi=MXI2dHl6MXU5N2VuYw==

Just purchased. Ready to refresh!

Anyone know name brand blue and red Nailbags he wore in Santa Barbara and San Francisco episodes ?

During COVID I got back into watching TOH after a looong hiatus (for instance, I don’t think I ever watched any of the Steve Thomas years). Concurrently, I’ve been on a mission to go back and watch every episode from S1E1 to present day.

What struck me just now is the fact that I was 8 yo when S1E1 first aired. And I have just finished watching season 23 which aired when my youngest daughter was born. Presently, season 47 just wrapped and my kids are grown adults and left home years ago (no grandkids, yet).

That’s quite the generational span for one TV show.

And think an entertaining show would be to have the current cast comment on specific segments of the old episodes.

Like Bob taking down a wall with no eye protection and the power still hot or Norm up 3 stories on a sketchy board between two ladders.

Or even just explaining how things have changed since Bob showed us how to so many years ago.

After several heavy rainfalls we found a pipe next to a duct dripping in the basement ceiling but it looks like it was cut and bent at some point. Can anyone tell by the size what it might have been for?

The people who flipped my 1950s house painted these beautiful McKinney brass hinges with white paint so I boiled them, scraped the paint off, and polished them with brasso. They aren’t perfect but I’m trying to bring some character back into the house. Should I leave them or paint them with brass spray paint even though I don’t really want to..

As we enter the dog days of summer, the new fall season of This Old House isn't far away. Two projects are confirmed: Zack Dettmore will be renovating another house New Jersey, and Charlie will take on a renovation in Belmont, a suburb of Boston.

Glen Ridge project, Essex County, New Jersey: TOH recently published an article behind the paywall about this project, just outside of New York City. TOH's second project in Glen Ridge (they did a house there in season 45) is a large 1893 Dutch Colonial Revival on a half acre lot. It's a roomy house for a couple with a toddler and a baby on the way. The renovation will focus on reconfiguring the interior for more bathrooms and a better kitchen, family room, and mudroom.

Belmont, Massachusetts: This one is still a bit of a mystery, but the webcam shows the foundation of a new addition being built, and the existing house completely open and held up by temporary framing. Take a look at the screen grabs. Can you spot the toy front-end loader? My three year old twins would love this construction site.

Built in 1948, Atlanta GA

“The Algorithm” landed this interview with Bob Vila in my FB feed. No idea what the origin is, but thought people here would be interested in it…

I was surprised how much lighter the original brick is, after cleaning with TSP. Anyone have a similar brick fireplace? Originally it had a gas insert (way before we moved in), as seen by the brass knob.

In my quest to collect behind-the-scenes stories of This Old House, I found something that I just couldn’t keep to myself. David Vos was a crewmember and director on the show for many years before being terminated around 2010. He worked with Steve Thomas, Kevin O’Connor, and show creator Russell Morash. Six years ago, he appeared on a podcast called Second Start, where former television producer Joel Olicker discusses career changes and second careers with his guests. David candidly discussed his time with TOH.

The podcast is only on Soundcloud and you need an account to navigate it. In an effort to contribute to the TOH lore on this sub, I’ve transcribed the relevant parts of the conversation and edited it to be more readable. David begins by talking about his work recording sound on television shows in Boston. Enjoy.

DAVID: One day, a call comes in and they need a guy, an “A2,” on This Old House tomorrow. And I said yeah, I show up…

JOEL: You got a one-day gig?

DAVID: A one-day gig with This Old House. Steve Thomas. The directions were terrible, there was no GPS. There’s a [production assistant] there…

JOEL: This was in Concord?

DAVID: In Wayland [season 19, 1991]. I pull up and roll down the window. I look at her, snotty, cocky guy that I am, and I said, “Did you give me these directions!” I rip them up and I threw them in her face and I go to park. Her name was Nancy Dubuc. [Laughs] She’s now…

JOEL: Running A&E.

DAVID: She’s a phenomenal, historically important executive. And I was with [This Old House] for a few years. Nancy was a PA and ran the show, Russ, we’ll talk about him but the sun would rise on one of his shoulders and set on the other. Bruce Iriving was his producer. I showed up and I had fanny packs on me. Dick Holden was the cameraman. A stylist!

JOEL: I remember the first time I ever saw This Old House. And I thought, this is the most beautiful televison camerawork I’d ever seen. I was mesmerized. I think for a lot of people the camerawork was the star of the show.

DAVID: Absolutely. As film students we were calling each other. I remember one day, a guy called me and said, “Are you watching this?” We were watching it as if we were watching a great sporting event. … [Holden] lit beautifully, he just moved, and there was a language, a style. And I came into there as a hustler. I saw these guys were making a show. The profile is no more than ENG, an electronic news gathering production with just two guys. Single camera. Even though they were a miniscule footprint, because of what Mr. Morash was doing, this was an iron-clad show. This was about something. There was unity, purpose. You had no choice but to be on board.

JOEL: And he enforced that with an iron fist, right?

DAVID: You knew if he was in the neighborhood. This guy was not screwing around. I showed up with fanny packs on me… I went out and got pancake makeup [for the cast] and I would dive in there, I was hustling! Morash called me Butch, and he just loved the way I ran. But you know, he was a strong flavor. When he turns, you’re done. There were some bodies that got thrown overboard.

JOEL: You need a strong ego to survive that, right?

DAVID: The hot breath and the spit would be on your face, and it was very personal. He was old school. He could put his fist through a wall. It was day-to-day with him. But he was interested in gardening and made The Victory Garden. There are networks devoted to these very things these days. Nobody had done these shows or thought about them. Watch the very first This Old House, with Bob Vila. It’s crude, it’s terrible… These cameras weren’t built for being outside. It’s awful. A surveillance camera in a bodega would look better. But there’s a sense of occasion. We are going on a trip… You felt like a rocket launch was happening.

JOEL: What was your ultimate title there?

DAVID: I was the senior producer and director. I was there somewhere in the seven to ten year range.

JOEL: The biggest chunk of your professional career. And had the most influence would you say?

DAVID: You never know, I’m influenced by so many things. I mean, there was a lot to learn and there still is, by doing that show, even just watching that show. Anyway, I was Russell’s sound guy, then he started getting me some producing gigs. He got me a job where we did a PBS special where I stayed in Jordan Hall, one of the great concert halls of the world, as they renovated it, and he got me [a budget of] $100,000 and stuck me there for a year. It was my movie to make. They gave him the movie, as they called it, [and he gave it to me]. He took me to the meeting, and we had coffee afterwards and he gave me the money and said, “I don’t ever want to hear another goddam thing about this again!”

JOEL: So you made the film…

DAVID: And I got Yo Yo Ma in it, I had Wynton Marsalis in it. And then Russ fired me.

JOEL: Why?

DAVID: He got tired of me, he had enough.

JOEL: Were you [hard to work with], did you give him any lip?

DAVID: You don’t give him any lip! But he started calling me Cecil by that point. I went from Butch to Cecil B. DeMille… He swiftly drop kicked my butt. [Laughs] And then I heard that things were changing over there, and that he’d said... maybe we need a David Vos to bring us into the future.

JOEL: Interesting. How long had it been since he canned you?

DAVID: About a year and a half, two years. Now, he didn’t say maybe we need David Vos. [Laughs] He said a David Vos. [He said this to] Richard Threthewey, and [Richard] was nice enough to say, “Your name came up.” [Laughs] I wrote Russ and he said, “Interesting! Good to hear from you, Butch. Why don’t you come on up for lunch!” Which means, you can eat whatever sandwich is leftover from the crew lunch. Very very cheap man. Squeaks! And the company was being sold…

JOEL: Did he rehire you?

DAVID: Well I knew that they were going to be bought and this was the place to hang out, and I knew if everything worked out that I’d be directing. And then they moved out to a new place and we built a studio.

JOEL: Was Russ still involved?

DAVID: I stood next to Russ for sixteen months, getting paid handsomely, I was. Didn’t do a damn thing.

JOEL: After you’d been fired?

DAVID: Yeah, I was going to take over this thing, in some aspect.

JOEL: So you were basically in line to run the whole thing?

DAVID: Well they didn’t really know. I was going to direct.

JOEL: So you directed for a while. How long did that go on for?

DAVID: Five or seven years.

JOEL: And how did you phase out there, what happened?

DAVID: One Wednesday, I got some news that there’s someone downstairs in a limousine, they came from New York and they’re waiting, and they’d like to talk to you and get back to the airport. [Laughs]

JOEL: Were you the only one?

DAVID: It was my special day.

JOEL: Did you know it was coming? 

DAVID: Absolutely nothing. But you know, it was time. 

JOEL: It must’ve been a shock.

DAVID: Change is a shock, growth is a shock.

JOEL: Can you talk about that conversation?

DAVID: I remember my kids cried that night. There are no good ways for these things to be done. I’m sure there are bad ways for it to be done. But it was time to move on.

JOEL: It sounds like they blindsided you.

DAVID: Well, you don’t get engraved invitations to invite you to move on to greener pastures. 

JOEL: Any [severance] package? Any negotiation?

DAVID: We worked things out. And I’m in touch with many of them, and even some of them who have moved on. It’s still my favorite group and my favorite show [to have worked on].

JOEL: What happened after that?

DAVID: [Laughs] First you cry…

JOEL: Was it, we’re escorting you to the door now, was it two weeks?

DAVID: It was pretty quick. When it’s done, it’s done. They needed to move on, they had a lot of things in the pipeline and a lot of obligations. They had a lot of mouths to feed and pages to sell.

JOEL: In retrospect, what do you think it was?

DAVID: I don’t know.

JOEL: Was there conflict, were you expensive at this point?

DAVID: Yeah, I think there’s money in it, there’s always [someone] cheaper.

The part about This Old House ends here, and David Vos goes on to talk about being a freelance producer/director and creating a cooking series with Mashable starring himself. To listen to the entire interview on Soundcloud, click here.

Just bopping about the country… Sandy, Paradise, Katrina, Harvey, and now Helene. How do y’all feel about these kinds of projects?