THE landscape of automotive entertainment is shifting dramatically, with iconic shows like Roadkill, Roadworthy Rescues, and Hot Rod Garage facing sudden cancellations. When the news broke, it devastated loyal fans and impacted many who worked behind the scenes, from hosts to production crews.
As a kid, waking up early on weekends was a ritual. I’d park myself in front of the TV to watch Stacey David’s Gearz and Trucks!, along with Xtreme 4x4, where Ian Johnson and the unforgettable Jessi Combs brought custom builds to life. These shows, hosted on Spike TV’s Powerblock by Courtney Hansen, were my gateway to a world of engines and custom craftsmanship. For me—and for many of us—it was the golden age of automotive television. Before streaming, before YouTube, we were lucky to catch episodes as they aired. The easy accessibility of these shows eventually made ordering VHS tapes and DVDs from early content creators a thing of the past, and yes for the real old ones, this was the original way to get this kind of content.
Over time, weekend TV traditions evolved. Carefully scripted build shows gave way to spontaneous, unscripted adventures. Junkyard classics were revived, engines roared back to life, and we felt the thrill of driving a rusted relic on a shoestring budget. But as some of these shows now air their final seasons, we’re seeing a seismic shift: the rise of individual content creators who’ve moved from phone screens to full-on television viewing.
The rise of YouTube has changed the game. Today’s creators, often working solo or with small teams, bring as much—if not more—excitement and authenticity than big-budget productions ever could. Their raw passion, ingenuity, and humor have captured hearts in a way polished, corporate shows can’t always replicate.
This isn’t just happening in automotive entertainment. In the music industry, we witnessed the rise of individual artists as streaming services broke the grip of major record labels. The same story played out in the speed parts industry. Local speed shops were absorbed by big corporations chasing profits with mass-produced, overseas parts—only to see a resurgence of small builders producing quality, handcrafted components. Now, in automotive media, we’re watching the return of the independent creator: the rare, crafted piece born from passion and precision, rather than corporate profit margins.
Big companies aren’t too big to fail. We, the audience, get to choose what we watch. We’re no longer at the mercy of investors deciding what makes good television. We decide.
None of this diminishes the talent and effort behind traditional shows. The hosts, crews, and production teams were people just like us—living and breathing cars and builds every day. Now, many of them have brought their talents to platforms like YouTube, where they can create freely, untethered by corporate interests. It’s there that we see their true passions shine, with more niche content, creative risks, and authentic moments than ever before.
In the end, I believe this is a good thing. It’s a reset. We’re witnessing a return to genuine creativity driven by joy, not boardroom agendas. There’s more room than ever for individuals to share their knowledge, skills, and stories through videos, articles, and even self-published magazines… wink, wink.
Keep Cruise Culture Alive,
Editor and Chief
Brian Holzli
