For many, especially those of us who grew up captivated by automotive television, the year 2015 marked a somber note – the silencing of the iconic Top Gear theme music. It felt like an end of an era, a void left in the landscape of car entertainment.
However, hope rekindled swiftly. Amazon, the e-commerce giant known for its vast offerings, stepped in to reassure fans worldwide. A lucrative, long-term deal was struck with the legendary trio: Jeremy Clarkson, Richard Hammond, and James May. This partnership not only signaled the birth of The Grand Tour but also heralded the launch of Amazon Prime Video in various corners of the globe, bringing the much-loved presenters back to screens, much to the delight of automotive enthusiasts.
The Grand Tour, much like its predecessor Top Gear, has been a subject of diverse opinions. Some viewers adore it, while others find it less appealing. Whether you appreciate their brand of humor – a blend of slapstick, camaraderie, and occasional automotive insight – is a matter of personal taste. But for many, including myself, the announcement of September 13, 2024, as the date marking the end of Clarkson, Hammond, and May’s grand motoring specials, resonates deeply. It feels like a significant moment, a true “Grand Tour Ending.”
My personal connection to these shows runs deeper than mere entertainment. My career as an automotive content creator at CarExpert is directly linked to the influence of Top Gear. As someone who has spent nearly two-thirds of my 33 years watching the expertly crafted shows from the Top Gear team, their impact is undeniable.
It was in 2006 when I first encountered this holy trinity of automotive journalism. The episode, a rerun perhaps, featured a race between an Aston Martin DB9 and the Eurostar from England to Monte Carlo. That day sparked an obsession. I was hooked. As I matured and developed a passion for filmmaking, my appreciation for Top Gear evolved. I started to analyze the production – the cinematography, the editing, the color grading, and the sound design.
Beyond the surface appeal of a middle-aged man drifting exotic sports cars on an airfield, there was a team of masters honing their craft. Top Gear, and subsequently The Grand Tour, revolutionized car-based filming techniques, leaving an indelible mark on how automotive content, and even some films, are produced today.
Consider in-car cameras. While the concept existed for decades, early versions were cumbersome, requiring frequent stops to change film, adjust lighting, or replace batteries. The BBC production team, under Andy Wilman’s leadership, innovated solutions. They developed methods to mount miniature cameras on car windshields, creating custom mounts, suction cup systems, and long-lasting power and recording setups. This allowed for continuous filming throughout the day, capturing every moment without interruption.
They pioneered car-to-car filming. Initially, this involved strapping a cameraman into the back of a Range Rover. Later, they collaborated with external companies to create smaller, more versatile exterior mounting systems suitable for extended use, moving away from the traditional, and often less practical, “Russian Arm” approach favored by Hollywood.
Then there was the editing. The skill of Wilman, Clarkson, and the post-production team in transforming hundreds of hours of raw footage into humorous, engaging, and visually stunning moving art set a new industry benchmark – a standard arguably yet to be surpassed.
Many of us in automotive journalism owe our careers to these pioneers. The techniques and styles they developed are integral to our daily work. From camera mounting and positioning to lighting, everything is influenced by Top Gear‘s innovations. The way we film tracking shots, stunts, or even simple road trips carries their imprint.
At CarExpert, while our video content now leans towards helping consumers buy cars, rather than heavy storytelling, the spirit of Top Gear subtly permeates our work. Whenever possible, we inject elements of their style, especially in content that ventures beyond standard car reviews.
The news of The Grand Tour ending has been anticipated for some time. As the trio embarked on individual projects, it became clear that their collective journey in car travel was nearing its conclusion. After 22 years, the intensity of their roles, the demanding workload of creating 90-minute specials from weeks-long wilderness adventures, understandably takes its toll. Yet, they consistently delivered a polished and entertaining product, regardless of individual preferences.
As I come to terms with witnessing their final outing, memories of the good times flood back.
The Grand Tour trio, Clarkson, Hammond, and May, known for their adventurous spirit and humorous on-screen dynamic.
The Hammerhead Eagle i-Thrust (affectionately known as Geoff), the Top Gear V12 train, racing a Bugatti Veyron against both a slow and then a very fast plane, Hammond’s dramatic rocket car accident, the comedic unveiling of Michael Schumacher as The Stig, the poignant Senna mini-documentary, and Hammond’s million-dollar electric car crash – these are just a few highlights from a treasure trove of unforgettable moments.
Then there were the specials: the original Botswana Special, the India, Vietnam, and North Pole expeditions, building “Oliver” and driving him across Mongolia, and Jeremy Clarkson’s emotional moment in The Grand Tour tent, announcing the end of their audience-based TV show.
Experiencing Top Gear Live and the Top Gear Festival in Sydney firsthand remains a vivid memory. The scale of these shows, the spinoffs they generated, and the global recognition they achieved are the envy of any television program. Yet, at its heart, it all began as a “pokey little motoring show on BBC 2.” And that seemingly small show profoundly changed my world and the world of automotive entertainment.
In quiet reflection, as the closing credits roll, the bridge of “American Pie” echoes in my mind: “and the three men I admired the most, the father son and the holy ghost, they caught the last train for the coast, the day the music died”.
While our trio’s careers have been far more enduring and successful than Buddy Holly and his contemporaries, and they likely drove rather than took a train (and Zimbabwe isn’t on the coast), the sentiment resonates. Perhaps it’s time to cue up “Jessica” by The Allman Brothers, for nostalgia’s sake.
Just as Top Gear evolved, The Grand Tour, while the name might persist, will never be the same without our beloved anti-heroes. It’s likely Andy Wilman and a significant portion of the crew who transitioned from the BBC to Amazon will also be moving on.
This grand tour ending isn’t just the end of the road for Clarkson, Hammond, and May; it signifies the likely end of an era for the talented team who brought us years of automotive joy.
For me, September 13, 2024, will be etched as a day of profound sadness… in the world of automotive entertainment.
