Despite being live (so that gullible viewers could be shown the word "crocodile" written backwards on a dial, then asked to phone in at 50p a time to say what the word was, thereby subsidising the programme budget), the studio rounds might just as well have been pre-recorded; but the presenter nevertheless insisted on proving that "we're absolutely live" by referring to a news story that alleged "if women did more housework, they wouldn't get ill".
That's certainly true chez Lewis-Smith. Mine is continually busy, opening cans, stripping wires, pulling corks out of wine bottles, and removing stones from horses' hooves. She's a Swiss army wife.
The daytime schedules are increasingly full of ultra-low-budget shows like this, and I am increasingly feeling that I'm witnessing the final disintegration of the oncenoble art of crafted programme making.
Endemol are the chief manufacturers of what is becoming the televisual equivalent of the battery chicken industry, churning out bland and flavourless produce at the lowest possible price, irrespective of quality, and thereby undermining the market for free-range, high-value (and inevitably more expensive) fare.
Nobody ever wins much money on such shows, except for Endemol's boss (the fearsomely heterosexual Peter Bazalgette, who is raking it in), and not only are they wholly unsatisfying to watch, they're also as painfully repetitive as heartburn. In short, they're television's answer to what we gastronauts call the "Dijon vu" experience, where you keep belching up the same mustard, again and again, and end up with a thoroughly nasty taste in your mouth.