I've only seen clips from James May's Toy Stories. I don't think it's officially available in the U.S., even on BBC America. But yes, it's yet another example of his talent and skill. However, in the Apollo show he inexplicably pronounces it "Hooston." The natives will pack as many subvowels as possible into that first syllable.
I've been on both sides of the Top Gear dilemma, in my work in theater and film. On the one hand there is nothing less satisfying and less joyful than working with abusive and egotistical talent. I'm sure you've heard about absurd celebrity riders, but that's just to ensure the promoter actually reads the rider. But I've seen serious riders from relatively unknown and unimportant talent that are downright annoying. Nearly all of them are reasonable, such as specific refreshments or someone to act as a personal assistant. But I've had to deal with a few requests from (no-)talent such as fresh-cut flowers every day in the dressing room or restrictions against who may talk to them backstage. Keep in mind these people are not A-listers. Or even B- or C-listers. And the ones with the most inflated riders are typically the ones who treat the house staff abusively. No, we aren't going to move the grip truck just so you don't have to walk around it to get to craft services. No, you don't get to yell at my unpaid volunteers in front of the whole crew for eating the only meal they get that day while you're rehearsing.
On the other hand there's a growing trend in television and film production to hand out "producer" credits for work that, in former times, would have gotten you only a "production assistant" credit at best. Which is to say, production companies are becoming increasingly overstaffed with "producers" who add little value, yet try to exert control. I don't know anything about the producer in question or how he was respected within the organization, so I may be way off base here. But it doesn't surprise me that Clarkson would have vented his frustration against someone with that title.
