S1E7: “A Kodiak Moment” with Rob Morrow and Janine Turner

Summary

Northern Disclosure - Season 1, Episode 7: “A Kodiak Moment”

Release Date: July 1, 2025
Hosts: Rob Morrow and Janine Turner
Guests: None (episode features only Rob and Janine)

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Episode Introduction

In the seventh episode of Northern Disclosure, titled “A Kodiak Moment,” hosts Rob Morrow and Janine Turner delve deep into one of their favorite episodes from the beloved '90s series Northern Exposure. This episode offers an intimate behind-the-scenes look at the making of “A Kodiak Moment,” exploring character development, thematic elements, and personal anecdotes from the set.

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Behind the Scenes Insights

Rob and Janine begin by reminiscing about the challenges and joys of revisiting the seventh episode of Northern Exposure. Rob mentions, “[00:09] All right, Janine, here we are yet again... focusing on a particular episode from the show so audiences can follow along in order.”

They discuss the absence of co-star John Cullum, who played Holling, due to his age, and how this episode was initially intended to feature him. Despite his absence, Rob and Janine successfully carry the episode on their own, enriching it with their chemistry and shared memories.

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Character Development and Storylines

The core of “A Kodiak Moment” revolves around Holling’s nemesis, Jesse the Bear, and the emotional journey of John Cullum’s character. Janine highlights the depth of Holling’s transformation: “[03:04] Janine Turner: And how did they know it was the actual bear?... how did Ed know that was actually Jesse?”

Rob elaborates on Holling’s internal conflict, explaining how the character decides to use photography as a means to honor life instead of hunting: “[02:21] Rob Morrow: ...to use the photo. The camera as a gun, if you will.”

Janine adds emotional layers to the discussion by recounting a poignant scene where Maurice learns of his brother’s passing, underscored by Glenn Campbell’s music: “[06:00] ...the music was always such a star of the show. And... it was Glenn Campbell... when they walked in to tell Maurice that his brother had died.”

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Personal Anecdotes and Set Stories

Rob shares amusing behind-the-scenes stories, such as the infamous bagel scene inspired by his real-life experience with H&H Bagels: “[16:39] Janine Turner: Maybe it was subliminally in my mind when I moved back to New York to get an H and H. B.” This anecdote showcases the serendipitous ways real-life events influenced the show’s script.

Janine recounts her experience with the set's tight schedule and how personal lives intertwined with the production: “[22:11] Janine Turner: It was just oozing out of my... In some way on a cellular, metaphysical level.”

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Themes and Emotional Resonance

A significant focus of the episode is the exploration of themes such as forgiveness, cherishing life, and confronting past traumas. Rob articulates the show's unique ability to blend multiple storylines seamlessly: “[47:00] ...the three storylines always enmeshed in story.”

Janine emphasizes the show's timeless relevance, stating, “[49:21] We are emotional people, and you get to use those emotions. It's a channel for it. It's cathartic.”

They discuss how Northern Exposure serves as an escape and a salve for modern societal stresses, likening its impact to that of contemporary shows like Ted Lasso: “[50:02] ...it is a salve, you know, in the way that I think Ted Lasso is a salve.”

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Reflections on the Show’s Legacy

Rob and Janine reflect on the lasting bond and impact of Northern Exposure on their lives and its audience. Rob shares, “[45:30] ...being a part of something that brought such joy to people.”

Janine adds a heartfelt note on the show's ability to bring happiness and purpose: “[46:23] ...the show made me so happy. Thank you for bringing this gift of the show to me.”

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Conclusion and Future Engagement

Wrapping up, Rob and Janine encourage listeners to watch the episode and engage with future podcasts by submitting questions: “[52:18] ...post a question on that next particular episode.”

They express gratitude for the enduring connection to the show and each other, signing off with warmth and anticipation for continued discussions: “Northern Disclosure is a production with Evergreen Podcasts and executive produced by Paul Anderson and Scott McCarthy for Workhouse Media.”

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Notable Quotes:

• Rob Morrow [00:09]: "Each episode, we focus on a particular episode from the show so audiences can follow along in order."
• Janine Turner [03:04]: "How did Ed know that was actually Jesse?"
• Rob Morrow [02:21]: "...to use the photo. The camera as a gun, if you will."
• Janine Turner [49:21]: "It's a channel for it. It's cathartic."
• Rob Morrow [50:02]: "It is a salve, you know, in the way that I think Ted Lasso is a salve."

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Episode Highlights:

• In-depth discussion of “A Kodiak Moment” and its significance in the series.
• Personal stories from Rob and Janine about life on set.
• Exploration of thematic elements like forgiveness, cherishing life, and emotional healing through creativity.
• Reflections on the show's enduring legacy and its impact on both the hosts and the audience.

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Whether you’re a longtime fan or new to Northern Exposure, this episode of Northern Disclosure offers a heartfelt and comprehensive look into one of TV’s most charming and enduring series. Tune in to relive the magic and uncover the stories that made Northern Exposure a timeless classic.

Transcript

[Rob Morrow]

All right, Janine, here we are yet again. For this would be our seventh, I believe, podcast of the show Northern Disclosure, behind the scenes of the making of Northern Exposure. It's been a joy doing it now, and each episode, we focus on a particular episode from the show so audiences can follow along in order. This will roll out in order. So if you want to know what we're talking about or not, you can just tune in. You can also watch the show. You can either listen wherever you get your podcasts, or you can watch on the Northern disclosure channel on YouTube and you can see us if you want. And so Kodiak Moment was.

[Janine Turner]

You can stream the show on Amazon, too, by the way.

[Rob Morrow]

And you can stream it.

[Janine Turner]

You watch it.

[Rob Morrow]

That's a great point. You can now stream all of the episodes of the show, the original show, and it's doing really well on Amazon. And one of the joys for both Jeanine and I is that it's finding a new audience. So people are in their 20s or even younger coming up to us and telling us they discovered the show. And it's been really fun watching it again and hanging out with Jeanine and talking about it and all our guests. This particular show is just gonna be her and I. We are in New York together, which is just a rare thing. So we thought we'd take advantage of doing a.

[Janine Turner]

Being in the same room together.

[Rob Morrow]

Being in the same room together. And we were gonna have John Cullum, who's now 95. John Cullum, who played Holling and gave such a beautiful performance for. For. For the entire run of the series and was a great guy. I don't remember him ever being cross or with anyone.

[Janine Turner]

Nicest person.

[Rob Morrow]

Nicest person in the world.

[Janine Turner]

Most professional.

[Rob Morrow]

But he's 95, and he had. There was an issue where he couldn't come on today, but we're hoping to get him on at some point. And so we're gonna just do the show ourselves and we'll. We'll talk about Kodiak the Cody. A Kodiak Moment, which. Which featured John Cullum, mainly. He had a great storyline.

[Janine Turner]

It did. He had a good storyline about the. Jesse the Bear.

[Rob Morrow]

Jesse the Bear, who was his nemesis, right? Who he. And it's an interesting story, the story with John, because it caused him to give up the gun for the camera, right? Because when he was a hunter, you know, being up in Alaska, and he had some event that happened where he was aware of the taking of life, and it got to him. And having grown up and hunted for Many years. He decided to let. To let it go and just take photos. You know, to use the photo. The camera as a gun, if you will. And in this episode, Jesse the bear, who was his old nemesis, comes back.

[Janine Turner]

And how did they know it was the actual bear? You know what I mean? It's like a lot of bears look alike. You're wondering how they knew it was in. In, you know, in the small town of Sicily. How did. How did Ed know that was actually Jesse?

[Rob Morrow]

I guess he had some characteristics, but. Do you remember when we were shooting, that bear was on the set?

[Janine Turner]

I remember we would get these notices from our.

[Rob Morrow]

Our.

[Janine Turner]

What are the pet wrangler.

[Rob Morrow]

Yeah.

[Janine Turner]

Certain things you could not. No perfume, no this and that. When. When they had all these animals on the set.

[Rob Morrow]

Right. And big cage and dangerous. Right. But there were no issues I don't.

[Janine Turner]

Think and think about. And they had a really good shot of the bear at the end. Yeah, for sure. And I remember the filming of. I wasn't there for that, but I remember that it was going to be a big deal.

[Rob Morrow]

Right.

[Janine Turner]

It didn't look like a long lens, though.

[Rob Morrow]

Yeah. I don't remember.

[Janine Turner]

And just to explain what a long lens is, it's a long lens telephoto. But what it does is you can be very, very far away and it zooms in really closely so you don't have to get that close to the bear. Those are beautiful shots because the. The background blurs. I always love shots.

[Rob Morrow]

Absolutely. It's called.

[Janine Turner]

And I think there was another. There was a. A long lensed. A long lens shot. I think in this episode, in a walk and Talk, or maybe. Maybe it was Aurora Borealis.

[Rob Morrow]

There was a. There was a great one of me and Corbett.

[Janine Turner]

Yeah. Was it in this one?

[Rob Morrow]

Yeah.

[Janine Turner]

Okay. Because I watched two at the same time walking down the street.

[Rob Morrow]

Yeah. It's an interesting way to shoot. You can shoot. I love that, too. You can shoot walk and talk scenes in two ways. You can have a camera kind of following along with the actors, or you can put the camera far away and have them grow in the frame, walk toward you. Yeah. And it's always. It's a great. It's very cinematic.

[Janine Turner]

I love that look.

[Rob Morrow]

Yeah.

[Janine Turner]

And it blurs out in the background. So I immediately noticed it between you and Corbett. That was a nice. A nice little scene. And, you know, it's fun to talk about behind the scenes. Right. There's always sort of like an A storyline, a B storyline, C storyline.

[Rob Morrow]

Right.

[Janine Turner]

And I guess we would say the A Storyline was. Was hauling Jesse the Bear. Jesse the bear and Cynthia, you know, Shelly, they. They had a great, I think, rapport in this episode. Showing more of their love and dedication and sex.

[Rob Morrow]

And they had. How much of it. They had such a sexual. They were so hot for each other.

[Janine Turner]

Honey, honey, come back, come back. And there's Ed going, oh, I think I'll just zip up the.

[Rob Morrow]

Ed had a lot. A lot of those scenes he did.

[Janine Turner]

He was always so innocent. But. And then the B storyline would have been the wonderful storyline of Maurice and Oh, I thought, by the way, when. When it's hard to say whether we use actors names or characters names. So Chris in the Morning.

[Rob Morrow]

I know, I always mean. Right.

[Janine Turner]

Yeah. When Chris in the morning is doing his thing, chatting to the girl, and she starts to talk about sex, he's like, okay, we're gonna wrap it up now. I remember that. But I always liked those voices of Collins that came through the radio.

[Rob Morrow]

Right, right.

[Janine Turner]

And so he's talking to the gal and then he's watching the two police soldiers pull up, walk into the. The sound. You know, the radio booth he's in.

[Rob Morrow]

He's in his booth and then the.

[Janine Turner]

Office right behind him. Maurice's office.

[Rob Morrow]

Right. Because Maurice owns this.

[Janine Turner]

And Maurice lost. And what song was playing? It was a really beautiful song. I remember now. I don't think I wrote it down, but the music was always such a star of the show. And. And as he's walking in and then he finds out that he lost his. His brother. That was a very poignant, poignant.

[Rob Morrow]

It was. His brother passed away.

[Janine Turner]

Yeah.

[Rob Morrow]

And we should just. As we. Whenever we talk about music, we should just throw it out to Martin, Bruce Lee, who did such a beautiful show.

[Janine Turner]

I know. Yes. But was he the actual music supervisor? Yeah, he was associate producer.

[Rob Morrow]

Yeah. But he was. I don't even know if they had a title.

[Janine Turner]

Music supervisor because he just did everything. The music was phenomenal.

[Rob Morrow]

And then he went on to do all the music for the Sopranos, which was equally. Had an amazing soundtrack.

[Janine Turner]

Well, yeah. And they. And again, they had Chris in the Morning as a DJ to be able to have that great, great conduit.

[Rob Morrow]

They had a great device for the music. You're right.

[Janine Turner]

But then that vulnerability of Maurice, once again, I love that. The Stallworth astronaut who's been to outer space.

[Rob Morrow]

Right.

[Janine Turner]

But he said his family said he was can in a Spam. Spam in a can. Not can in a Spam. Spam in a can.

[Rob Morrow]

Right.

[Janine Turner]

Because he went. Because he was an astronaut. But the rest of his brothers and family had been right stuff. Pilots, right? And my father was a. Was a pilot, and my father in the Air Force, his plane actually caught on fire. Sort of like that great scene with Sam Shepard in the Right stuff. In the right stuff, when his plane goes down, you see him, you think he's dead. And here he comes walking.

[Rob Morrow]

He was a pilot in the. In the military.

[Janine Turner]

My dad in the Air Force, he was a West Point graduate. But back then in the class of 57, they didn't really have an Air Force academy yet.

[Rob Morrow]

Combat.

[Janine Turner]

So, yeah, yeah, he flew the B58 Hustler as part of the Strategic Air Command.

[Rob Morrow]

Korean War.

[Janine Turner]

No, it would have been Cold War.

[Rob Morrow]

Cold War.

[Janine Turner]

So his mission was to go to Russia and drop a nuclear bomb.

[Rob Morrow]

But he didn't do that.

[Janine Turner]

Well, no, he never had to. But he always said, if I have to, I will never come home, you know, but of course, we'd probably all be dead anyway, which I. He didn't really elaborate on that part. But nevertheless, that was a fun. Fun. It was military, you know, and so I could relate when he said that his brothers were the right stuff and they considered him the black sheep, basically. The black sheep because he had become an astronaut. But he had that vulnerability, and now he wants a son. So sweet. And Corbett's. Corbett's. You know, it was a great combo with John Corbett of innocence. It's like, yeah, I guess I'll try that. But also, you could see that little bit of that independent streak, you know? You know, take that, dad.

[Rob Morrow]

Yeah. No, it plays on the reality. You know, he wants an heir to his fortune because Maurice is worth a lot of money and has a lot of land.

[Janine Turner]

Takes him up that big hill.

[Rob Morrow]

And he realizes now that mortality is coming since his brother passes away. So he enlists John Corbett first. He comes to me and it's like, never going to happen. You know, I'm not going to be right. And then he enlists John or Chris and. And tries to. And then it's so. That's. So the beauty of the show is that then they start doing father and son activities.

[Janine Turner]

I know. And I wrote down one of my notes here. You know, I always have my notes. You do, too, actually, now that I see you in person in the same stage. But that long table. That long, long, long table.

[Rob Morrow]

Yeah. In his house.

[Janine Turner]

Yeah. And he gets up and then the camera pans as he does the long walk to go sit down next to right.

[Rob Morrow]

They're having dinner in Maurice's house. And he comes down to the streets.

[Janine Turner]

But the ambig of. In Corbett's face all the time.

[Rob Morrow]

Right.

[Janine Turner]

I mean. I mean, there was no doubt that Maurice wanted him as a son. Okay, so. But then you could always see on Corbett's face. I don't know.

[Rob Morrow]

He was so sweet. Like, he wanted to accommodate. He knew Maurice needed something cathartic for this time in his life, and he wanted to try to be there. And so he steps up and he. They show up to play croquet or. Or. Oh, yeah.

[Janine Turner]

Then the white. He's in those white knickers. He's in the white knickers in the white shirt. He's like, why do I have to dress like this? Oh, there's this great conversation. I wrote it down. He goes, son, you know, do you have any insanity in your family? He's like, no. He goes, no, we were just normal failures.

[Rob Morrow]

Right. That's a great line.

[Janine Turner]

Oh, there's so many good lines. And once again, I wrote down how John Corbett had these John Travolta moments.

[Rob Morrow]

He loved John Travolta.

[Janine Turner]

Oh. And when they're at the long table, the opera is playing. The opera music is playing. So I. I just thought that. That story. And then he takes him up to the cliffs or like, you know, looking into the promised land to show him his land.

[Rob Morrow]

It's all his acreage, like 15,000 acres. Right.

[Janine Turner]

But he gives it up.

[Rob Morrow]

Right.

[Janine Turner]

You know, he wasn't willing. His character was not willing to sacrifice who he was as a person.

[Rob Morrow]

Right.

[Janine Turner]

For all that.

[Rob Morrow]

But he was. His character was the. The most philosophical, the least materialistic, anyway, so I don't think. I think he was. It wasn't so much about getting the R, although he liked. It was a sweet scene when he gives him the Cadillac.

[Janine Turner]

Yes. And he drives off in the Cadillac.

[Rob Morrow]

That's sweet. And then he shows up with a girl. But he can't. Like, he's. He's with a girl in the back seat.

[Janine Turner]

What girl? Did I miss that?

[Rob Morrow]

It's there. Yeah. He's out. Oh.

[Janine Turner]

Oh, right. Oh. Oh. Because he tells him. He tells him seeds will sprout.

[Rob Morrow]

Right. He can't.

[Janine Turner]

Is that what he said? Seeds will sprout?

[Rob Morrow]

Something like that.

[Janine Turner]

So then he's trying to have sex in the back of a car, and he can't have sex because he keeps.

[Rob Morrow]

Thinking about it, so we should. And then there's the third storyline, which is ours. Which is ours.

[Janine Turner]

Which is a famous, famous line. Another one of those great lines. So many of them happened in the first two seasons. And you know what it is?

[Rob Morrow]

I do.

[Janine Turner]

I bought my epidural, and I. We touched on this in an earlier. Earlier show, but I was going to have with my daughter natural childbirth, and I was going to have cloth diapers.

[Rob Morrow]

Yeah.

[Janine Turner]

You know what I mean?

[Rob Morrow]

No, we were the same.

[Janine Turner]

Yeah.

[Rob Morrow]

Same thing happened with us.

[Janine Turner]

All natural. And then after about 12 hours of labor, and nothing's happening.

[Rob Morrow]

Right.

[Janine Turner]

And suddenly I was like, I want my epidural. And I just. Like the girl in the. In the. In the show, I wanted it. Then I'm like, where is he? Where is he? And they're like, well, he's walking around. He's on another floor. No, go. Go get him. Once I decided.

[Rob Morrow]

It's a great moment. Yeah, we had the same thing.

[Janine Turner]

Did you have an epidural?

[Rob Morrow]

We're going to have a. We had an epidural for sure. We had a C section, ultimately.

[Janine Turner]

Oh, see, that's what I was worried about.

[Rob Morrow]

It wasn't planned. In retrospect, it was a great thing. But the line we're talking about, in case you don't know the show, we hope. You do know the show. We hope you will watch it or have watched it, but if you don't, it's a scene. So Joel's job is to give health care to everyone in the vicinity. And he gets asked to come teach what he thinks is a hygiene class, but it turns out it's a Lamaze class. And so he enlists. For some reason, he needs an assistant or something. So he gets Maggie to come, or Maggie has to fly.

[Janine Turner]

Marilyn can't go go because she had.

[Rob Morrow]

Marilyn can't go because she's going to a powwow. And so Janine, Maggie, flies Joel there anyway. And so they go in and. And there's a moment when Joel. Joel's cynical about the whole idea of teaching a. That he has to teach in Lamaze class. But he says he just. When he first steps up, when he finally resigns himself to teaching the class, he steps up and he just says, there's four words you need to know. Okay? I just want to tell you. Just. Just remember them. That's all you have to know, and you'll be fine. I want my epidural.

[Janine Turner]

And Maggie was so mad, she's like, aren't you gonna teach them Lamaze? And then. So then there's another scene where she's teaching them how to breathe deeply and all of this. And then in the scene that comes up again later. Oh, and then. Oh, but I Wrote down that we do have our typical scene in the street. You know, there were so many scenes of us where I. You know, it's obviously such a small town. I never worry about getting hit by a car or anything. No, we have all these altercations.

[Rob Morrow]

It'd be funny to cut those together.

[Janine Turner]

Like there were so. But I call you. I wrote. I wrote it down. Hang on, I gotta find it. Oh, a misogynistic obstetrician.

[Rob Morrow]

Right? There you go.

[Janine Turner]

You're just a misogynistic obstetrician. Like, say that fast five times.

[Rob Morrow]

So this. This episode was written by Steve Wasserman and Jessica Klein, and it was directed by Max Tash, who I think only directed this, this episode, but did a lovely job. You know, I think that the show stands on its own.

[Janine Turner]

In the opening scene with the bagels, when I fly the bagels into you and I'm like, bagels? I thought I went four hour round trip to get Bay. I thought they were emergency supplies. And I was struck by that. The scene of just how we never played the comedy. And I was just very sincere in my. I was really put out with you. And then I was kind of struck by that kind of honest connection with what she was feeling, for sure. And then I walk away and you toss a bagel to me, you know, and I toss it back. But then Marilyn's sitting back there, she's starting to get four or five bagels, and then you ask her to go with you for the Lamaze classes, and she says. She says no, and you take all the bagels away from her and shove her in the box.

[Rob Morrow]

So funny.

[Janine Turner]

Do you remember that was a directorial thing? Or if you came up with taking all the bagels, if it was your idea to get the bagels back from her.

[Rob Morrow]

Probably it was. It was in the show, it was written in the script, but I'm not sure. But, you know, the thing that I have to say, and I think there's a lot of instances that we can remember, there were corollaries, things that happened in our lives that the writers would find out about. And sometimes we couldn't figure out how they would find out about it, because they're not. They were in la, we were shooting in Seattle. And in this case, I was saying to my girlfriend Leslie, who was living in New York, we lived in New York together, but I was in Seattle shooting. I was saying, there's no good bagels in Seattle at the time. I'm sure there is now, but there wasn't at the time. And so she sent me a box of HH bagels.

[Janine Turner]

I love H and H bagels. I ordered them since I was here.

[Rob Morrow]

They're considered the preeminent bagels.

[Janine Turner]

No, Are they really?

[Rob Morrow]

Oh, yeah.

[Janine Turner]

I love them. I have some in my hotel right now.

[Rob Morrow]

There you go. So she sent me a box, and it was such a big box, it must have been two dozen, that I took a few and then put them on the craft service table for the crew and everyone to have. And that might be the first time you ever had an H and a bagel.

[Janine Turner]

Maybe it was subliminally in my mind when I moved back to New York to get an H and H. B.

[Rob Morrow]

Somehow heard about it, and it ends up that Joel Fleischman gets sent bagels from New York. And speaking of the. You know, you say we don't play the humor, but the funny thing. And this was probably a directorial thing, as opposed to being in the script was in the background as you and I are arguing. You see Elaine taking the bagel and, like, looking through the hole. Like, she's never, like, she's so fascinated.

[Janine Turner]

With what it is with a bagel. That's so true. Well, you know, it's an interesting discussion point, actually, about being on a set and the reputation that actors get. You know, they pun this on, you know, super bowl commercials and whatnot. You know, the Coca Cola is brought to the actor and they're like, where's my straw? Right? And they're like, no, no, no. I want a straw that bends. And they make fun of actors. But the reality of it is that we, once we arrived on that set, we were trapped on that set. I mean, it's not like we could just leave and go and come back. They wanted you there the whole time. And we couldn't leave and just go grab a taco or something. You had to eat the delicious food, but, you know, the food that was there. So we were there for 12, 18 hours. And there are these. There is a. On the crew list. And part of the dynamic of a cruise, you have as first assistant directors, second assistant directors, a second second assistant director. And then you have PAs productions assistants. And very often they're standing outside our trailer doors. You know, just stand. Stand ready and go get them when you know, when they're ready. And I had to always. And they become your friends because they're right there with you. But then you realize they're kind of not right because everything they hear or see, if you walk in, you say, oh, you know, I had a really bad night's sleep. And I just. I just really didn't sleep. Next thing you know, you got the dress going. Do you sleep? You know, you do it. You had a bad night's sleep. It gets straight over the walkie talkie, Right? You know, Janine had a really bad night's sleep. Bad night's sleep. They are there. They may be bringing you the coke with the straw, and it looks like you're being pampered, but you're really trapped. And they're actually not. They're on your team, but they're not on your team. They are being paid by the producers.

[Rob Morrow]

Oh, yeah. They're there for the show.

[Janine Turner]

And somehow, somehow, to echo your bagel story, my mother loves orange marmalade. And so when Bebe Besh came on set to play my mother, suddenly my mother has orange marmalade. And I'm like, how'd they know that?

[Rob Morrow]

And then, like, you know, John Corbett was from Wheeland, West Virginia, and so is Chris Stevens. You know, they both wrote Harleys.

[Janine Turner]

Right?

[Rob Morrow]

Which I guess is just good writing. You know, you want to make you looking for details anywhere. So why not?

[Janine Turner]

I had no idea when I auditioned for the role that my dad was actually a pilot. So that, I mean, that's just kind of a sheer coincidence or meant to be or something.

[Rob Morrow]

The music, too. You know, we're talking about music. What's it called? There's a Glen Campbell song. Was that the song?

[Janine Turner]

That's the song that he plays when they Come.

[Rob Morrow]

Right.

[Janine Turner]

When the. It wasn't Ryan's. It's a Rhinestone Cow. Was that what it was?

[Rob Morrow]

That is a Glenn Campbell song. I'm not sure.

[Janine Turner]

Oh, I know it's a Glenn Campbell song, but I didn't know if that's the one that was played. But maybe it was, because I just watched it today. But, yeah, good point. It was Glenn Campbell when they walked in to tell Maurice that his brother had died.

[Rob Morrow]

I think this is the first. You know, I was thinking about it when I was watching it, that it's the first episode that Joel seems resigned to his fate, kind of. There's just a hint of him accepting something.

[Janine Turner]

Where is that?

[Rob Morrow]

It just starts out at the beginning. The first time we see the episode is that. I don't know if that's his first scene.

[Janine Turner]

It is.

[Rob Morrow]

Is not one in the bar first. Whatever his first scene is, there's something about his energy. And I wondered watching it if it was also. Because shooting this show for both of us, but the first season for Me in particular, I was in everything. And so I remember thinking I really thought I was gonna die at certain points.

[Janine Turner]

And then six day weeks, we were.

[Rob Morrow]

Working six day weeks, you know, so there was. We'd get one day off, which was not really a day off because you're prepping for the next.

[Janine Turner]

Yeah, no time to do laundry or anything.

[Rob Morrow]

And so I think I. Now we're in the seventh episode. We have one more to go. So we're about two weeks from wrapping the season. We had no idea the show was ever gonna come back. As far as we knew, we shot eight and we were on to something else. And so I think that there was a part of me, the actor that was kind of, kind of settling, settling.

[Janine Turner]

Into it, some relief.

[Rob Morrow]

And then also at the same time, the character was. And so there's. I find that always fascinating finding the, you know, we're talking about the corollaries between events in our lives that end up in show, but also what's going on with us emotionally that is similar to what's going on with the character, you know. And also you talk about the fact that your dad was a pilot and you getting cast. You know, if you look at you, I know how you say you love metaphysics and if you think about, you know, the nonlinear aspects of, say, you know, of quantum paradigms, you know, the, you know, it may have been that, that, you know, your father being the pilot had something to do with you getting this somewhere.

[Janine Turner]

It was just oozing out of my. In some way on a cellular, metaphysical level.

[Rob Morrow]

Yeah.

[Janine Turner]

In quantum physics. Yeah. Well, I agree with that. And another, as something you talked about being so tired on Saturdays, behind the scenes tidbit is that on Mondays we always started. And actresses and actors are the first ones there.

[Rob Morrow]

Right.

[Janine Turner]

We're the first ones there in the makeup trailer. So the makeup artists, hairstyles and the actors, the first ones there, female actors are brought in even sooner.

[Rob Morrow]

I got my makeup down on the. By the, by the end probably by the seventh episode, my makeup was down to about 15 minutes.

[Janine Turner]

Not mine. Well, though I didn't wear that much, so I don't think it took that much.

[Rob Morrow]

But you were there early.

[Janine Turner]

Yeah, I was there early. And so you were there. We're there at 5:36am and so we go about 12, 14 hours. So let's just say we wrapped it at 7:30.

[Rob Morrow]

Right.

[Janine Turner]

Well, you have to have a 12 hour turnaround that because of our unions. Thank God, you know, Judy Garland didn't have that as a young girl. Marilyn Monroe, they didn't have.

[Rob Morrow]

And a lot of, a lot of place, a lot of places don't have it now. You know, when they get actors out of, out of the, out of the jurisdiction and you know a lot of non union stuff, they don't get that. And it's like, it sounds like you were talking about how actors can be thought of as being pampered and stuff. Someone would hear that, oh, you got 12 hours. But it's like that. But it's also, it's not really, it's. If you, when we finish work, we have to prepare, you know, sometimes 7 to 10 for the next pages of dialogue. And when someone like me who as playing Fleischmann had to learn all this medical jargon, you're talking about going home and adding another two hours. So you get home, you know, you're an hour. So it's like 13 hours now, 14 hours. Then you got another two hours. Then you got to get to sleep and you got to wake up and you got to have some time to kind of think about your life. And you look back at it without that 12 hour turnaround.

[Janine Turner]

That 12 hour turnaround is really important. Yeah, really, really, really important. And so by, by Tuesday morning you're there 7:00am Right. Or it has to be 12 hours. Exactly.

[Rob Morrow]

So the week gets longer and longer.

[Janine Turner]

The week gets longer and longer. So by the time you get so 7:30 to 9:30 the next day, Wednesdays it's 9:30, so you're working 9:30, 11:30. On Thursday you get there 11:30, it's 11:30. So by Friday night we were wrapping sometimes at 2:00am, 3:00am, 4:00am in the morning. So we were getting home basically on Sunday morning and then we just had that day. So that, that's an interesting little tidbit behind this series television. I, I just. Don't you remember all those Friday nights when we worked so incredibly late Saturdays, Frater? Oh, because it had a little bit of Saturday in it.

[Rob Morrow]

Exactly.

[Janine Turner]

A lot of it.

[Rob Morrow]

You know, we were going 2, 3, 4 in the morning, 5 in the morning.

[Janine Turner]

Oh, well, actually, actually I take that back with the first eight. We worked six day weeks. So our, it was our Saturday. Yeah, whatever that would be. So that we only had Sunday that one day. I remember we all went to see Schindler's List because. No, no, this was the third season because it was Frank Prenzi. But Cynthia, a lot of us, we all went to see Schindler's List on the same night. But we had worked extraordinary Hours. And we would get to the movie theater and we're like, what are we here to see again? We were like. I don't even remember why. Why we're here. What are we here. But I just remember we all went to see Schindler's List.

[Rob Morrow]

Huh.

[Janine Turner]

But behind the scenes, what I remember.

[Rob Morrow]

I remember seeing Schindler's List, but all. I remember seeing Bill Gates in the same theater.

[Janine Turner]

Oh, I don't. I never saw Bill. I remember toward the end, I think someone took me out on a boat, and they're like, there's his house.

[Rob Morrow]

It was amazing. As close as I got to it, it was amazing.

[Janine Turner]

Yeah.

[Rob Morrow]

Yeah. He just happened to be in the theater, right?

[Janine Turner]

Oh, how fun for Schindler's List.

[Rob Morrow]

Yeah.

[Janine Turner]

Okay. I don't know. Was it the same night? Did you go? Did we all go together?

[Rob Morrow]

I don't remember that part, but I remember going to the movie and I remember seeing. You know, one of the things interesting about this episode is the Jesse the bear and the Malcolm, you know, Maurice's brother, passing it thematically, dealing with the past coming up and you having to deal with it, you know, which is an interesting thing. You know, how our past can come up and make us have to confront things in the present.

[Janine Turner]

That's true. Life has a way of doing that. And then you had the recycling of life with the birth.

[Rob Morrow]

And then you had the recycling of. And that's what. And I think Maurice sums it up, so. Or Chris on the air. Someone sums it up.

[Janine Turner]

Maurice comes to you outside the house.

[Rob Morrow]

Oh, right.

[Janine Turner]

You come out and you're cold. And then there's the first snow.

[Rob Morrow]

The first snow, which is the first snow, which is. Again, you know, it's interesting that this was, as we've learned, this was originally going to be the last episode of the season. Right. But because of Aurora Borealis, which is in the way it was broadcast, the next show and the last of the season, Aurora Borealis had some potentially controversial subject matter and the network got scared, or the producers got scared of airing it, so they put it as the last episode.

[Janine Turner]

But so technically, that was technically the last scene of our eight.

[Rob Morrow]

Right. And. And it started to snow, which set up the whole. Notes that.

[Janine Turner]

A real snow or is that a fake snow? It looked really real.

[Rob Morrow]

I know. It did look good. It was. So it set up this whole idea of the Alaskan tundra, which becomes so much a part of the sea, the series, when it went forward. But it was beautiful. And I remember watching that. That. That episode. I remember Thinking, God, Joel's cabin was the coolest place.

[Janine Turner]

Yeah, it was on the lake.

[Rob Morrow]

Yeah. Dude owned it and. And he lived there and we didn't. After about maybe the second season, we never went back. We might have even been the first. We never went back. We built it on the stage and we never had his exterior.

[Janine Turner]

That's a shame, actually.

[Rob Morrow]

I know. It was such a great.

[Janine Turner]

Because it was so realistic.

[Rob Morrow]

What happened was it was so far away. Eventually they had to. They had to put all of the locations close together because they couldn't afford to. To have us.

[Janine Turner]

Except for when we went out to the Cascade Mountains.

[Rob Morrow]

No, but.

[Janine Turner]

But all that went out out there. The Cascade Mountains.

[Rob Morrow]

No, that was the problem is that it wasn' so, like, when we went on location, all of those areas that right around there was where we'd film so many different things. Like, you know, your house was there, your exterior. You know, so many things were there. And so we never went back. But I thought I would have bought that. I should have bought that place. It was such a great place with the dock going out and the lake.

[Janine Turner]

It was beautiful. I did buy a house there.

[Rob Morrow]

That's right.

[Janine Turner]

I bought a house. Cynthia bought a house. John Corbett bought a house. Of course, my parents are realtors. My mother's a realtor. But I finally purchased a house when we were picked up for.

[Rob Morrow]

I know. You're so happy. Yeah.

[Janine Turner]

50. Yeah. I had my first, you know, washer and dryer.

[Rob Morrow]

You know what I mean? Right.

[Janine Turner]

And like, a real bed. Because I remember we were living on rented furniture in these rental apartments for, like, the first and second eight. I really. I think so.

[Rob Morrow]

Absolutely.

[Janine Turner]

And so my mother came to visit, and my. The rental mattress leaned. Did I have to tell the story already?

[Rob Morrow]

No, I don't think so.

[Janine Turner]

Okay. It, like, had a high. It was high on one side and really low on the other. And I would sort of roll out of it, you know, I would just sort of fall. The glamour of showbiz. Right. I would just sort of fall out of the bed. My mother came. She goes, what is going on with that mattress? I'm like, I don't have time to deal with it. You know what I mean?

[Rob Morrow]

It's a funny point, you know, because after. When the show. The show got an unprecedented 50 episode order after we did.

[Janine Turner]

After the.

[Rob Morrow]

That was technically the third season. Yeah.

[Janine Turner]

That's big.

[Rob Morrow]

It's big. It was never done, I don't think. And our first season was eight episodes. Our second season was seven, which is unusual, too, because they're both short seasons compared to. I mean, nowadays it'd be normalized, but then it was unusual. And then instead of ordering just one season, they ordered two seasons. So all of a sudden we were all making money that we'd never made before. Because for eight episodes, yeah, you're making some good money, but you don't know how long it's gonna last. So. But then all of a sudden it's like, wow, like, I started spending money like crazy.

[Janine Turner]

Yeah, I know. You start. You could like, oh, I can go buy that jacket or I can go buy some. I started buying. You know, I. I had always wanted to emulate my favorite childhood home, which was like a shape, like a blue barn. It was kind of one of those roofs and it was blue, like, kind of like French looking. And I thought I. So I bought plates like that and pewter. And suddenly we could just. We had money.

[Rob Morrow]

Yeah.

[Janine Turner]

And you may not know this little fact. The house that I purchased was Robert Redford's, supposedly. Robert Redford's, like, sister's house or something.

[Rob Morrow]

How come I didn't know that?

[Janine Turner]

I know because you ended up working with Robert Redford.

[Rob Morrow]

I did. And what did. Whatever.

[Janine Turner]

I love that house, though. That house was pretty.

[Rob Morrow]

It was nice. Whatever happened to it? Did you sell.

[Janine Turner]

I sold it when I. Yeah.

[Rob Morrow]

Did you leave? Did you sell it right away or when the show was over, did you keep it?

[Janine Turner]

Yes, I sold it right away.

[Rob Morrow]

Just like that.

[Janine Turner]

You were out of there, going to Texas.

[Rob Morrow]

Right, Right.

[Janine Turner]

You know, I had my pickup truck. I had my horse I'd purchased.

[Rob Morrow]

That was your big order, that. That F150. What was it? That.

[Janine Turner]

My big pickup truck.

[Rob Morrow]

Yeah. What was it?

[Janine Turner]

No, no, it was a GMC and it was black.

[Rob Morrow]

And you were doing commercials for them.

[Janine Turner]

Yes, I ended up doing commercials. Chevrolet. Yeah. Which is kind of the same company. General Motors.

[Rob Morrow]

But did you get a deal on it? Did they give you a deal?

[Janine Turner]

Not on that one. That was in between. Like, that must have been after the first eight, second eight, or the second season.

[Rob Morrow]

Right.

[Janine Turner]

I purchased. I purchased a black pickup truck. And in those days, it was huge.

[Rob Morrow]

It was huge.

[Janine Turner]

And you could. You know, it's interesting. I never thought I wanted to go back to Texas.

[Rob Morrow]

Right.

[Janine Turner]

Didn't even know I missed it.

[Rob Morrow]

Right.

[Janine Turner]

Until the show was picked up for 50. And you had that kind of. Aha. And I thought I wanted to go back.

[Rob Morrow]

So you grew up in Texas from age.

[Janine Turner]

Well, my dad was in the air Force, so even though he's from Athens, Texas, my mom's from San Antonio. I was born in Nebraska, but I was in Texas by the age of.

[Rob Morrow]

Three and stayed there until 15 when.

[Janine Turner]

I moved to New York City, New York.

[Rob Morrow]

And then you go back until the end of Northern Exposure. So.

[Janine Turner]

Right. So I was gone, really. I was. I was home for one year in between, but basically I was gone from 15 and I didn't think I wanted to move back. I mean, it's like New York City, everything. My clock always, you know, watch always stayed on New York City time. But when it was picked up for 50, I just. All of a sudden I wanted that pickup truck and that horse and I bought a palomino horse and found a cowboy that I could two step with. I was reclaiming my childhood, I think, because I didn't get to have it.

[Rob Morrow]

Which is an interesting.

[Janine Turner]

I left. Texas is so young.

[Rob Morrow]

It's an interesting thing you're bringing up, you know, this idea that money allows you to reclaim your past. Hey, man. Right. Just like we're talking about in the show. Right? That's so funny. Like that, that. And I'm trying to think, like, what. Cause I know it was similar for me. Like, you know, one of the things that. One of the great joys of my life is skiing, right? But my starving acting years, I didn't ski. I couldn't. I never even could leave the city, let alone go skiing. And one of the things I started doing was going on very expensive sea trips. Canada, Go up to Whistler a lot. Or there was Stevens Pass, which was near us, and Crystal Mountain, that was near us. I would go locally. But it is. It's like money allows you to go back and reclaim things. You know, it's fascinating.

[Janine Turner]

And not only money, but a pinnacle of achievement, right? I'd waited, I'd worked for so many years. I started modeling at 3, but I was in New York at 15. So we. I booked northern exposure when I was 27. So that was 12 long, hard years of auditioning.

[Rob Morrow]

Right.

[Janine Turner]

But I wanted a role that meant something, which that wasn't just tna. And I held out for it. So there. And then it was so successful. And then suddenly we're getting nominated and so there was like a pinnacle of achievement.

[Rob Morrow]

Absolutely. They go hand in hand, I think. But you're right, I do think that you can breathe a little, like, okay.

[Janine Turner]

You know, because you're on adrenaline or kind of just to stay in New York or la, to try to make it.

[Rob Morrow]

You know, it's a really, you know, the early years, I mean, I, you know, My early years were classic actor, starving. You know, a big night for me was to get a loaf of bread and a stick of real butter, you know, and that was dinner, you know, that was like. I was like so happy if I could do that and that, that sacrifice that you have to do without knowing whether it's gonna ever, ever if you're.

[Janine Turner]

Ever gonna make it or not.

[Rob Morrow]

Yeah.

[Janine Turner]

And I did not want to go back to Texas and not make it.

[Rob Morrow]

Right.

[Janine Turner]

It's like that was not an option.

[Rob Morrow]

Right.

[Janine Turner]

And my mother, when I was so depressed before Northern Exposure, she came to visit. She goes, just come home. Just come home. No way, no way, no way. You know, I'm not right.

[Rob Morrow]

So then you could go back after you succeeded. That's fascinating.

[Janine Turner]

That's really true. This is kind of what we're. Full circle, what you were talking about and reclaiming. Reclaiming the past. But I had my pickup truck. You could, you could order your own leather that back. These don't really. They don't let you do that in these days.

[Rob Morrow]

No.

[Janine Turner]

So I ordered this. Well, I guess if you're getting in something extraordinarily expensive, but most. There's more.

[Rob Morrow]

Right.

[Janine Turner]

You know, off the lot.

[Rob Morrow]

Right.

[Janine Turner]

But it was rose colored leather.

[Rob Morrow]

Right.

[Janine Turner]

It was a beautiful pickup track.

[Rob Morrow]

Yeah, I remember. It was great.

[Janine Turner]

Yeah, it was really fun. Yeah.

[Rob Morrow]

Reclaiming my, like a whole, like a armoire.

[Janine Turner]

It was fun. It's beautiful. Paneled.

[Rob Morrow]

Yeah.

[Janine Turner]

So. And I enjoyed my house. It had white carpet and it was. It was really. I put white carpet in. It was really pretty.

[Rob Morrow]

But then you. So wait, you. So you were doing. Then you started doing commercials for Chevron.

[Janine Turner]

Was it a Chevrolet? Chevrolet.

[Rob Morrow]

And. And then they gave you a car?

[Janine Turner]

A Corvette.

[Rob Morrow]

Oh, that's.

[Janine Turner]

They gave me a Suburban, but also a Corvette.

[Rob Morrow]

But you didn't drive it a lot.

[Janine Turner]

I drove it all the time.

[Rob Morrow]

Did you?

[Janine Turner]

And I remember. And I sold it.

[Rob Morrow]

Oh, why'd you never.

[Janine Turner]

Because I was pregnant and I thought, I need a mommy car now. And you know, if I don't drive this car.

[Rob Morrow]

Oh, you didn't have two car. You didn't have the.

[Janine Turner]

I had the pickup truck and the Corvette and I saw both of them for a mommy car.

[Rob Morrow]

Right.

[Janine Turner]

Shouldn't have done it. Shouldn't have done it.

[Rob Morrow]

Right.

[Janine Turner]

But that little red Corvette with the top that. Yeah.

[Rob Morrow]

It's funny, I just remember you pulling up in that truck all the time.

[Janine Turner]

Yeah, no, I did. I drove and I had got a. It was a green Suburban every year that I did Chevrolet. There was a Car.

[Rob Morrow]

Right.

[Janine Turner]

But you and I had our commercials that we starred in before we made it. I had a Buff Puff commercial.

[Rob Morrow]

I did. I did wonders. I did so many.

[Janine Turner]

I did too. Those were my bread and butter.

[Rob Morrow]

I did everything.

[Janine Turner]

Tigrin Champagne. That was how I lived Scope, Coca Cola, In N out, Burger, Chevron, 7up.

[Rob Morrow]

Chevrolet, Pizza Hut, Dentin, Sports Illustrated, and. But that didn't. I had five years of really struggling Scope.

[Janine Turner]

I did one for Scope.

[Rob Morrow]

And then. And then I started to do one or two national commercials a year. And back then, you could live off of a national commercial. I mean, I could make 30, 50k for one day's work, you know, in residuals. And back then, that was a lot of money.

[Janine Turner]

Yeah, for sure. And then we were also part of actors, like, of theater groups in New York.

[Rob Morrow]

Yeah, for sure.

[Janine Turner]

You know.

[Rob Morrow]

Yeah.

[Janine Turner]

I started in New York and then I moved. I sort of discovered On Dallas.

[Rob Morrow]

Right.

[Janine Turner]

You know, and the director, the producer said, you need to go to Hollywood. And so I did. I was 17. I graduated from high school a year early. Not necessary. That's what I did. And Franco Zeffirelli discovered me for Endless Love. Long story there, but I was his choice. And the studio wanted Brooke Shields. That was his discovery. So all these signs said, okay, I'll go out to Hollywood. But I was out there at the age of 17. But what I realized, I would watch all these pilots get cast the type of roles that I wanted. And they were hiring actors out of New York.

[Rob Morrow]

Right. Oh, interesting.

[Janine Turner]

And I met with these managers and they said, you know what? You have a lot of talent. Da da. We suggest you go to New York. And so I had already kind of put two and two together, that the New York actors are more respected. I wanted to go cut my hair and find a method acting coach and, you know, roll around on the floor and learn, you know, and. And do serious work because I was tired of the other. I was bored of it.

[Rob Morrow]

Right.

[Janine Turner]

And I think that that's why you like to direct. And I sort of went off and did. Formed a foundation and did other things. I mean, acting. I still love acting. And right now I'm working on my musical. That's a whole nother kind of fun challenge for me, because singing in public scares the daylights out of me. But after a while, I think that, you know, it's not always as actors. We want to challenge ourselves on other levels. And I think that's one of the reasons you like to direct.

[Rob Morrow]

I mean, for me, I have to be creative daily. That's like, it's like my nature, you know? And so as actors, we're beholden to getting a job, to being offered a job, to having to audition for a job, to having to negotiate a job. Finding a job you want to do like, that you even feel like is worth doing if you're in the position where you don't have to work. And so you're waiting and you're waiting and you're waiting no matter how successful you are. And so for me, I learned early on, I could either become an alcoholic and hang out at the bar or I could start doing something. And so, you know, photography, music, photography led to directing, directing led to writing, you know, and it's finding autonomous ways to be creative that kind of fuels me.

[Janine Turner]

It's very good psychologically. They're learning, too. There's a great book called the Body Keeps the Score. Have you ever heard of it?

[Rob Morrow]

No, but I think I get the concept.

[Janine Turner]

Yeah, the body keeps the score. The body holds on to trauma or whatever. But they say the great way to get rid of that is through the creative process. Acting, singing, stage work. Because the creative process, I always have to be writing something, writing a script, directing myself, creating something new. Like, look, the book you wrote my forward for my book, which I brought you your copy.

[Rob Morrow]

Thank you.

[Janine Turner]

And poetry. Poetry, poetry, poetry. But it's like whatever I have to do just to. But it really helps with.

[Rob Morrow]

It's cathartic.

[Janine Turner]

Managing emotions, too, because we're emotional people.

[Rob Morrow]

We're emotional people, and you get to use those emotions.

[Janine Turner]

It's a channel for it. It's cathartic.

[Rob Morrow]

Most people in life aren't given the opportunity you have to kind of keep buttoned up at work. You know, you can't express the things you want. But, you know, I've played mad killers, you know, psychopath arsonists, you know, John Wilkes Booth. I mean, I've played all these characters that let me express the darkest parts of my soul, you know, and although it can be grueling doing it, there is something cathartic about it because you get it out of you.

[Janine Turner]

And so when we're so creative, we become stifled for not doing something. And so I think that was one of the joys to bring back full circle to the show is just the constancy of the work that we had on Northern Exposure. That kind of troupe mentality of an acting troupe traveling together, so to speak. The constancy of the work, the continuous wonderful scripts that were like short stories and the collaborative experience and how close we all Were. But just to have that, wasn't it great just to be a working actor? Yeah, in a steady way, absolutely.

[Rob Morrow]

I mean, it was a first for me. And I think when I look back, you know, I've been lucky. I've done a bunch of series, and I've had lots of situations where I had consistent work, but this was the first of it. And what I. When I look back and the thing that I miss is that sense of being a part of a creative adventure with different people who have different ideas, different approaches, and figuring out. I mean, we all had to figure out how to dovetail and how to work together. Most of us had a different way of doing it, but we all found our way together. But the joy for me was being immersed in that imaginary world, the gift of escape. I think, you know, Johnny Depp said that his favorite thing about acting. What is. It's the greatest escape, you know, and because we have this other world, this imaginary world where Jesse the bear is a character and Maurice is trying to create a son late in life, and you and I are teaching a Lamaze class, you know, those. It's almost like, again, we'll get. We'll get a little metaphysical here, but, like, it's almost like that that imaginary world exists unto itself, if you would call it a parallel universe. Parallel universe, right. And it exists. And so we get to jump into that. Into that other universe and leave ourselves behind. Because when you're acting, you're not thinking about things. The rent you have to pay or the fight you have with your girlfriend or your husband or whatever. You know, you're. You're. You're lost, you're escaping. And so when I think back on Northern Exposure and add to that these incredible landscapes that we were playing in that made it so real.

[Janine Turner]

And the scripts were just so good.

[Rob Morrow]

And the scripts were so real. And I do remember us coming up to each other and say, did you read this one? You see what we get to do? We get to be Russian. There were so many.

[Janine Turner]

We're speaking Russian, or I was Eskimo. And an igloo.

[Rob Morrow]

Yeah.

[Janine Turner]

Dressed in a long wig, saying, sikumi glue, which means, do you want some ice? I remember that.

[Rob Morrow]

Do you want some ice? Yeah. It's a real gift, and I don't take it for granted.

[Janine Turner]

Do you find that in wrapping here? But do you find that. But everything we did afterwards, I mean, I know we still had highlights of things that we loved doing, you know, but it seemed to me you've had great adventures in movies. I have too. I've had other series, but it's really hard to top this show. Yeah, I mean, this is really. And as we've heard other actors say, we're all still somehow have a bond.

[Rob Morrow]

It was a rare. It was a rare coming together. And I think all of our experience informed the actual product the show. And so, yeah, I mean, you know, I have. I've been blessed with a lot of great experiences, but there's something about Northern and possibly. Well, I'd say two things. One is because it was the first, you know, it changed our lives. We became famous and, you know, making money and.

[Janine Turner]

But nominated, which was a side note. I didn't even think about that.

[Rob Morrow]

And all the accolades. It was being a part of something that brought such joy to people.

[Janine Turner]

I was just gonna say that. I think that every day I say, God, guide me to accomplish your purpose and succeed in the things for which you sent me. Right.

[Rob Morrow]

Yeah.

[Janine Turner]

And I kind of fail and struggle and fall off that goal every hour. You know what I mean? But it's like this. This my. I feel like the purpose. And I think actors are humanitarians in this way.

[Rob Morrow]

Yeah, sure.

[Janine Turner]

It's like, let me try to do something good with my life and purposeful that helps other human beings. And Northern Exposure does that. And with all the ups and downs in our lives that we've had and the fact that we can come back 30 some odd years together and sit next to each other like we've never been apart and we've lived these completely other lives and other careers. But there's. There's something about this show that I felt makes people happy. I mean, I. I had someone come up to me the other day that says the show made me so happy.

[Rob Morrow]

I know they are.

[Janine Turner]

Thank you for bringing this gift of the show to me. And I feel that way now. I watched the show for this momentary 40. I'm like, happy watching this show. Yeah, it's meaningful. It was special.

[Rob Morrow]

It was meaningful. Yeah. It's a, you know, privilege to have been a part of it. And I feel like we should talk a little more about this episode.

[Janine Turner]

Yes, it was poignant. I do believe this episode was just very poignant.

[Rob Morrow]

Yeah.

[Janine Turner]

People. Everybody was okay. Everybody was cherishing life in their way.

[Rob Morrow]

Right.

[Janine Turner]

They were cherishing. Did he want to go kill the bear or shoot the bear with his camera? I'm a little confused about that. Well, I think because it comes up again.

[Rob Morrow]

He felt like that was. That he was supposed to. That his destiny was to kill the bear. Yeah.

[Janine Turner]

There's another episode where this Jesse the bear comes up again.

[Rob Morrow]

Does he? And what happens?

[Janine Turner]

I think so.

[Rob Morrow]

Right.

[Janine Turner]

I don't. I don't want to give it away, but I think he decides not to kill him.

[Rob Morrow]

No, he doesn't. That's the whole. That's his journey, is that his past comes back to haunt him and he overcomes it. He takes the higher road and he finds the humanitarian.

[Janine Turner]

But I think he's alone when he does it that time. I don't know. We'll find out, as we say. But he's cherishing life in some. Some way. There's some. Well, if he wasn't going to kill it, he was cherishing life. Maurice was cherishing life, and we were cherishing life.

[Rob Morrow]

Yeah.

[Janine Turner]

And I think the show always took those three. A lot of times, don't you think? The three storylines always enmeshed in story.

[Rob Morrow]

That's what's good writing, right? That there's some kind of.

[Janine Turner]

Even. Even if their past didn't cross.

[Rob Morrow]

But the theme.

[Janine Turner]

There was a theme. Yeah, for sure. Thematic.

[Rob Morrow]

Yeah, for sure. Yeah. There's. There's, you know, I remember the. The endings of the shows, which is probably a great, you know, they used to say, or not, they say that the first 10 pages of a screenplay get it sold and the last 10 pages make it a hit. And with Northern Exposure, I always noticed when I was watching the show, if I didn't particularly, you know, now it's all beautiful and great, but back then, you know, I was much more judgmental and critical and saw things that could have been and should have been and why didn't they, and, you know, challenge and, you know, things that I didn't agree with and the, you know. But whenever I watch those shows, even when I went in, started the episode and thought, I'm not going to like this because they didn't take my idea or they didn't, you know, or they had this idea that I didn't like or whatever. At the end, it always came together. And almost every episode I would get a call from my sister and she was so bullion at the end of the show. And I. I know that feeling because when I. I felt it too. It's like they. They somehow pulled it together where when they faded out in that last image, whatever it was, you just felt like you'd been somewhere.

[Janine Turner]

There was resolve of some sort. There was forgiveness.

[Rob Morrow]

There was forgiveness. There was forgiveness. There was a lot of forgiveness and grace and mercy. Yeah.

[Janine Turner]

All those things that we cherish.

[Rob Morrow]

Yeah.

[Janine Turner]

And our society I think the reason that this show is so popular now is because our society has just become so difficult.

[Rob Morrow]

It's so. It's so judgmental and.

[Janine Turner]

Fraught. Fraught is a good word.

[Rob Morrow]

Yeah, fraught.

[Janine Turner]

And I like seeing people resolve their differences and their. Their crises or whatever they may be in a way that at the end it comes together and it. I just think that's what life's all about.

[Rob Morrow]

So tell your friends, Tell your friends to watch the show now because it is a salve, you know, in the way that I think Ted Lasso is a salve, you know, it's a. There's hope there. And we need hope, man. We need hope.

[Janine Turner]

We do.

[Rob Morrow]

You know, and we need to know that we can have disagreements and we can have conflict and come through it better for it. You know, I think that's. That's that the show did that. It was amazing how it was able to pull that off without becoming pedantic.

[Janine Turner]

You know, and all the characters had great conflict within them. They were complicated characters.

[Rob Morrow]

They were complicated characters, which definitely made it.

[Janine Turner]

And the direction was complicated. And we've talked to this before, but I love the way that nothing was ever static. Everything was always moving.

[Rob Morrow]

Right.

[Janine Turner]

But yeah, it's certainly what makes you escape. It's an escapism.

[Rob Morrow]

It's an escape.

[Janine Turner]

And, you know, I used to go to the movies to escape. Right. It was fun going to the big movie theaters, getting your popcorn and it. Just escaping for a couple hours.

[Rob Morrow]

That's what Woody Allen said, that his movies are a diversion.

[Janine Turner]

Yeah, Woody Allen, yeah. Yeah, he's great. We have a lot of Woody Allen esque moments. And you sometimes have a Woody Allen sound.

[Rob Morrow]

Yeah, I can sound like, you know, I just, you know, me. I wouldn't, not necessarily say that I sound like him, but if, you know, if something would have happened and I would, you know, unfortunately not know exactly what I should say, I would be able to.

[Janine Turner]

That's great. You could hear it every now and then. I could hear a little Woody Allen and come out and you.

[Rob Morrow]

That's funny as a character. A little Woody in me.

[Janine Turner]

A little Woody in you. Yes, a little Woody Allen.

[Rob Morrow]

All right.

[Janine Turner]

Who said 80% of success is showing up?

[Rob Morrow]

Yeah, man.

[Janine Turner]

So we gotta show up. And I'm glad to have shown up at this wonderful studio in Brooklyn, Brooklyn Podcast Studios.

[Rob Morrow]

It was fun to do this with you in person.

[Janine Turner]

Yeah. So exciting. We've had a fun weekend.

[Rob Morrow]

It does make it kind of easier in a way. Right. Because you're not just isolated when we do the show. Janine and I tend to be. She tends to be in Texas and I tend to be in la. But now being able to look at her not just on a screen, there's something I wish we could do more. So we'll do them when we can.

[Janine Turner]

Yes. We're gonna do them in different places.

[Rob Morrow]

Right. I hope you guys liked it, and I hope you will continue to tune in with us. And I think we're gonna start. I'm not sure how we do it. Maybe if they send us Instagram questions, like if we put up. Post a picture or something. Jeanine and I.

[Janine Turner]

If you post a question on that next particular episode. Yeah, so the next one will be. Well, we've already. This one's a little out of order, so I think the next. Post a question that you want to ask generally about the show. Or it could be season two, episode one.

[Rob Morrow]

Exactly. Yeah. If you're following along with us regularly, which you should be doing.

[Janine Turner]

If you have a question, then you.

[Rob Morrow]

Can know the next episode that's coming, because we're doing them in order. And you. You could post a question about it, or even in retrospect, if you post a question saying, hey, you guys in two episodes talked about that. I think we can take that on. So I think we'll cull through them. We won't do all of them.

[Janine Turner]

And we thought it might be fun eventually to have some people from social media on the show.

[Rob Morrow]

We might have fans as guests if we can figure out how to do that. But for now, post a question. And as I said, we won't necessarily.

[Janine Turner]

Get to all of them, but we'll spread the word.

[Rob Morrow]

We'll try to get to some and subscribe now. Yeah.

[Janine Turner]

Well, all right. So I guess it's time to wrap the show. Yes, this has been a lot of fun. And so we're signing off tonight from o' Connell and Fleischman.

[Rob Morrow]

Yeah, actually, it should probably be Fleischman o' Connell.

[Janine Turner]

In your dreams, Fleischmann.

[Rob Morrow]

Northern Disclosure is a production with Evergreen Podcasts and executive produced by Paul Anderson and Scott McCarthy for Workhouse Media.