S2E1: “Goodbye to All That” with Elaine Miles

Summary

Northern Disclosure - S2E1: "Goodbye to All That" with Elaine Miles

Release Date: July 15, 2025

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Introduction

In the season two premiere of Northern Disclosure, co-hosts Rob Morrow and Janine Turner delve into the heartfelt episode titled "Goodbye to All That", featuring a special conversation with Elaine Miles, a pivotal character from the original 1990s series. This episode revisits cherished moments, behind-the-scenes anecdotes, and the lasting impact of the series on both the cast and its audience.

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Hosts' Reflections

Rob and Janine open the episode by expressing their gratitude towards the listeners and viewers who continue to support the podcast and the legacy of Northern Exposure. They emphasize the show's deep personal significance and its ability to resonate meaningfully with fans.

Rob Morrow shares:

"We're grateful that y'all have been coming out and listening and watching... knowing that it has meaning for other people is just a great thing." ([01:07])

Janine Turner adds:

"It's just such a feel-good, sweet show and I think everybody misses that..." ([02:06])

They discuss the unique chemistry and the benevolent universe depicted in the series, highlighting its capacity to foster deep, humane hope amidst a media landscape often tinged with cynicism.

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"Goodbye to All That" Episode Breakdown

The hosts delve into specific scenes from the episode, analyzing character dynamics and significant plot points.

Closure and Emotional Depth

Rob reflects on a pivotal moment where his character, Joel Fleischman, receives a "Dear Joel" letter from Elaine, signaling their breakup. This leads to a creatively staged play orchestrated by the town to provide Joel with closure.

"The scene when Holly walks out with your little coffees... it was incredibly moving because it was just people being nice to one another and caring about one another." ([05:53])

Janine praises the scene's emotional resonance and the authenticity brought by the actors, especially noting the use of real snow to heighten the scene's realism.

Fantasy Sequences and Symbolism

Rob highlights the episode's use of Woody Allen-esque flashbacks, including a World War I trench scene that visually represents Joel's internal struggle upon reading the breakup letter.

"It's done as a silent movie with subtitles... it's one of the, I think, two fantasy sequences in the episode." ([09:41])

Janine discusses the symbolic representation of life as a battle, encapsulating the show's exploration of the human condition.

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Special Guest: Elaine Miles

Elaine Miles joins Rob and Janine to share her experiences portraying Marilyn, shedding light on her journey from her initial audition to becoming a beloved character.

Audition and Casting Process

Elaine recounts the accidental nature of her casting, detailing how she accompanied her mother to an audition and ended up landing the role without prior acting experience.

"I have no clue... I was just happy to be a part of it." ([20:27])

She emphasizes the importance of natural talent, highlighting how co-creators Josh and John recognized her innate ability and chose not to send her to acting school.

Representation and Cultural Accuracy

Elaine discusses her efforts to ensure authentic representation of Native American cultures in the show. She addresses initial inaccuracies in depicting powwow scenes and how she advocated for more accurate portrayals, reflecting the diversity among tribes.

"Each tribe has their own style of dress, their own type of songs and stuff..." ([41:10])

Her advocacy led to adjustments in the show's depiction of Native traditions, earning positive feedback from the Native community.

Memorable Moments and Legacy

Elaine shares favorite moments from her time on the show, including scenes involving bagels and interactions with co-stars that showcase the series' quirky humor and heartfelt storytelling.

"Every time I drop bagels, I think of that..." ([26:35])

She also touches upon the enduring legacy of Northern Exposure, mentioning fan interactions and the impact the show has had over the decades.

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Behind-the-Scenes Insights

Rob and Janine provide additional anecdotes about working with Elaine and other cast members, highlighting the collaborative and supportive environment on set. They reflect on how Elaine's authenticity enriched the show and deepened their own appreciation for the craft of acting.

Rob Morrow shares:

"I really learned a lot from you... it was a real lesson for me." ([34:05])

Janine Turner adds personal stories about working alongside Elaine, further illustrating the strong bonds formed during the show's production.

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Conclusion and Future Episodes

As the episode wraps up, Rob and Janine invite listeners to engage with them through social media for future Q&A sessions and express their heartfelt appreciation for the continued support from the Northern Exposure community.

Elaine expresses her joy in reconnecting with the hosts after decades, emphasizing the lasting friendships forged through the show.

"I love you guys and I miss you. So good to see you." ([62:22])

The hosts tease upcoming episodes, hinting at more nostalgic deep-dives and special guest appearances, ensuring that the magic of Northern Exposure continues to enchant both old fans and new listeners alike.

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Notable Quotes:

• Rob Morrow on seeking genuine hope in media:

  "I crave, and not just sacronized hope, but deep, humane hope." ([02:41])

• Janine Turner on the show's spiritual elements:

  "I really love the spiritual element of the show and the way it just takes chances with alternate universes and other dimensions..." ([12:27])

• Elaine Miles on learned experiences:

  "I learned so much in that... I was always nervous... Just relax." ([35:14])

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Key Takeaways

• "Goodbye to All That" serves as a significant turning point in the series, exploring themes of closure, personal growth, and the enduring impact of relationships.

• Elaine Miles's portrayal of Marilyn added depth and authenticity to the show, highlighting the importance of accurate cultural representation.

• The episode underscores the enduring legacy of Northern Exposure, celebrating its unique blend of humor, spirituality, and heartfelt storytelling.

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Whether you're a longtime fan or new to the world of Cicely, Alaska, this episode of Northern Disclosure offers a rich tapestry of memories, insights, and heartfelt conversations that breathe new life into a timeless classic.

Transcript

[Janine Turner]

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[Rob Morrow]

Welcome to Northern Disclosure. This will be our ninth podcast with me, Rob Morrow and the beautiful Jeanine Turner. And we're going to take you yet again on a journey into to an episode. And this time the episode is entitled Goodbye to All that. And I just want to say first off that we're so grateful that y' all have been coming out and listening and watching. You can, you can either listen to the podcast wherever you get your podcast or you can watch it on the, on the, on the Northern Disclosure YouTube channel. So it's your choice. But we're so grateful and we've gotten such, both of us have gotten such a great feedback that, you know, it warms our hearts because the show is very special to us, not just as a job, but as something that has meaning, you know, and, and knowing that it has meaning for other people is, it's just a great thing. Don't you think?

[Janine Turner]

Jeanine Yes, I thank everybody for their warm comments and the excitement. I was just watching this particular episode and it's, it's just such a feel good, sweet show and I think everybody misses that in, in sort of the benevolent universe you're always talking about. And so I appreciate, not only do I appreciate everybody's comments, but I appreciate the shares. I've had like record breaking thousands of shares of my post talking about the show. So that's, that's helping spread the word because the more we spread the word, the better the show and the more we get to continue doing Yeah, I.

[Rob Morrow]

Guess people should like it where they can, wherever there's a thumbs up or something like that, and share it. And, you know, it's funny what you. It's interesting what you're saying because that, you know, there's something I've noticed. I don't know about you. I think I watch more television than you, but there's a lot of cynicism in what I'm watching. And it's not bad. I like it, you know, but I crave, and not just sacronized hope, but deep, humane hope. And, And I think the show, when it's, when it's working on all cylinders, it does. And goodbye to all that. As you said, it's a really great episode. You know, there's so many interesting moments and, and turns and. And I know. I'm sure you've got a bunch of favorite lines, but I just want to say that at. At the end, first of all, you look so stunning. You know, you just look so great.

[Janine Turner]

You're straps.

[Rob Morrow]

Oh, where's the pearls? But it's funny, you know, that there's something. There's. There's a look between you and I at the end of the episode, you. You come to my aid and you offer me closure because. Because I received a quote, dear Joel, letter from Elaine, my fiance in New York, and she. She's. She's breaking up with me. And in order to give me closure, the town led by. By you put together this kind of like a play where I go into it as myself and, and you give me closure and you play Elaine. And I just want to say there's a look between us before the scene cuts that is so interesting because it sets up the future. Joel, Maggie, like, it feels like a real turning point to me where you, you know, they both know there. There's something coming. Like they're, they're headed towards something. Like, it's, like it's, It's. It's a shift. Don't you think?

[Janine Turner]

Oh, are you talking about when I was standing, that very last look that I give you? Yeah, yeah, yeah, yeah. It was a beautifully written scene. It was. It was incredibly touching, too. I thought, you know, that that column walks out. John Column, who played Holling, he walks out with your little. You know, that Darren listened, first of all, Darren, who came into your house unannounced, of course, as always, Ed comes into your house unannounced, but he listens to you. And you're lying there in that kind of depth of depression which I think everybody, if You've lived long enough. We can all relate to it. And. And Ed hears, you know, about the. The coffee and the straws and the closure, and he doesn't know what that means. And I've never forgot. I've learned so much from the show, too, about closure, even. And. But that scene when. When. When Holly walks out with your little coffees and he sl. Slips, you know.

[Rob Morrow]

Right. I think he probably. That was real. Probably. Right.

[Janine Turner]

May have been. It was cold. They were very worried behind the scenes. Like, Janine, you're gonna have to wear. I did wear my spaghetti straps for everybody. You're gonna have to wear a spaghetti strap dress. And it's.

[Elaine Miles]

It's.

[Janine Turner]

That was real snow. That was not pretend snow. That was real snow. But had. The way he walks out and puts those little coffees next to you and then I come out, it was just. It was incredibly moving because it was. It was just people being nice to one another and caring about one another and wanting to help one another. And even at the end, I think when. When. Oh, and that whole scene between Shelly and. Between Shelley and. And John. And I keep trying to say John Corbett, you know, Shelly and Chris, where he becomes the. The confession, the priest. And they put that little curtain. They put that little curtain between them.

[Rob Morrow]

So cool.

[Elaine Miles]

And. And he.

[Janine Turner]

He listens. And she goes, no, no, you're not supposed to say that. And he's like, oh, okay. And you're supposed fairies or something. And he says, well, all I really know is a Buddhist.

[Rob Morrow]

You know, chant, show, shoot, Buddhist chant.

[Elaine Miles]

And she goes, okay.

[Janine Turner]

You know, but it was just. Everybody tried. And then when she walks back in and sees Holly and says, holly. And I'm so sorry. It was just so sweet.

[Rob Morrow]

Yeah. And that scene with Darren, you're right. The scene with Darren is so lovely. He comes in and. And it's just. There's something so tender about so many of the moments.

[Janine Turner]

And.

[Rob Morrow]

And we should say that this was written by Robin Green, who was one of our regular writers and with Mitchell Burgess.

[Janine Turner]

They were a team.

[Rob Morrow]

I don't know if I think this as the credit. Right. It was just her, but she's a fascinating woman and she has a great. I don't know if you read Janine. She put out a memoir, and it's great because she was the first woman hired at Rolling Stone magazine in the 70s, and she has great stories, so we'll get her as a guest. But she. She wrote it, and Stu Margolin was the director, and if you remember, Stuart Margolin, when we were kids, was a big TV star. He was on the Rockford Files, he played angel and he was very funny. And he was also on a show called Love American Style as one of the kind of ensemble sweeter than the. What is it? Sweeter than red, white and blue Love.

[Janine Turner]

I always want to watch that.

[Rob Morrow]

Yeah, yeah, but, but Stuart was. And I just want to point out that, you know, he's an actor and a director and I don't know about you, but I find for the most part, you know, we had Adam Arkin on last week and, and Adam is a director. Actor. I find that actor. Directors are, are easier to work with because they get it. You know, there's no, they're not trying to shove you into something that, you know, that you're not comfortable with. They understand what, what it's like.

[Janine Turner]

It's just the elements of layers of what happens with an actor. And I just watched this documentary on Gloria Swanson, you know, and she was from Sweden and she had this great mentor and everything had to have sort of the concept and the depth and whatnot. And when you, when you work with an, with actors, they know that. I mean, as I mentioned before, there are a lot of directors we work with that know what, the mechanics of right camera, but they don't know how, how the actor works and feels motivated and how to pull out the best performances or even how to talk to an actor. So yeah, I thought, I thought he did a wonderful job. I thought the show was just super sweet. I, I thought when Cynthia comes down the aisle with that broom and recites Shelley, you know, all those, all those shows with the accents, you know, differently in different languages or maybe they were all Spanish. I don't know. It was hard for me to catch.

[Rob Morrow]

There's a lot of Italian. There was Italian stuff.

[Janine Turner]

I can't roll my R to save my life. I'm like, oh my gosh, you did such a good job with that. But it was a lot of fun. And also, I might add the Woody Allen esque moments. You know, that flashback with you in.

[Rob Morrow]

The trenches getting shot so and so beautifully shot. And that moment that, that, the segue to that scene. So it's just when I'm reading the Dear Joel letter from Elaine and I'm starting to sink and Stuart had this great idea. I've never done it since. I've never been asked to do it. At the end of the letter, he, he has me squat down on below the camera. It was such a cool thing because it, it conveys that I'm sinking, literally. And then it cuts to this fantasy sequence where I'm In World War I, you know, reading the. A Dear John letter in this case. And, and, and in this battle sequence, you know, with this existential crisis, which is so fascinating and it's in black and white and it's one of the, I think two fantasy sequences in the episode. The other one is where yet again, I'm doing a version of Dustin. A Dustin Hoffman scene in the Graduate. No, no. The Graduate.

[Janine Turner]

Right, yes, right, yes, yes, yes.

[Rob Morrow]

And so, so the, the. And it's done as a. As a. As a silent movie with sub. With titles, title cards. Yeah, it's so. And it's so beautiful looking.

[Janine Turner]

And the way they had. They had Elaine actually covered in all these veils and he was an older man who had actually retired. I mean, that was funny in itself, but you. If you back up a little bit, you had that wonderful. I just want to go back to, to what you're talking about with, you know, World War I, you know, being in the trenches. Anyone who deals with ups and downs and lows of, you know, of depths of depression or dark times or whatever, we all, we as humans, you can't be human and not have those moments that was so symbolic, you know, so being shot, you know, that it was just really symbolic. And then it's like life.

[Rob Morrow]

Life as a battle, life as, as war.

[Janine Turner]

Yeah, yeah. I often say we live in purgatory. That's what I often say. But there's just enough joy, just enough love to keep you going. But man. So it's like the hope of the great next phase. But, but you, but that, that scene with the young you in the movie theater was so Woody Allen, you know, and, and the young Joel Fleischman. Like we gott. We going to be when we're 40 if we don't get it together.

[Rob Morrow]

And can I tell you that I told you, Ari Melber, who's a host on msnbc, the Beat show, told me that he auditioned to play that part. The young me.

[Elaine Miles]

Oh, funny.

[Janine Turner]

The young actor that they hired was, Was really terrific and. But one of my favorite moments about that was at the end though, when it goes. And then they go to a master, a big wide shot, and there you are in your coat against a clear white screen.

[Rob Morrow]

Right.

[Janine Turner]

I really, I really love the spiritual element of the show and the way it just takes chances with alternate universes and other dimensions, plays with this type of spirit. It really is a spirituality. Of course we're going to See that in the next episode, next week as well.

[Rob Morrow]

And I getting to our favorite line. Wait, so I, I have one here, I have one here because speak on that scene where the kid says to me, so we're watching, I'm watching them. I end up depressed in the movie theater though. Sicily has one movie theater and I guess the feature film is played out and everyone's gone and I'm sitting there by myself and they starting to close up the movie theater and all of a sudden I start watching a movie of my life. People talking to me from the screen. And at one point a younger version of me comes to tell me that if I don't get my act together, I'm going to be in trouble. And his line was so great. He says he's like a 12 year old version of me talking to me in the audience from the movie. And he's like, look, if you don't get, you don't get it together, you're gonna have a full tilt, no holes barred, complete mental disintegration, nervous breakdown by the time we're 40.

[Janine Turner]

And he had to memorize that line. Is that line. That's a great line. That's like you're the most vile, odious, pernicious waste of corporal souls I've ever had the misfortune lay my eyes on.

[Rob Morrow]

You're right, it's like the same, same cadence.

[Janine Turner]

No, but, but that's a great line. Read that again. Read that again. That's a great lesson. Read it again.

[Rob Morrow]

It's, it's. The kid says if you don't get your act together or something like that, we're gonna, we're gonna have a no hold. You're gonna have a. No holes barred, complete mental disintegration, nervous breakdown by the time we're 40.

[Janine Turner]

Yeah, yep, been there, been there a few times in my life. And now that I'm 62, I've had a full. No holes barred, mental disintegration.

[Rob Morrow]

I've been there with you. I've been there as well.

[Janine Turner]

Disintegration. Okay. Some of my lines that I thought were funny were. And we have to get our special guest in because we have such a special guest. I love the joke when I, when Maggie's there with a urine infection and everybody says, I guess Rick made it back okay because everyone's assuming it's sex that gave me the, the bladder infection. And even, you know, Marilyn says it, I see Rick's back. I mean, and then she, you get the letter that she breaks up with you and you walk out holding my urine cup. You know, I'm like, where are you going? I'm like, where are you going? You're. You're still holding my. My cup. I love the whole Ying and Yang woman thing that, you know, that he talks about when you want to meet a woman from Swath and he knows a woman from Swarthmore. And he goes, oh, you know those colored schools. Brown.

[Elaine Miles]

Right.

[Janine Turner]

And I also thought was really funny when Rick comes into the bar and he goes, hi. Hi, Fleischmann. And you did a real deep, funny. Hi, Rick.

[Rob Morrow]

You know, I know. I wonder if I just did that in the moment. I think I probably did.

[Janine Turner]

That was really funny. And then we already talked about the black and the white movie. Is. I wrote down. Is there a growth? Is there no catharsis? I wrote down that must have been from that scene.

[Rob Morrow]

And there's one. I had one. I. I just love when Chris is talking on the. The radio, kind of setting up the show and the themes, as he often does with his little monologues out to K. Bear, the. The. The radio station audience. And. And he says, like Carl Young said, embrace your grief because that is where you will grow.

[Janine Turner]

I wrote that down too.

[Rob Morrow]

Yeah. And then he plays. And then he plays the blues.

[Janine Turner]

Yes. Embrace your grief, because that's where you will grow. You know, that's a. One of my favorite quotes is from Gahil Gibran, which I'm probably mispronouncing, but he said the self same well, that is filled. I always like to say filled with your laughter first, but I think it's reversed. But the safe. The self same well, that is filled with your laughter is also filled with your tears. I think it's actually opposite. The self same well that's filled with your tears is also filled with your laughter. So it's the same thing. But. But I mean, what they were able to do to bring in just the continuing depth, depth of. Of spirituality, depth of emotion, depth of intellect, depth of. Quirky, depth of. Of. Of, you know, ingenuity. Just bringing out these. These kind of unique aspects of the dream sequences and whatnot. It was a classic show.

[Rob Morrow]

It really explored the human condition. I think, in a nutshell, humanity. So let's. Let's bring out our guests, shall we?

[Janine Turner]

Yeah, I was gonna say that. Yes. And she is such a pivotal, pivotal, pivotal star in. In Northern Exposure, and everybody loves her. So, Rob, introduce her.

[Rob Morrow]

This is the great Elaine Miles, who is here in person with us. And we were both looking forward to seeing you. I Keep up with Elaine a little bit on Facebook. So I know her life is doing well and her son is doing great. And. And I watched her last year on. On the Last of Us and was so excited. And. And I was. You were so great on that. Did you have fun shooting that?

[Elaine Miles]

Oh, my God, we had so much fun doing that with Graham Green. Right. And he played. I played his wife. I played his wife.

[Janine Turner]

Wow. I need to go watch that. That sounds.

[Rob Morrow]

Yeah, because it was such a good scene. It was. So you just go. Just go look at that. What episode was that? Do you remember?

[Elaine Miles]

Five. Five or six.

[Rob Morrow]

Go. Yeah, go watch that Janine episode five. Because she's so good, and her. And Graham Greener and. And I remember. I think there was a lot of people saying on online, like, wait a minute, you know, because they were from the show.

[Janine Turner]

It's called. It's called the Last of Us. Is that it?

[Rob Morrow]

Yeah, hbo.

[Elaine Miles]

Okay. Yeah.

[Janine Turner]

Okay.

[Elaine Miles]

I was just gonna say it was fun working with Graham again, you know, because he played my uncle on Northern Exposure, and then on the Last of Us, I played his wife, and he was laughing because he goes, el be my. Like my daughter instead of my wife.

[Rob Morrow]

He's great. Yeah. I remember when Graham came and it was. We were all so excited because he's such a dignified presence and. And. And he was. He brought such a great kind of truth and honesty and. And gravitas to. To the show. Don't. Don't you guys remember that?

[Elaine Miles]

Yes. Yes, I do. Yep.

[Janine Turner]

And then he went on to Dances With Wolves. He was in Dan Big Star.

[Rob Morrow]

I think that was before.

[Janine Turner]

Yeah, yeah, we were before. But he went on to do that, didn't he? Wasn't he?

[Rob Morrow]

No, I think that was before.

[Elaine Miles]

Yeah, I think before.

[Rob Morrow]

Yeah, that was in the 80s.

[Elaine Miles]

Yeah. Yeah.

[Janine Turner]

Oh, was it?

[Elaine Miles]

Yeah, it came 87. For some reason, that first season we were on, it came out. Yeah.

[Janine Turner]

Okay.

[Rob Morrow]

Right. You know, Janine and I kind of talked about it a few times so far, but we didn't want to give it away. Can you tell us a little bit about your story of how you came to be on Northern Exposure? Because it's a great story.

[Elaine Miles]

Oh, my God. I just told it last week, too. I did this video for something. But anyway, it was all by accident. The right place at the right time. I drove my mom to the audition, and it was a hot May day on a Friday. We were on our way to a powwow, and my mom was like, well, I have to go and audition for this show or What? I was like, yeah, okay. It's not going to take long, is it? And she was like, nah. So we go there and there's like this.

[Rob Morrow]

Was she an actress?

[Elaine Miles]

Is that why she used to do, like, plays and little videos? You know, so she, she knew what she was doing, you know, and I didn't. I had no clue. I had no clue. And then when I got there, I parked.

[Rob Morrow]

That's why you were so great, by the way.

[Elaine Miles]

Yeah, that's what, that's what Josh and John used to tell me, you know, because they used to tell me I had natural ability, you know, that I was a needle in the haystack. And did you know they actually paid me to not go to school? No.

[Rob Morrow]

Go to acting school.

[Elaine Miles]

Because I was going to go to school to, you know, for acting. And I go, I think I can do that. And then come back. And then they both took me in the office and were like, elaine, don't go to school. We. We hired you because of your natural ability. You know, you. You're the one in a million that has that natural ability to do what you're doing, and that's why we hired you. And I was like, wait, but what did they.

[Rob Morrow]

They, they. Then they coughed up money and said, yeah, we'll give you this if you don't go to school. That's amazing.

[Elaine Miles]

Yeah, they paid.

[Rob Morrow]

That's amazing.

[Janine Turner]

Who's paid not to go to acting school? I don't know too many people that are paid not to go to acting school.

[Elaine Miles]

I know, right?

[Rob Morrow]

Wait, but go back to the. So you. So you drop your mom off for audition?

[Elaine Miles]

I dropped off my mom and I walk up there and there's like a mess of native women. I mean, they were all dressed to the nines. Some of them, you know, had the dresses, jewelry, diamonds, pearls. I was like, I never seen so many native women in my life dressed like that. And then here, my mom and I walk in with our shorts and T shirt on, my hair was all rolled up, and John Ricky was there, and he's actually the one that. That found me because people always say, oh, I found.

[Rob Morrow]

John Frey was the. John Frey was the local casting, a great guy, and he was the casting director in Seattle. We had ones in LA and New York. But the one that cast the locals.

[Elaine Miles]

We saw him the most because he was in town. But he kept looking at. He goes, would you. Are you here for the audition? And I was like, no, I'm not 35. You know, it's my mom.

[Janine Turner]

How old were you?

[Elaine Miles]

How Old were you saying? Because then you'll know how old I am.

[Janine Turner]

I'm 60. Go, let's own it. Let's own it.

[Elaine Miles]

Okay, I'm 65. Okay, I'm 60.

[Janine Turner]

Okay. So you were like 20. You were 25.

[Elaine Miles]

I was like 30. Was I 30? 29? 30 around there, yeah. So I was insulted because he asked me. And then my mom, my mom, my mom got mad at me in our language, and she goes, just audition so we could get the hell out of here, you know? So I was like, okay, I'll go do it. And it was just that I'm here for the job. That's all it was. And so I walked.

[Rob Morrow]

You've never done anything like that, right? You've never read anything? You never read a script or anything?

[Elaine Miles]

Never did anything at all like that.

[Janine Turner]

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[Elaine Miles]

So I auditioned and then we left. We went to the powwow in Canada, and my dad kept calling our hotel and then he's like, you guys gotta come home. You can't go on to Alberta. You gotta come home. They want you to audition on Monday in Bellevue. And then mom goes, oh, okay. So my mom told me, well, we gotta go home. We auditioned with a group of people on Friday, went for callback on Monday, and then there was only four of us. My mom, myself, and two other women.

[Rob Morrow]

And then you're up against your mom?

[Elaine Miles]

Yeah, I was up against my mom. I didn't know that, you know, because I thought, oh, I don't know what they're doing, you know, and they knew what we were doing, but I had no clue what we were doing. And then my mom, the other two ladies went in Came out and then my mom went in, and then she came out. Then she told me in our language, she goes, they just asked if I'd moved to la. And I go, oh, are you going to move to la? And she goes, no, because we live here. And I was like, oh. And then I walked in and then, you know, they told me they liked what I did on Friday.

[Rob Morrow]

What did you have to do? What was it like? Do you remember what this. What the scenes were?

[Elaine Miles]

It was just that line, I'm here for the job.

[Rob Morrow]

Just one line. Yeah, that's it.

[Elaine Miles]

I'm here for the job. And then I held the paper and just said that, you know, I'm here for the job.

[Rob Morrow]

I would argue that they didn't know how integral Elaine, Marilyn, the character you played, was gonna be until you came around. And then they built it up from there.

[Janine Turner]

I noticed that in the second season, episode one, suddenly you were in it much more than even before.

[Elaine Miles]

Because I seen myself grow, you know, from. From the one line, I'm here for the job, you know, and then gradually moving up to more. Not just being seen, you know, in the background with the bagel or anything. You know, I was actually, like, conversing, even.

[Janine Turner]

That was funny.

[Elaine Miles]

Oh, that was.

[Janine Turner]

That bagel.

[Elaine Miles]

That was one of my stole.

[Janine Turner]

The whole scene in that bagel scene.

[Elaine Miles]

Every time I drop bagels, I think of that, you know, that was.

[Rob Morrow]

I know you're sitting there, like, looking.

[Elaine Miles]

At it through the hole, whirling it around, because I'd never seen the bagel before, so. Yeah, but now, were you doing that?

[Rob Morrow]

Do you remember? Were you doing that? Was you told to do that or you were just doing it?

[Elaine Miles]

What? Just doing that?

[Rob Morrow]

Were you told to play with the bagel?

[Elaine Miles]

Just playing with the bagel? They just said, you've never seen a bagel before, so. And I was like, okay, you know, so if I was up in the bush, you know, and didn't know what a bagel was, I'd be playing with it too, you know, because I put it on my finger. I was rolling and looking at it, and I remember the mic. What was her name? She worked the mic and she was laughing. She was laughing. We had to cut because she was laughing and the camera guy was laughing. And I was like, guys are ruining it, you know, and they're like, elaine, you look so crazy.

[Rob Morrow]

How did you find out that you were. You got the part and what did.

[Elaine Miles]

You think when you got it back to that story? They. They asked me inside, you know, if we get picked up and if you had the part, would you move to la? And then I looked at him just.

[Janine Turner]

Mean that they were asking about la.

[Rob Morrow]

I guess they were thinking of moving.

[Elaine Miles]

To la, but they ended up staying here in the Northwest. And then he was like. I looked at him all. And I go, well, you know, does my mom and dad have to go? And they're like, no, because you would be the one working. And I go, oh, okay, I'll do it. So I went for the cattle call on Friday, the callback on Monday, and then Wednesday I started working over at Rosalind. You know, it happened.

[Rob Morrow]

Was it Josh and John was Josh.

[Elaine Miles]

And John and Patty and John Vrieki and someone else.

[Rob Morrow]

So Josh and John created the show. Josh Brand, John Falzi, and Pat.

[Elaine Miles]

She was callous casting director. Yeah, yeah.

[Janine Turner]

Your. Your reactions to things, you know, your. Your just. Just the. Your ability to absorb the scene and. And emotionally, intellectually, spiritually, like, absorb it.

[Elaine Miles]

And then the.

[Janine Turner]

The reactions that you had and that the camera caught and the way they edited it were just hilarious. And one of my favorite, favorite moments, moments ever is when you kept saying to Fleischman, you have a call online. Remember that?

[Elaine Miles]

That's. People always tease me about. I mean, to this, like, yesterday at Target, this guy is like, ring, ring, ring, ring. And then I looked over and I thought, the hell? And then he goes, you're Wanda on line one. And then he start laughing. And then I looked at him and he goes, I knew you were her. You look just like her, and you sound like her. And I was like, yes, it's me.

[Rob Morrow]

I think there were a lot of.

[Janine Turner]

Flashbu would always say, we only have one line.

[Rob Morrow]

I think there were a lot of kind of evolutionary moments in this episode, which makes sense because it was the first episode of season two, and the first kind of moment between you and I. You give me my mail, which includes the Dear Joel letter. But before we get to that, I. I pull out the Publishing Clearinghouse sweepstakes thing that came. And you look at me and you give me this look, and I say. And I just kind of. I know what you're thinking. Like, you always know what I'm thinking, but I know what you're thinking at that point. And I say, okay, if you win, we split it, and I give it to you to open it. And I think that's a real. I think it's. Joel has finally fallen in love with Marilyn, and it's like, from then on, their pals.

[Janine Turner]

Yeah. But it's funny at that moment because you kind of kick her out of the room, right? Like, I'm gonna kick you out. Now. Don't come back because you were interpreting. It was just that comfortability of being able to say things like that. And then. And then you walk up to me in this particular episode and say, you echo again. Like, I see Rick is back because I'm holding, like, my ear.

[Elaine Miles]

And then I walk out just nonchalantly. Yeah, I see Rick's back. Rick.

[Janine Turner]

And then. And then you read. Later, we find out that you read the letter. And so that's how everybody in town knows that Elaine has broken up with Fleischmann. But I have to say, to go back a few episodes, you were so magnificent as well in the whole Russian flu episode, which is really kind of one of my favorite episodes. But the Ipso Ipsy, Ohio Ipsen IO.

[Elaine Miles]

That was one of my favorites. I was like, when they brought that stuff out to rub on you, I was like, oh, my God. What is. And I go, it smells like mint. Because, remember, they mix mint in it and. And, like, coconuts, too. And I was like, oh, my God. And we're rubbing this on.

[Rob Morrow]

Supposed to be. Supposed to be feces, right? Because the town gets. Gets this epidemic of a Russian flu, and the only cure is this native treatment. I think it's fictional, know.

[Elaine Miles]

Yeah, that's.

[Rob Morrow]

That was made up, though, right? That's not real, right?

[Elaine Miles]

Yeah.

[Janine Turner]

But there was that moment, you know, when at the end, and Rob Fleischman comes to you, and he wants to know the secret. He wants to know the secret so he can maybe monetize it, you know, cinder. And you look at him and you say, I'm not telling, you know, whatever it was.

[Elaine Miles]

Look at him and give the deer in the headlight look like I always did. Like, I ain't telling you nothing.

[Janine Turner]

You know, it's that quiet knowing. Wouldn't you say? There was a knowing that you.

[Elaine Miles]

That your character, she knew so much, you know, because people always ask me, do you play the piano? I was like, my fingers are too short. I never played the piano. And then one guy came up to me, downtown Seattle one time, and he starts talking to me, and I'm looking at him like I'm Native American. I have no clue what you're saying. He was talking me in French because, remember, Marilyn spoke French when they found a little frozen French guy. So, yeah, right. Assumed I spoke French. I was like, no, no, that's an integral.

[Janine Turner]

That's an integral memory of a. Of a fan from the show.

[Elaine Miles]

I remember so much. I mean, I have people that, like, message me on Instagram or, Or Facebook or. They see me, they start reciting some of the stories I told. You know, it's like. I think the only one I really remember is the one about the eagle when I'm with Rob's mom or with Joel's mom. I like that one. And I remember the horse one because I like horses. But all the other ones, I was like, I'm sorry, I. Yeah, I did that, you know, and they were like.

[Rob Morrow]

Wait, when you say you remember. When you say you remember, do you mean literally you remember the dialogue or.

[Elaine Miles]

You just remember the occurrence? Just remember it, you know, being told. It's like, God, give me a break. I don't remember everything.

[Rob Morrow]

So I have to say, you know.

[Janine Turner]

There were so many, and it's just hard to remember all of them.

[Rob Morrow]

You know, I have to say that I've said this often over the years, but I really learned a lot from you. You know, I mean, a testament to. I think the point that Josh and John were making when they asked you not study, when they paid you off to not study acting was because you, you know, talent is. Is. It is a God given, you know, or, you know, it's innate. It's something that, that, that it's not acquired. I mean, you can acquire skill, but it's something that we just have or don't. And you have it. And I learned so much because. Because, like, Janine and I both studied acting and we worked hard and planned out what we're going to do. And, And I think you were just had this. If I did anything that had artificial quality, artificial, it was so glaringly obvious next to you because you were so real and present. And so I had to calibrate my acting to you, you know, and I. And it was a real. A real lesson for me. And aside from being just fun, I mean, I just. I love doing scenes with you, but. But. But I learned from you.

[Elaine Miles]

Oh, thank you. Because you taught me a lot, too. And, you know, I told you that when you left half the show, it's.

[Janine Turner]

Like, oh, yeah, we'll get to that episode, whatever. Yeah, we'll have fun with that.

[Elaine Miles]

Yeah, I want to come back for that.

[Rob Morrow]

Yeah.

[Janine Turner]

Okay. But not like I was.

[Elaine Miles]

Seriously, I learned so much in that. In that, I think like the first two years, two and a half years of, of the seasons we did. I think I've learned a lot from all of you, you know, because Barry, especially Barry and you, Rob, because I worked with you. The most, you know, you taught me, you know, how to be prepared, you know, especially when they start giving me the stories. I was like, holy shit, how am I going to do this? You know, it's like, it's a story, mom. And my mom was like, relax. Just read it and read it and do it the way, you know, like you're doing right now. And I was like, oh, okay. You know, then I get on set and have to tell my story.

[Janine Turner]

How did. How did your mother feel about the fact that she went in for the audition but you got it?

[Elaine Miles]

Oh, she was happy for me because she was. She was like, well, you know, you get the experience, you know, because she did this before. And she goes, it's a lot of fun because you get to be someone different for a little while. And I was like, oh, okay. You know, and that's true, because I got to be someone different, you know, And I missed my family, though, you know? Cause there's a lot of things that I had to get used to, because being an actress, you can't just say, oh, I'm not going to be in today. I got to go to this, or, I want to go here, you know, or, oh, I don't feel good, you know, because we were all on set.

[Janine Turner]

You know, for hours. For hours.

[Elaine Miles]

And we would be sick and everybody be sick, you know, But. But it's like, we made. We finished our episode, you know, And.

[Rob Morrow]

And your mom. Your mom came on the show, too, so we should talk about that.

[Elaine Miles]

Right?

[Rob Morrow]

She was.

[Elaine Miles]

She was in a poke.

[Janine Turner]

She was in a poker scene with me. I think, recently, one of the episodes.

[Rob Morrow]

She was in a bunch of shows. Right. I think she played a few characters as well, as she was always an extra.

[Elaine Miles]

She was Mrs. Anku that first season.

[Rob Morrow]

Right.

[Elaine Miles]

And then the second season, they made her my mom, and so she became Marilyn's mom. And then she was like, background and extra, you know, so she did a lot on that. I mean, she gets residuals, you know.

[Rob Morrow]

So do you like working with her?

[Elaine Miles]

It was crazy. Especially when Marilyn had the boyfriends. Working with my mom, it was. It was crazy, you know, but I enjoyed it, you know, and she was happy for me. And, you know, she didn't mind, you know, because a lot of people ask me that, you know, was your mom mad? Was she mad at you? It was like, no, you know, did.

[Rob Morrow]

You run lines together and.

[Elaine Miles]

Not really well when we worked. When we did the scenes together.

[Rob Morrow]

Yeah, that's what I mean.

[Elaine Miles]

Yeah, we did. We did run lines, and she Told me, just relax, you know, because I'd be so nervous because I was always nervous those first few seasons because I was like, I don't want to mess it up. You know, I want this to go good. And everybody was like, now you're doing good. Especially Peg. Peg would always, don't feel bad. You're doing good. You know, and. Oh, my God, after I had my son, remember, I fell asleep on set. It was during your scene, Jeanine. I was supposed to say something, and then you just kind of nudged me and I got go, oh, my God. I fell asleep. And they're like, okay, let's give her a break. Oh, my God.

[Janine Turner]

Having nursed my daughter on two movies of the weeks, I can relate to how exhausted you were.

[Elaine Miles]

Yeah. And.

[Janine Turner]

And how your perspectives change. I remember they had to put me in this car scene, going down a hill, this cliff, and I'm like, don't put me in that car. Don't go down. And they did it anyway. And I'm like, oh, my God, I'm gonna die. And I've got like a six month old right there. So. It changes everything, doesn't it?

[Elaine Miles]

It does. It does.

[Rob Morrow]

I think, to your credit, too. I noticed, you know, I forgot this, but, Janine, I don't know if you caught this, but in the first, maybe season or two, you're. You're given guest star credit.

[Elaine Miles]

Yes.

[Rob Morrow]

Right. And then eventually you make it into the main titles as, As a regular.

[Elaine Miles]

What.

[Rob Morrow]

What year was that?

[Elaine Miles]

That was the second. Second season. The first. I think it was the middle of the second season because they. The first season I was a guest star. Then the second season it was guest star. And then I think it was almost to the end. And they asked the agent, they told her, well, we're gonna make her a season regular. She's on there all the time. And I had no clue what that was anyway. I was just happy to be a part of it. And here I was, became a seasoned regular. And that's when everything kind of changed for real, you know, because seeing a native on a national, international TV show every week, that was a big thing for the native community.

[Janine Turner]

Talk about that. Yeah, I'd like to talk about the whole Native community. And that is true. That's an original aspect, I think, of the show. And, and how did you feel that was. That was executed. Do you think that Northern Exposure did a good job with that? Because with, with the, the. The influence and the incorporation of the Native American. Native Americans.

[Elaine Miles]

Yes, they did. You know, because they, they. I Know, the first season, they kind of messed up because they had me do the powwow scene for the talent show. And I had to tell him because I remember Barry telling me. He goes, tell them if you're not comfortable doing something, you know, tell them. And I go, well, you know, Alaskan natives don't dress like we do. Each. Each tribe has their own style of dress, their own type of songs and stuff. And then Barry goes, well, you get your little butt upstairs and you tell him, you know, that what you just told me, because I got so much hate mail from Alaska natives because they were like, like, is she really native? You know, we don't dress like that, blah, blah, blah. And then I was like, oh, they don't like me, you know, what am I doing wrong? You know? And then Barry's one. He goes, tell them, you know, the difference between the tribes. If, you know, help us. You know, let them know that this is what they're doing. If they want to make it right for you natives, they have to listen. And I was like, okay. So I went upstairs and I spoke to him and told him, you know, Alaska natives don't do that. And that's when they switched, you know, so Maryland start doing, like, the coastal things, Alaskan things. And then.

[Janine Turner]

Then what's the difference? Tell us the difference. What was different?

[Elaine Miles]

Like, the powwow scene that I did, that's how we. We dress like on the plateau plains area, where we dress like that, with the beadwork, the buckskin and all that.

[Rob Morrow]

Your. Your tribe is the Cayuse Nez. Perfect, right? I remember learning that. I remember when you taught me that. I was like, so, like, I remember Cayuse Nesper. It was so specific.

[Elaine Miles]

Yeah, very specific. So. But anyway, coastal is a little different. They. They have, like, a lot of wool, and their style of dresses were like. They use cedar. Cedar bark, you know, that shredded cedar bark. And they use dog hair to skirts and coats. They did, like, weaving and stuff, you know, so it. There. Theirs is a lot different than our style, you know, because each even, like in the southwest, theirs is different than the plains of plateau. So, you know, that was something that I admired about, you know, the Josh and John that actually listened and tried to portray all the natives correctly, you know, so then I.

[Janine Turner]

Who did. Who to whom did you tell? Did you go? Which. Which producer?

[Elaine Miles]

I went to both of them because.

[Janine Turner]

They were rarely in town. How did you get.

[Elaine Miles]

I talked in town on the phone and on the phone, because I was like. I told him what was his Name? Matt. Yeah, Matt.

[Rob Morrow]

I told who was the line producer who was kind of responsible for keeping the trains moving, if you will.

[Elaine Miles]

Yes, yes. And then I told him. So he called, and then we all just talked. We did, like, a conference call. And I was so happy when that happened, you know, because it showed that they cared about how the natives were. Were portrayed, you know? And then.

[Rob Morrow]

Did the hate mail stop?

[Elaine Miles]

Yes, it did. Close your eyes. Exhale. Feel your body relax. And let go of whatever you're carrying today.

[Janine Turner]

Well, I'm letting go of the worry that I wouldn't get my new contacts in time for this class. I got them delivered free from 1-800-contacts. Oh, my gosh, they're so fast.

[Elaine Miles]

And breathe.

[Janine Turner]

Oh, sorry. I almost couldn't breathe when I saw the discount they gave me on my first order. Oh, sorry. Namaste. Visit 1-800-contacts.com today to save on your first order.

[Elaine Miles]

1-800-Contacts.

[Rob Morrow]

Member week is here at Lowe's. Don't miss your chance to get up to 40% off hundreds of items like paint faucets, vanities, doors, and more. Shop our exclusive deals happening in store and Online now through July 18th. Not a member. Join Myloes Pro Rewards for free today and get ready to save more Lowes. We help you save loyalty program subject to terms and conditions. Details@lowe's.com Terms subject to change. So ultimately, by the end of the series, the different tribes were positive about the show.

[Elaine Miles]

Yeah, they were. They were very positive. And. And what was cool about it is, like, they hired people, you know, like the Canadian actors, Michelle St. John Floyd, Red Crow, Westerman down here, you know, because he was well known. Well known in the industry as well as Graham Green. And then like, Tim Sampson and. And, you know, they just hired. And then, like, the other people, you know, they were native and they were real native people. And then what's crazy about it, when I joined SAG back in 1990, after I got this part, they asked me for proof of enrollment, and I was like, oh, okay, I can get that. You know, So I called the enrollment office at home and asked if I could get proof that I am enrolled with a federally recognized tribe, you know, and they don't do that anymore, you know, and.

[Rob Morrow]

Oh, why is that? Why do you think that is?

[Elaine Miles]

They have different, you know, different president or something with seg. But that one, I can't remember who was president in 1990, but they made me prove I was native, you know, and I would. They go, if you're being hired for a native Part you have to prove that you're Native. And then I was like, whoa, okay, I could do that, you know, so they asked me, I got my paperwork, I sent it in. And I know Floyd Red Crow had to do that too, because he goes, I had to do that, you know, because he had to prove he was Lakota, you know, And I was like, dang, these guys are hardcore. But now they don't do that. That, you know, and interesting. Yeah. We're getting a lot of the Pretendians out there again. So, you know. Yeah, yeah.

[Janine Turner]

So, you know, I, I, I filmed a movie of the week, Stolen Women, Captured Hearts. I saw that Native American Community. Yeah. And so it was so much fun. And then I've written a musical about Belva Lockwood. And she, she took, she was the first woman admitted to the bar of the United States Street State Supreme Court after fighting for it for five years because they wouldn't let a woman on the bar of the Supreme Court because there was no precedent.

[Rob Morrow]

But she was a judge or a lawyer.

[Janine Turner]

She was a lawyer, but they wouldn't let her on the bar of the United States Supreme Court because she was a woman, because there was no precedent of a woman. And she was like, well, there's no precedent. How are we ever going to make this happen? So she finally went to the legislative branch and after five years, she became the first woman. She, she got a bill passed in Congress, in other words, and the President signed it. Point is, she later argued the Cherokee Nation versus the United States who wanted their money back for the Trail of Tears. So it was really, it's kind of fascinating. It's wonderful experience to continue working, you know, with the Native American community. It's really, yeah, it's very special.

[Elaine Miles]

Yeah.

[Rob Morrow]

So, Elaine, how much is, is acting your main focus? And, and I hear your stand up comedian.

[Janine Turner]

I hear you do stand up comedy.

[Rob Morrow]

I didn't hear that.

[Janine Turner]

Well, Cynthia Gary, Cynthia Gary told me that at least. Are you doing studio comedy? I do that.

[Elaine Miles]

I did a movie with George Lopez, I think it was in 2000.

[Rob Morrow]

Oh, he's a good guy.

[Elaine Miles]

He's crazy. He's crazy.

[Rob Morrow]

He's crazy, but fun. Crazy and fun.

[Elaine Miles]

Yeah, exactly. But we were working on that movie, Tortilla Heaven, and he was like, you know me on set, people getting, it's getting tense. I start teasing people, making people laugh. And I started doing that. And George looks at me and he's like, you're crazy. You're just crazy. He goes, you make me laugh. He goes, that's hard. To do to make me laugh because I'm a comedian. I was like, yeah, yeah, yeah, whatever, you know, I didn't really know him, you know? And then we were down in Taos, New Mexico, and he goes, I have a show in Albuquerque.

[Janine Turner]

You.

[Elaine Miles]

You guys want to go with me? And then they asked Transpo if we could have van so we could all go, who drives me? Because I know my way around. So I drove us all down to Albuquerque to watch George's show, and he goes, I have a new little friend. She's native. Come up, Elaine. And I was like, oh, my God. And I. I went up there, and he kind of broke me in, you know, he just told me.

[Janine Turner]

He goes, and you just started telling jokes.

[Elaine Miles]

You just started telling jokes?

[Janine Turner]

Well, we want to hear one. Tell us a couple. Come on.

[Elaine Miles]

Like, I'm the one that's the naughty one, the 21 and over. So, yeah.

[Rob Morrow]

You know, it's. It's. Here's a theme in your life, though. I mean, you get discovered walking into an office, and you're on. Then you become a TV star. Then you're doing a movie with George Lopez, and he's like, come up, man. No one's ever asked me to get up on stage with them and do stand up, like. And then you're doing.

[Elaine Miles]

Yeah, so I do it that I still act, you know, off and on. It's like people. My. My sister always says, you're just picky. You're picky about what you do. And I go, no, I'm not. And she goes, yeah, you are. And then after I look at some of the stuff I do, I go, I guess I am, you know, because sometimes people send me scripts. And then I was like, I don't really.

[Rob Morrow]

You know, how did Last of us come about? How did that come about?

[Elaine Miles]

Oh, my God. Remember when we had to promote the video Northern Exposure in Vegas? Well, they sent me and John Cullen. They're like, you two are gonna go promote the videos? When they first came out, so we flew to Vegas, and there's, like, all these movie stars promoting all those videos. Me and John sitting here with Northern Exposure, and this young kid comes by, and he talks to me, and he's like, oh, I love your character, Marilyn. Blah, blah, blah. And so I sat and I talked to him, you know, because he talked to me. So I talked to him, and then he told me. He goes, I'm going to school for writing, and I'm gonna, you know, hopefully get some stuff like movies and things, become a writer on A TV show like Northern. And I was like, okay, when you get famous, remember me. And then he smiled and he goes, when he found me, he found me on Facebook, and I thought, oh, this guy is getting on my nerves. He keeps writing to me. I have no clue who he is. And people always send me, you know, scripts and stuff through Facebook. So I was like, here's another one. Okay, yeah, I'll read it. You know. Okay, thank you. And he goes, no, we met. Then they start telling me and I go, I remember that. I go, because John and I were talking to everybody, you know, but this.

[Rob Morrow]

Kid, was that Craig. Craig Mason. Who was it?

[Elaine Miles]

I can't remember his name because there's two of them, right? And anyway, he messaged me on Facebook and he goes, I'm the one you met in Vegas at the video when you were promoting Northern Exposure videos. And I go, oh, the little writer. And he goes, you remember that? And I go, yeah, because I told you, you know, if you get famous, you write something. He goes, well, I wrote something for you. And I go, oh, okay. And then he told me, it's a series called the Last of Us. And he goes, you may be in another one because it's going to be a series. And I was like, oh, cool, okay, I'll do it, you know, So I ended up doing it. And when I got up there, it was crazy because he told everybody because we had like a little meeting and he told everybody Elaine was the only movie star there that made time to talk to me. And then I was like, whoa, what an honor. Okay. I go. But I do remember talking to him, you know, because he was a young kid going to school for writing, and I just teasingly said, you know, remember me when you get famous.

[Rob Morrow]

Wait, so it was Craig, Craig Mason or Neil Druckman.

[Elaine Miles]

I can't remember his name.

[Rob Morrow]

Those are the guys that created. I love that first there. It's such a good show.

[Elaine Miles]

He wrote that because if you see it, it. It's like two A native couple live in the bush, you know, and he just. He wrote that to put. He loves Graham Green's work. And then he remembered me, you know, because I told him that. Remember me when you get famous. And so he did. And he wrote that little part. It's like a five minute scene. But it was.

[Rob Morrow]

You were so good. I mean, you even. You've grown even since then.

[Elaine Miles]

And we survived, you know, because if you watch it, everybody dies in it, but grandma and I.

[Rob Morrow]

So you didn't. Is that the only. Did you come back yet? Are you coming back?

[Elaine Miles]

Oh, we don't know. We don't know because the second season already is done. But they're gonna. I think there's a third one. And Graham called, and he goes, they didn't call me. And I go, yeah, they didn't call me either. And he goes, oh, well, maybe the third one. I go, is there a third one? He goes, yeah, there's a third one.

[Rob Morrow]

So we'll just put it out here. Craig Mason and Neil Druckman, call Elaine Miles and get her back on the show.

[Janine Turner]

We hope to have you back on the show. It'd be so fun to have you back. Talk to us about your favorite. Do you have some favorite Northern Exposure shows that you did or memories I liked.

[Elaine Miles]

My favorite one, I think, is when Darren or Ed the Indian buys Peg her grave, and they dance on it.

[Janine Turner]

They're dancing on my grave.

[Rob Morrow]

Yeah, that's such a great episode. One of my favorites as well.

[Elaine Miles]

Yeah, that's one of my favorite. And then is that the one at.

[Rob Morrow]

The end where they're. They're dancing on the cliff?

[Janine Turner]

Yeah.

[Rob Morrow]

And that's a helicopter going around.

[Elaine Miles]

And that's such a great show.

[Janine Turner]

Great music as well.

[Elaine Miles]

I love that one. And then the other one, I think was when you. When your twin brother came.

[Rob Morrow]

Oh, that's my favorite, too. We have the same favorite shows.

[Elaine Miles]

My favorite because I was the only one that knew. Knew he was your brother. Did you ever. You can sense that. It's like. Yeah, she knew, you know, because Jules.

[Rob Morrow]

At Joel is the name of that episode. Jimmy Heyman debut.

[Elaine Miles]

Yeah, but those.

[Janine Turner]

That's coming up. That's the second season, I think.

[Elaine Miles]

Yeah, but those. Those two are the ones that were my favorite.

[Janine Turner]

Yep. And do you still. And your son is an actor.

[Elaine Miles]

Yeah, he. He actually did the Alamo, but they cut all the natives out. I remember Wes Duthie was so mad because Wes, he goes, I've been down there. I was down there shooting for, like, he was down there for a month, and then we were there for, like, two weeks, you know, because my son played. What's his name, Cherokee's son, and. And all his lines were in Cherokee. And West Duty's mom was the linguistic person, and so she was impressed. She was like. Because my mom had him put on the headphones because they recorded it. And then she goes, you listen to it and just keep saying that in your mind and talk like we talk, you know, because my mom spoke to him in our language, so he speaks our language, so He. He caught onto the Cherokee really quick. And I remember. Is it Randy. Randy Quaid that was in that, or Dennis Quaid? Dennis Quaid, was it? I can't remember.

[Rob Morrow]

I'm not sure.

[Elaine Miles]

But anyway, he was the dad to son's character. And then he goes, you know, this kid comes in here and he's speaking. He goes, are you Cherokee? And I go, no, we're from the Pacific Northwest. We're Cayuse and Nespers, and my son is part Mescalara and Comanche, too. And then goes, wow. And you caught on. And then he. He. Because he was talking to Wes's mom in the Cherokee language. And then.

[Janine Turner]

How old was he then?

[Elaine Miles]

I think he was like 9 or 10. Yeah. And so then. Yeah. Because they're like little sponges. They catch on real quick. And so. So Quaid's character ended up learning the language because she said, I'm having a hard time teaching him our language. And then he just came back in and he goes, if the kid can pick it up that quick, I can do this. I'm going to do this. So for, like, three days straight, they had to, you know, do the Cherokee lines, you know, and he did it. We were so proud of him. He did a good job, you know, and I was. I was really proud of him. Everybody was like, Wes was like, oh, my God, your boy is a good actor. Blah, blah, blah. I was like, yeah, it's just in the jeans, you know.

[Rob Morrow]

Amazing.

[Elaine Miles]

I mean, he grew up on set, you know, and then when I worked after Northern Exposure, I went up to Canada and I was on that TV show, the Res up there. And so he grew up the last two years on that, too. And then smoke signals and all the movies. He used to come with me all, you know, everywhere until they started school, and then he'd stay home, you know.

[Janine Turner]

Where does he live now?

[Elaine Miles]

He lives here. We still live here in Redmond. You know.

[Janine Turner]

That's great.

[Elaine Miles]

They live. They have their own place, you know. Well, yeah, but, I mean, don't make me live with him. Yeah.

[Rob Morrow]

So we're kind of gonna wind it up and. And, you know, I've. I don't know if you've. I've been. I think I've had a smile on my face this entire.

[Elaine Miles]

I know. Podcast to talk with you both, you know, because it's been a long time and. Yeah, very long time.

[Janine Turner]

Like 30, 35 years.

[Elaine Miles]

I know.

[Janine Turner]

Think about that.

[Elaine Miles]

Yeah. Because my son. My son's gonna be 31. 30 years.

[Janine Turner]

30. 30 years. Yeah.

[Elaine Miles]

Yeah.

[Janine Turner]

Yeah, yeah, we wrapped in. We wrapped in 95.

[Elaine Miles]

Yeah.

[Janine Turner]

20, 30.

[Elaine Miles]

Yeah.

[Janine Turner]

That's so good to see you. You look great.

[Elaine Miles]

Thank you. You look beautiful. And Rob, you're. You're handsome as ever still, yet. And I.

[Rob Morrow]

Thank you. Thank you. So for everyone, thanks for tuning in. And, you know, I think that Janine and I are talking about maybe next episode doing a Q and A. So what we'll do is we'll take. Yeah, give us your questions to our Instagram or our Facebook or X or wherever you want. We won't necessarily get to all of them, but we will try to call some and. And talk about that. And we'll do it again. We'll do it again occasionally. And we're a little ahead of you, the audience in terms of when these are airing, but. But we will occasionally do it. And this has been a blast.

[Janine Turner]

Some of you on the show, too, some of our. Some of us on social media. But, and, and, and Elaine, you'll have to come back. Please come back.

[Elaine Miles]

Yeah. Yeah, definitely. Yeah. Because I'm watching you guys on YouTube, so. Yeah. All right. Okay. I love you guys and I miss you. So good to see you.

[Rob Morrow]

Thank you.

[Elaine Miles]

See ya.

[Rob Morrow]

Well, this has been fun, hasn't it, Ginny? What a joy. It's such a great thing and it's so nice to hang out with you again and reminisce. It really kind of just makes my day.

[Janine Turner]

It makes my week, actually. It's just such a highlight to watch the show and to work with you, Rob, and then to also have our fabulous co stars with us like Elaine Miles today, it's just really heartwarming and very special. But you who are listening out there and watching us, thank you for joining us. You make this all. You're the reason we're here. And so next week we're gonna have a lot of fun. And so we're signing off. It's o' Connell and Fleischmann.

[Rob Morrow]

I think maybe it should be Fleischman o'.

[Elaine Miles]

Connell. Yeah.

[Janine Turner]

In your dreams, Fleischman.

[Elaine Miles]

Bother and Disclosure is a production with.

[Janine Turner]

Evergreen Podcasts and executive produced by Paul.

[Elaine Miles]

Anderson and Scott McCarthy for Workhouse Media.

[Janine Turner]

Foreign. Are you a Bravo holic who spends hours talking about the Real Housewives with your friends? Do you plan on stopping by something about her the next time you're in la? Or want to nominate Kyle Richards as your MVP of the year? If so, tune into the podcast behind the Velvet Rope, where host David Yontif interviews all of your favorite Real Housewives and Bravo Liberties, plus He dishes the dirt seven days a week. Week that's behind the velvet rope on Apple, Spotify, or wherever you get your podcasts. Hey, I'm Christine Taylor.

[Rob Morrow]

And I'm David Lasher.

[Janine Turner]

Remember when life felt a little simpler, but everything was changing?

[Rob Morrow]

That's the space we explore every week on hey dude, the 90s called.

[Janine Turner]

This podcast isn't just about the decade. It's about growing up, falling down, and everything in between.

[Rob Morrow]

We're sitting down with our friends, castmates, creators, even fans of an era that everyone seems to be so nostalgic for. We'll talk about the world work, the impact, even the personal stories you've never heard before.

[Janine Turner]

Hey dude, the 90s called new episodes every week. Listen, wherever you get your podcasts.