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Northern Disclosure
S2E2: "The Big Kiss" with Rob Morrow and Janine Turner
01:07:09
This week, Rob Morrow and Janine Turner look back at Northern Exposure’s Season 2 episode, “The Big Kiss”.
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- [00:01]
Janine Turner
Close your eyes. Exhale. Feel your body relax and let go of whatever you're carrying today. 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. And breathe. 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. 1-800-contacts Abercrombie Kids is bringing the ultimate first day energy back to school. It all starts with on trend outfits for that front door photo shoot. Plus the coolest tees, shorts and jeans to take them through the rest of the year. Get them ready for their close up and keep them comfy too. Make this grade their best one yet. Shop all things back to school in store, online and in the app. Hello, everybody. Welcome to Northern Disclosure with Rob Morrow and Jeanine Turner. That's me. I am Janine Turner. Welcome to the show. This is our watch podcast based off Northern exposure. It's our 10th episode, but this is season two, episode two, and it's entitled the Big Kiss and it was written by Henry Bral. God bless him, he's passed, but he was an extraordinary writer and directed by Sandy. Sandy Smolet. Right, Rob?
- [01:41]
Rob Morrow
That's right.
- [01:42]
Janine Turner
All right, I got that. Okay, good. I knew Sandy. I just was making sure. It's only been 35 years. So we're thrilled that you're with us today. We're going to have a great time. Rob and I are going to reminisce about the Big Kiss in all of our memories. Very spiritual show. Very, very funny show. But then also we are going to read your comments and read some of your questions. So this is what this episode's going to be. So when you comment for us, know that we're going. We're going to be looking at them and if you ever have any questions, you can actually type out a question. We are filming a little bit ahead, so you might have to wait a few weeks to hear it, but know that it'll eventually get there. So have any questions or comments. We know. We love your comments, by the way, but also you can start asking some questions. So good. I would. Well, good day, Rob.
- [02:25]
Rob Morrow
Good day, Janine. It's good to see you and, and nice to be back here. I loved watching the Big Kiss. It was, I think, you know, it's interesting. I think it was one of the first episodes of Joel. Joel not being, you know, in the A story, really. He wasn't the A. B. It was kind of the C in a way. And remember, I remember when I read the script thinking, oh, my God, I got a day off this week, or something like that, because I was crazed. But, you know, I think. I think I was just reading some. Some audience. Some fan comments and questions and. And a couple people said they'd love a. A synopsis of the episode, you know, as we roll into it. So you want to speak a little bit about. About the show, that. About this particular episode.
- [03:15]
Janine Turner
Yeah, but that. That's a little tricky. You know, I think it's a lot more fun just to sort of go stream of consciousness about. But basically what happens in the synopsis is that Ed is looking for his parents. He's adopted and he's never met his parents. So his guardian angel spirit, so to speak, arrives to help him go on a journey to help him find his parents. It's kind of sort of like, what's the Jimmy Stewart movie, which I can never remember the title. Some Reasonable Life. Yes, it's wonderful. A little bit like A Wonderful Life.
- [03:46]
Rob Morrow
Except why is that? I have a hard time remembering that title, too. It's the greatest movie ever. I watch it once a year, and yet whenever I pop, I'm like, wait, what is the name? What is that?
- [03:56]
Janine Turner
You know what? It also happens to me with the. Debbie Reynolds singing in the. Right. Singing in the Rain. Singing in the rain. I'm always like, what? What is it? But, yeah, it's a wonderful life. So the spirit guide comes. Ed can see him, but nobody else can see him. But, of course, Elaine can see him. So Marilyn. I'm sorry, Marilyn can see him. Really wonderful. We'll get down into the. The byproducts of that in the Hollings Bar and eat. Whether he can eat or not and whether he can sleep or not, but really beautiful, spiritual. And they go. They go to the water, into the wind, and they try to find. The other storyline is the Big Kiss. A beautiful woman steps into Chris in the Morning's radio station and ask for directions, and he's so taken with her that he loses his voice, which is a horrible thing for someone who is a radio dj. And there's that entire storyline, and the only way to get it back is to kiss the most beautiful woman in town. And which, you know, I'm not saying I was, but they all decide it was Maggie o'. Connell. And so that's a. I want to talk about that. With you, Rob, because some of your expressions, things, it was really fun, but it was also wonderful. I had the chance to work with John Corbett a lot. And the other storyline was Cynthia Gary kind of popped in as one of the beautiful women because there was this theme of beautiful women with Maurice. So I think that that was, I.
- [05:19]
Rob Morrow
Think that covers it pretty well. You know, first we should say that Floyd Red Crow Westerman played One who Waits and he was great. And that story is fascinating. Again, it speaks to the, the spirituality and the metaphysics that were, you know, a regular theme in the show. And you know, something I find interesting is the way they said that Ed was the only one who could see One who Waits because the white people think of him as being dead. And in the Native American culture there's no, you know, there's a continuum. And so if you're native in theory, you could see him, which I just thought was an interesting notion to put out there. I also want to point out that I got a text and an email from Josh this morning saying that he never used the phrase benevolent universe. We've been talking a lot about that. I don't know where I picked it up because someone said it called that one of the distinguishing features of Northern Exposure was that it was a benevolent universe. But Josh, Josh very pointedly wanted to clarify. Josh Brand, who's one of the co creators of the show, he never said that he found. He finds that too sappy a notion. It's. What he said was that it was a non judgmental universe. And no, there was no. The universe had no dog in the, in the game, so to speak. You know, he. It was. It doesn't take a position either way, which is a different, a completely different idea. I think both you and I respond to the notion of a benevolent universe. And I could see where the, their quote, philosophical materialists out there might, might disagree with that notion. Josh thinks maybe David Chase, who went on to write the Sopranos and I.
- [07:21]
Janine Turner
Did not see that quote coming from David Chase.
- [07:23]
Rob Morrow
Well, he said he said it in a way that wasn't gen nice. He said it as a dismissive. In a dismissive way. And so anyway, I think it's worth, worth kind of putting that into our lexicon because we've been saying it now for, for a while and we've been doing interviews and. But I did. But non judgmental is pretty great too.
- [07:45]
Janine Turner
We won't, we won't give credit to Josh anymore for that. Well, you know, look, if you. I love philosophy. I read this book, Socrates desart. And I think you love philosophy and I love metaphysics, and I'm a very spiritual person. So we see through things through that lens. I guess he would be another sort of a philosopher that wasn't going to. Going to touch into those sort of metaphysical, spiritual worlds. But I think you can bring to it whatever you want to bring to it, and everyone's going to watch it for the reasons they want to watch it. And I don't think you can get away. That's pretty ironic, really, because I don't think you can get away with the sort of. With it doesn't matter what religion you are, you know, freedom, religion, pick your own religion. But. But there is. There's such a love and spirituality to it. And the. The Native American that you were talking about that you couldn't see because they believed, you know, life is continuous. But also another way to look, look at that, if we're going to be Phil philosophical, is that it was his angel, you know. Now, of course you have to say, why did. Why was Marilyn able to see him? But still, it's.
- [08:52]
Rob Morrow
But we spoke about that because of the. Because in, in. As. As. The premise in the show is that Native Americans can see because they believe that the spirit can. Is a continuum.
- [09:01]
Janine Turner
But I think a lot of us believe that. Like, I believe that, right? I believe that my father's spirit is here and I. Not in hokey way, right? I. I believe in the afterlife. I believe that. That, that my darkness.
- [09:12]
Rob Morrow
But in the show. But that's huge.
- [09:15]
Janine Turner
No, no, no. But I'm saying other people. Well, Maggie o' Connell could have thought that, right? I. I think that she could have.
- [09:21]
Rob Morrow
Thought she could have. But she didn't see him. Right.
- [09:24]
Janine Turner
Okay. That's really not the point I'm making, though. The point I'm making is that it, it's. It can be as a be. It could be the Native American thing. Of course. I'm also just saying that it was kind of his spiritual, heavenly host that was with him, that was helping him. And so we can all look at it from our own perspectives. I don't think we should get bogged down in it really. But I. I think that it was wonderful the way he took him from play. Well, would you want to say something else about it? I just don't know. I don't know what else to say. I agree with what you're saying, which is that people can only see it because they believe that life is continuous and that life is. Yes, but I believe other people, the Native Americans believe that. So we need to maybe think of another reason why only the they. The two of them saw it. Because I believe that my guardian angels are here, but that doesn't mean I can see them. But, you know, some people do see them. I've heard people say they've watched their mother after they come into their room. So I don't know that it's just a Native American thing as far as being able to see it. But you look like you wanted to continue the discussion, and I don't want to shut you down. So what else? I mean, what else would you like to say about it?
- [10:31]
Rob Morrow
No, I don't. I don't have any more to say about it. I think we should also clarify today that we're not going to have a guest periodically. We're going to do episodes without a guest so that we can kind of look at the comments and talk about. Talk and address some questions that might be raised. We're going to try to streamline the process where we get the questions and have a bunch of them lined up. And we did get a couple requests for fans to come on the show, and we're going to try to accommodate that. At some point, we have to figure out how to do it. But initially we're going to first go through the cast as guests and then some of the key writers and producers and directors and some of the personnel that worked on the show before we get to that. But we will. We will get to it. Just to come back to. To what we were talking about, just to dovetail out of it. One who Waits says white people can be blind. Which I think is, you know, I think to your point, Janine, it's. It can be a generalization. Obviously, there's white people that are spiritual and see and believe in the. In the notion of the spirit as a continuum and all that. But I think in a general sense, and as it's depicted in the episode, white people can be blind. And to us, he's dead, is what he says, which I think is, you know, it's just an interesting. It's what the show was about. It was trying to kind of talk about something that is of the Native culture that's not in general, Caucasian culture, really, you know.
- [12:10]
Janine Turner
Yes. And I honor the Native American culture. And I'm. I loved anything to do with it. And the actual. I loved the episode and that. That they had that wonderful moment of enlightenment and. And crossing the line of. Of. Of our unit, of our perspective here and going into a different realm. I. That's what I love more than anything in the world. So I, I think, think it was fabulous.
- [12:36]
Rob Morrow
And I think we should say that Henry Brammell, you know, who, who was just. He passed away, was a great writer, wrote many episodes of the show. He, he passed away around, in, around 2012 or something like that, I think. But he went on to write on Homeland and he was a writer on Homicide and Carnival and Chicago Hope and, and just such a great, really smart, interesting writer. And I always remember the few, I think, you know, because as we've talked about, Janine and I, we were in Seattle and, and the producers and the writers were in la and so we weren't day to day with them, but when we got to spend some time with them, it was always interesting to get their perspective. And Henry was a super smart and talented writer.
- [13:24]
Janine Turner
How many of them got their starts with us, you know?
- [13:27]
Rob Morrow
Yeah, I don't know. I think Henry had been around a while, but. And also Sandy Smolin directed three episodes for us. Right. He did Sex, Lies and Ed's Tapes and then. And he did this, the Big Kiss and then he has one coming up in season three. And so, you know, we, we talk about sometimes how hard it is to have directors coming and going on, on episodic tv. Um, but so when you get one that you're familiar with, you remember that feeling of like one of the directors that showed up for a second or third or fourth or fifth episode. Bill d' Elia directed five. You. As soon as you see them on day one, you're like, okay, I can relax. I don't. I know this person is going to. We, we understand each other. We have a shorthand already. And I felt that originally with Sandy, from the get go, I remember having a, A great connection with him. And so when he showed up again on this episode, it was. And he did such a good job. I think it's really lovely. It's really well directed, don't you think?
- [14:32]
Janine Turner
Yes. And also I think that back to that whole spiritual quality, there was also a spirituality in regard to the whole kind of metaphysics. It seems to be the word of the day of John Corbett, Chris in the Morning, losing his voice to this beautiful woman. I mean, that has the same sort of. Could that really happen? I mean, you know, would that, would that really happen? It really sort of went. There was a, there was a suspension of logical belief. And I think we could say that Josh was very logical, which is ironic for having done such a beautifully philosophical show. But there was a suspense and also, they used to say on the show, or they say this in the biz, creative license. So you can have creative license, but also the same sort of spiritual quality that the Native Americans were having. The white folk were having it, too. Because you've got John Corbett there losing his voice, and everyone's coming to him and saying, well, you can lose your voice because, you know, you even say it. You know, I could have. Don't you, that you can lose. No, I don't know that you do. You can come back to that, but just. You can lose your voice. Oh, you can lose your voice because you saw a beautiful woman. If you were to take that to a doctor, they'd be like, absolutely not. Which Fleischman was like, oh, you're kidding me. That can't possibly happen. But that was their belief. And Maggie believed it, and Chris believed it. And so when they got together, she looks at him and says, do you believe that, you know, this kiss will give you your voice back? And even that is really interesting. Right? Because in faith, whether you're Native American and you see that person, whether you're a, you know, white person, and you believe that the kiss is going to give it back to you, that's all. That's all kind of a. That's a whole nother spiritual realm. That. That's a. That's not in this dimension. It's just a belief within your own mind. And I think all religions are like that. You have to have a suspense of belief in order to get there. And that particular religion, so to speak, was kind of. What would you call it? Like a mysticism, that. That if I kiss you, you're going to get your voice back. And he believed it, so he did. So that's another whole suspension of reality that sort of threaded through the whole show.
- [16:43]
Rob Morrow
Yeah. Maurice talks about the Arthurian legends, you know, and references those as. As a, you know, kind of a myth of. Of the. The kiss. But isn't it. Isn't it more than a kiss? Aren't they suggesting that. Don't they suggest that he has to sleep with someone?
- [17:02]
Janine Turner
See, there you go. Your. Your suspense and belief, since it's not factual, like out of a scientific lab with a theory. Right. Can you can then change that to whatever you want it to be?
- [17:12]
Rob Morrow
And so I'm saying in the show. Isn't it in the show?
- [17:15]
Janine Turner
But she did not sleep with him. She stands. She stands up and she says, I can't do this. I'm not going to do this, because. But she looks at him and says, do you believe. I think, you know, she's like, well, do you believe that this kiss will do it? He said, they changed it, right?
- [17:27]
Rob Morrow
Which I guess hence the title, the Big Kiss, right?
- [17:30]
Janine Turner
But. But they changed what they play. They played a variant on that belief, which is, why don't we just say the kiss does it, right? And that's the power of the mind, I think that's the power of positive thinking, the power of. They say, all the greats like Leonardo da Vinci and Puccini and all that, that they had this ability to think, think positively and what could. Because what you think is what you are, and what you think is what you believe. So, you know, you could go further on this, like, forever and ever and ever. But was. Was one who waits really, even there. So, you know, that's just. It's a. It's a suspension of reality. That's really pretty interesting that I think had the thread through the whole show, and we've talked about that, that a lot of these storylines thread through all the A, B and C storylines. And I have to say, it was a lot of fun to work with John Corbett in those episodes. It was a lot of fun for you and I to have kind of this trilogy of someone else. You know, there being a potentiality of Maggie being a. You know, having a fair with Chris. And your face, because you see.
- [18:30]
Rob Morrow
You see how jealous Joel is, which is interesting because it's.
- [18:34]
Janine Turner
Well, I was gonna say your face at the end. I thought that was classic when everybody arrives and everybody's watching at the very end, and you're there with your hands in your pockets. You know, you did it so beautifully, Rob. And what was your line? Your line was like, what this is. What did you say? Is this a competitive Olympic sport? Do you remember that line?
- [18:55]
Rob Morrow
Something like that. Yeah.
- [18:56]
Janine Turner
Yeah. It's like, what is this, you know, Olympic sport? And, you know, it was fun to watch your face. You did it so well with that element of jealousy and. And the innocence of John Corbett in Chris of the Morning. Just wanting that voice back. But the way he handed the cards off, you know, he would have those cards already, like, here's the card, here's the card, here's the card, here's the card. It was pretty delightful. And then at the end, when you come in and ask, you know, does she moan? It's kind of like. And then John Corbett has that look on his face, Chris, like, I don't know. You know, he goes silent again, which is interesting. He's silent.
- [19:36]
Rob Morrow
Well, that's funny that I say because you say, I mean, that would be more than a kiss if you were moaning, which is interesting.
- [19:42]
Janine Turner
You think we did. Nobody knows outside that Room. That's that great country western song. No one knows what Goes On Behind Closed Doors. Did you know that song, Rob? Do you know that?
- [19:54]
Rob Morrow
Yeah, I've heard that. I do know that song.
- [19:57]
Janine Turner
So no one Knows what Goes on Behind Closed Doors. They knew that. They didn't. But you thought they did.
- [20:03]
Rob Morrow
I love how I love when Chris kind of broaches, is kind of thinking that you're going to be the candidate for him, that he, the way he kind of comes on to you is says, where's Rick? So funny.
- [20:18]
Janine Turner
I like that scene between the two of us and when I'm playing with the. The bottle, like peeling off the label from my beer.
- [20:24]
Rob Morrow
Yeah, that's a nice scene. Yeah.
- [20:27]
Janine Turner
It's because it's like I don't. That we must have actually finally, actually maybe brave it most bravely ad libbed something because I don't think peeling the label off the beer bottle was in the script. On WhatsApp, no one can see or hear your personal messages. Whether it's a voice call message or sending a password to WhatsApp, it's all just this. So whether you're sharing the streaming password in the family chat or trading those late night voice messages that could basically become a podcast, your personal messages stay between you, your friends and your family. No one else, not even us. WhatsApp message privately with everyone.
- [21:13]
Rob Morrow
Hey, it's Ryan Reynolds here from Mint Mobile.
- [21:14]
Janine Turner
Now I was looking for fun ways to tell you that Mint's offer of unlimited Premium Wireless for $15 a month is back. So I thought it would be fun if we made $15 bills, but it turns out that's very illegal. So there goes my big idea for the commercial. Give it a try@mintmobile.com Switch upfront payment of $45 for a 3 month plan equivalent to $15 per month required new customer offer for first 3 months only. Speed slow after 35 gigabytes of network's busy. Taxes and fees extra. See mintmobile.com.
- [21:46]
Rob Morrow
I think it probably was, but, but, but it was a sweet scene because there it's. You know, it's funny, I keep thinking about something Corbett said about how we kind of look alike, you know, and looked alike then. And you know, there was something in that scene that we were, you know, we're like two sides of the same coin, our characters. And we're sitting there in the bar. And it's just a casual hangout. Right. Like, there's no real pretext for us being there. You know, it's not like I came to you or you came to me. We just happened to be hanging out. Which is. Which is, again, is a. Probably an evolution in the relationship. Right. It's just. There's no. There's no reason for us to have to be together. We're just. Our time is chosen to be hanging out and we're having a kind of a friendly chat and I'm kind of giving you a hard time. And there's something fun. It was. It was.
- [22:48]
Janine Turner
Yeah, it was a fun scene to watch us just kind of have a dialogue with so much going on in our own brains that we weren't revealing.
- [22:58]
Rob Morrow
Do you know what I want to point out like that I've. I've been meaning to say now for having re. Watched the shows, the whole log truck motif.
- [23:07]
Janine Turner
Oh, right, right.
- [23:10]
Rob Morrow
You know, like, so when we were shooting, almost every episode, they would get. They would. They would pay a log. There were a lot of logging companies around where we were shooting, and they would. They would pay a logging company to allow a driver to drive through a shot with. With a big, long flatbed with. With long timber, you know, strapped onto it. And they would. They would always use it to kind of get into scenes. And I remember so distinctly when I watched those. Those moments of like, we. We have to wait for the truck to circle because it was a big truck and it had to go all the way around town to do another take. And they'd get it driving by.
- [23:52]
Janine Turner
And.
- [23:52]
Rob Morrow
And every director. Every director would come in and want to use that. And every director would think they were doing something special. And we would roll our eyes because we like. Yeah, we do that every show.
- [24:02]
Janine Turner
And it was the days before drones, so you had to have a crane if you wanted a big, you know, shot in the air. And the big. That was always the last shot of the day because it was a big. Or the first one. It was a big ordeal. But they. But the dogs, the animals that ran across the road with you or me, and then the orchestration of the. Of the townsfolk, you know, walking up and down, the movement, the other people on the street, that was all. Well, you know, that's all orchestrated. None of.
- [24:28]
Rob Morrow
That's all. And it was really. We had great ads. And I should say that Ann Gordon, who was our. Our animal wrangler trainer, reached out to me.
- [24:38]
Janine Turner
Oh, good. Hi.
- [24:39]
Rob Morrow
She wants. She wants to come on the show, and I said we'd get her on. She was great. She. You know, we had a lot of creatures and animals coming on that show that we had to deal with. That had to be. You know, we had a bear and.
- [24:51]
Janine Turner
We did so well. Yeah, I had a dog that came back as Rick. There's another suspension of reality right now. There you go. Maggie thought her dog came back as Rick, who was dead. So there's a white person, by the way, suspending belief that her dog is sitting in the chair next to her. And not only that. Well, that it's Rick. That dog. Her dog was Rick. The dog was there, but she thought the dog was Rick. So there's a suspension, a spiritual suspension of reality, for sure.
- [25:23]
Rob Morrow
I. I don't. I don't disagree that. That, you know, other. Other ethnicities have spirituality. I'm just saying that within the context of the show, they were. That was. They were floating.
- [25:35]
Janine Turner
It was beautiful.
- [25:36]
Rob Morrow
In this particular episode. Yeah, well, you know, because I think there's a lot of moments where all the characters have moments of. Of kind of transcendence, you know, where they. Where they are. Are hooked into something beyond.
- [25:50]
Janine Turner
What does. What does Fleischman have that's transcendent? Dental, transcendental?
- [25:59]
Rob Morrow
What does he have?
- [26:02]
Janine Turner
I'm trying to. I'm trying to get some examples of when you transcend.
- [26:05]
Rob Morrow
Well, his whole journey is that. I mean, over the whole course of the arc of the series, he becomes much more enlightened, much more open. He experiences things. I mean, I don't want to get ahead of ourselves in terms of what goes on at the end, but one could argue in terms of Joel's journey that it is a spiritual journey that is a kind of an arc, an opening to other than what is before our eyes. And he goes kicking and screaming because he is, at the beginning, a very hard and true materialist who doesn't think anything. I mean, even his whole way he deals with Chris in this episode and his losing his voice, it's very pragmatic. He talks about it in medical terms, not in anything mystical about it. And he's always learning those lessons throughout the series.
- [27:01]
Janine Turner
Yeah, so true. Well said. And I think that I was thinking about Maggie. She was a little. She's a little bit of both, I guess, because in this episode, she's that sort of no nonsense girl, but she was willing to go along with this alternate universe mentality that a kiss could give him his voice back. So that's pretty interesting. I think that's a duality within her Character, which is pretty cool to reveal.
- [27:26]
Rob Morrow
Absolutely. You know, and I think, you know, speaking to that one who Waits says of Joel that he thinks too much, you know, which is a, you know, from a kind of an Eastern philosophical perspective. It's the thing that gets in our way is our thinking. You know, it's like if you meditate, you're, you're supposed to not think. You're supposed to let your thoughts go. And in that you can see other realities, so to speak. But I think it's, it's interesting that one who Waits says that, and I love those scenes.
- [28:01]
Janine Turner
And he was, he's a wonderful actor. And he and Darren were really. Oh, Darren. I would say Ed's innocence through the whole show is just beautiful. He's just so innocent and, and he just is like, he never, Gosh, he doesn't bicker. He, he, he's just this young innocent. He, he portrayed it so well. And then when he didn't find. But then the look on his face when he didn't get to find his parents, you could see that hurt bubbling underneath. He, he, he, I. It was just a marvelous display of, of acting, I believe. But of course, the, the most beautiful moment in the whole thing, as far as I'm concerned. And this is all a whole nother spiritual aspect, in my opinion, was this divine coincidence. When the car he stops, a man, you know, is fixing his tire. He says, can I help you? He looks just like Ed. And he puts out his hand and shakes his hand and said his last name was Smith and that he lived down the road 17 miles. And of course, that was his last name, Smith. So that was his father. Is, is the way it was. And he gets in the truck and he goes that direction. I mean, I love stuff like that.
- [29:17]
Rob Morrow
Yeah, it was, it was touching. You know, his whole journey is to find out, you know, who his father was. And it's interesting at one point that one who Waits says that he had many fathers, which I think again, is a, the kind of that, that's the spiritual sense, you know. And then, then, then his literal father in theory shows up. And if, correct me if I'm wrong, but he, that actor, I can't remember his name.
- [29:47]
Janine Turner
Do you remember his name, the plate, Ed's father?
- [29:50]
Rob Morrow
Yeah, because he comes back, right?
- [29:55]
Janine Turner
I don't remember that. I don't.
- [29:57]
Rob Morrow
I think he does. Yeah. I think he comes back in subsequent episodes. Yeah.
- [30:05]
Janine Turner
I really don't remember, but it, I, I, that was a, I believe those type of things happen. I believe we step into situations where there's, there's someone put in our path to speak to us or reveal to us and we just have to be spiritually open to recognizing it when it happens.
- [30:28]
Rob Morrow
For sure.
- [30:29]
Janine Turner
Probably the theme of the show. Well, do you want to go through some of these questions?
- [30:35]
Rob Morrow
How about we get to some of the lines for some of our favorite lines? I'm sure you have some.
- [30:40]
Janine Turner
You mean in the show? Yeah, I actually didn't write any down this week.
- [30:44]
Rob Morrow
Oh well, I got a couple.
- [30:46]
Janine Turner
I did love that line where you said, is this, what is this an Olympic sport? You know, I thought that was a funny line.
- [30:52]
Rob Morrow
I like where you say, I don't know if this is real. They say like, where you been? You said, and you said, I just flew in from Yak Attack. I had to fly to Yak Attack. Like is that real or is it just clever funny puns? You know, I like, I love your line. Let me tell you something, Feisman. I'm not some flat chested junior league gross point wimp. That's a great line. You know, I loved how the whole town shows up. Shows up and it's just such a funny, it's just so out there that, that Chris has lost his voice that the remedy to curing it is that he has to kiss or, or sleep with a beautiful girl and that the whole town is invested a on one hand because he's their DJ and they need, you know, that's, that's the thing we didn't talk about John Cullum trying to, to talk on the K Bear is funny and to replace because Chris needs a replacement while he loses his voice. He needs someone to come in and do the DJing. But, but the whole town shows up as a spectator, as I said, like an Olympic sport to kind of witness this event which is just out there, you know.
- [32:13]
Janine Turner
Well, but that's a whole nother transcendent, metaphysical, spiritual perspective that they were all willing to take. All the whole town, the whole town believed that, well, the people that showed up at least that if he slept with Maggie or you know, had the kiss or whatever that he was going to get his voice back. Or maybe they just wanted to go and see if it was going to happen. But then they, so, but they wouldn't even go to see if it was going to happen. If they just thought, oh, this can't possibly work. So that's the suspension of reality that everybody in this show had in one way or another.
- [32:43]
Rob Morrow
Right. But they, and, but the other, the practical side too was they were Invested in him because. Because they wanted a dj, you know, so they. So it wasn't just. There was different reasons. Yeah.
- [32:56]
Janine Turner
But they also liked him probably, too, and wanted him to get his voice back. They were behind him. They were rallying for him. But they also thought it was pretty cool, this sort of mysticism. There's another word, but it's.
- [33:06]
Rob Morrow
So the. So the. The man who played as Ed's father is Eloy Cedos. And I think he came back. I think he came back. And. And that's such a touchy moment, you know, at. As you were talking about at the end, the way the connection and the. And the re. And. And Ed's realization after the fact that he may have just that. That the universe conspired to have him meet his father in all places on this road.
- [33:33]
Janine Turner
No doubt. And so, you know, what's interesting is, is we also have to. The byline in my musicals, don't give up for the miracle, you know, because that's been the kind of the theme of my life is I've.
- [33:44]
Rob Morrow
Your musical. What's your musical?
- [33:46]
Janine Turner
My musical is entitled Belva, about Belva Lockwood, who was a single mother in 1850, but because her husband died. But she was the first woman admitted to the bar the United States Supreme Court, after fighting for it and for 10, five years, and first woman to run for president on the ballot in 1884. But we could even correlate this to our stories of getting the Northern Exposure. I thought this other job was the job for me, and I didn't get it. But God knew that there was a better job, Northern Exposure, right around the corner. And I just had to not give up before that miracle. And I think it's the same thing. Ed thought, one who waits, and one who waits thought it too, that that was going to be the answer. And it wasn't. But. But, you know, God didn't take him that far to drop him, so to speak. And don't give up for the miracle because the spiritual, whatever you want to call it, you know, forces of the other dimensions looked and said, we're. We're not going. We're not going to drop you. It's just not going to happen this way. We're going to have you actually meet and see your father. So, I mean, that's. I love that kind of stuff. Whatever you want to call it. And I'm sorry, Josh, I think that might be a benevolent universe.
- [34:59]
Rob Morrow
Well, Josh's. Josh's. Josh's point was not that there's not Benevolence in the universe. No, no, it's not that there's not benevolence in the universe. It's that. That there's no. The universe doesn't have any. Any dog in the game, any skin in the game. If it happens to be that there's benevolence, it's not the universe doing it. It's just quirks of. Of existence.
- [35:25]
Janine Turner
Yeah, I don't believe. I don't believe that at all.
- [35:27]
Rob Morrow
Right, I know. Well, I know that we're not. I know. I'm talking about what Josh probably.
- [35:31]
Janine Turner
Yeah, so.
- [35:31]
Rob Morrow
And it's interesting.
- [35:32]
Janine Turner
I think it's interesting take to have. To have written this show that was so incredibly in all other universes and so spiritual. That's really.
- [35:40]
Rob Morrow
Well, I think it just opens up different interpretations for what we've been talking about. I mean, I think we might have a certain spiritual belief that he is. Doesn't have.
- [35:51]
Janine Turner
Well, but can we talk about that for a second? If it's not a other dimension, how did that father just show up?
- [35:57]
Rob Morrow
It's not a question of that. There, there's other dimensions. It's a question of whether those dimensions are acting to have some positive result.
- [36:06]
Janine Turner
But if they're not, why would that coincidence. And we're just talking philosophically here. I'm not arguing. But I mean, if how would. Who makes that happen then?
- [36:16]
Rob Morrow
Well, that's the question. There's no, There's. In his. In his mind, there's no who. And I would probably side with him on that.
- [36:25]
Janine Turner
So then how did that happen?
- [36:27]
Rob Morrow
Well, you tell me. I mean, that's the thing. It's like there's a mystery. Yeah, but you're, you're. The point is not whether there's mystery. The point is whether there's an intent on behalf on the universe trying to make some positive outcomes.
- [36:41]
Janine Turner
I think there was an intent to make a positive outcome.
- [36:44]
Rob Morrow
Okay, well, that's your right.
- [36:45]
Janine Turner
But that's my opinion. Yeah, absolutely.
- [36:48]
Rob Morrow
And I should just point out that the. Again, once the music and a lot of this was loosely.
- [36:55]
Janine Turner
Yeah.
- [36:56]
Rob Morrow
You know, there's so many great songs. There's the. The beyond the Sea, the French version, Le Bear, you know, the, The Charles Trenette song. I know I don't know it in French, but it's somewhere beyond the sea. It's so touching. It's the way they use it. The Nat King Cole's. The Nat King Cole song. You know, when I grow old. I hope I don't.
- [37:19]
Janine Turner
You know, that was. That was the Last song. I noticed that. Wasn't that the last song in the. In his truck? And so he said, this one's for you, Maggie. And he plays that. Was that the one? Was that the song there, Rob?
- [37:30]
Rob Morrow
I think so, yeah.
- [37:31]
Janine Turner
And what I noticed is the truck pulls up and you're hearing that song. He opens the door and the music stops. Right, right. He goes and he goes. He has his scene with his supposed potentiality of, you know, his father. And then he gets back in the truck, closes the door, and the music starts again. Did you notice that?
- [37:47]
Rob Morrow
I did notice. It was very sweet. They were really good about the way they sourced music a lot. You know, that it was coming from somewhere. It would then expand into a kind of meta sense, but it would have initially come from a radio or car radio or the radio at the Brick or something. It was always.
- [38:05]
Janine Turner
It was always fun, all these people behind the scenes that I was thinking about the expense of maybe getting a Neck and Cole song or the expense. And thank you to the executives. Right. That. That thought of it. Martin, Bruce Lee, we talk about a lot. Josh, who's always such a brilliant orchestrator of everything, but also, you know, the executives that said, yeah, you can have the money, all right, you know, or the money was used. Well, I don't know. There were just a lot of behind the scenes decisions because we went through all this music stuff trying to get the show streamed. And so someone had to make that decision to pay that kind of money for the music. Instead of saying, no, just write something.
- [38:43]
Rob Morrow
Absolutely.
- [38:44]
Janine Turner
We think we thank whoever you were. Okay, Rob, I have the first question for you. It's for you. You ready? This is from Kaja Koshnova, and she is a fabulous arts. Kaja Kos Nocha. I want to get that right. Kasha. Kaja Kashnocha. And she is on social media and she's a fabulous artist. And I happen to have three of her beautiful paintings, which someday I'm going to put online in my house. I'm looking at one right now, my Longhorn, and I have two in the other room, so. But here is Kasha's question. Hello, Kasha. She said my question, Rob. Rob once said in an interview that he remembers that many times his character merged with himself. So that boundary between actor and character almost disappeared, like during a very emotional. Like during a very emotional last scene where he really cried as himself and as the character. I guess that's. Before you leave, I would like to ask if you also remember such moments when your character merged so closely with you. And can you and Rob tell us more about such magical moments? So she's specifically here asking about the last scene between the two of us, which I barely remember. We'll have to go back and watch.
- [40:00]
Rob Morrow
I don't want to get ahead of us in terms of really going through.
- [40:03]
Janine Turner
That's true. But I think she's asking a general question. Is the merge of your emotional life with the character's life? A lot of times we talk about, oh, we're different, you know, I don't know how to chop wood. I don't know how to do this. But she. I think she's asking a really cool question about these magical moments when our emotions merge with the characters. So talk about it from all these merges that happen for you emotionally.
- [40:27]
Rob Morrow
The whole way that I approach the work is to use my own experience. That's the kind of approach of modern acting, is to take. To take experiences from my life and merge them with the imaginary circumstances of the scene. And so almost every episode, there would be moments where I could be speaking from Rob or Joel. You know, for instance, you know, I was like, Joel, I was transplanted from New York in. In Joel's case, to Alaska, in my case to Seattle. And so if I were talking about missing home and. And. And so all my friends and dear ones were back, back east, as were Joel's. And so if I were talking about that, it would be very easy for me to be imagining talking about my friends and loved ones, my family back East. And so those feelings were genuine. You know, the other thing is, like, you know, if. If. If I'm outside and it's freezing and we're shooting in a freezing location, you know, those are genuine feelings. I'm actually freezing, you know, and if I. If I lament the fact that I'm in this frozen tundra, as Joel would put it, you know, I could be, you know, you know, if I were tired on that particular day of shooting. And it. You know, it was a long day, and I was out in the middle of nowhere, freezing. I could easily, very easily tap into what am I doing here? You know, why am I out in this middle of this frozen landscape? You know, freezing? So. So, you know, every. Every episode had moments, for sure. And I think in terms of the last. The last scene, you know, we'll get to that when we. When we. There's great stuff there. We'll talk about when we get to that. But we're going kind of chronologically in terms of dealing with episodes.
- [42:26]
Janine Turner
Well, you know, to Build off what you're saying. This is a little bit of a tidbit behind the scenes as actors, right? Is you and I might have had. And someone put a clip together of all of our, like, kisses, which was really kind of fun. It was like, oh, my gosh, a little embarrassing, actually. But we might have had a romantic scene together that day, but we might have also been really irritated with each other personally, you know what I mean? It might have been like, I'm, you know. And then action. We suddenly have to, like, pull it out and transform. So sometimes I think there is a calling on your acting technique. But we also had that bond that was always just there and that kind of chemistry that was always just there. So it was there no matter whether we'd had a. You know, we never really argued much at all anyway. I'm just giving an example. But that's part of the acting is sometimes we pull our own emotions. Sometimes we have to do it because we're not getting it from the other actor too. Let's just. And I'm not. This isn't about you at all. But I've been in situations. The one thing I loved working. I loved working with you, Rob, because of your level of passion for your work and your generosity as an actor and, and the camaraderie and the collaboration and. And that we looked out for each other. That. That was a beautiful thing. And I got spoiled by that. And so then you go out into the other world, to another world and working on another project, and they just don't care about the work and they're showing up or you're supposed to be really attracted to them and you're not at all. I mean, that's when you have to make your own choices to. To say, okay, this. I'm going to see this. You know, I'm going to imbue this on this person. And like you say, you have to recall someone from your hometown, someone from your life or some. Something to actually make that happen. So it's just an interesting web, isn't it, of how we kind of pull it together?
- [44:07]
Rob Morrow
Absolutely. So, you know, one of the questions that keeps popping up in my feed is, will we have John Cullum on the show? And John is. We had him set. John is 95. And it's just a little impractical for him to come on the show, but we really wanted him and we wish him the best and we both love him. Him dearly. We love him dearly. And so I don't. It doesn't look like, we're going to get John on.
- [44:36]
Janine Turner
Yeah, right now doesn't seem like the right time for him. 95. I mean, he's 95.
- [44:41]
Rob Morrow
You know, John Cullum a couple. About a decade ago. So that would put him around 85, maybe. Maybe 15 years. I was in New York. John Cullum was on Broadway. He's in his 80s, doing two Broadway shows at the same time. Literally, he's in one show. It was like, on 44th Street, I think. And he's in one show for the first act, right? Then at intermission, he crosses the street, goes in the other theater, and it does. The character in the same man is doing two Broadway shows at the same time. He was indefinite.
- [45:12]
Janine Turner
Yeah, he was in 1776, the musical, and he was absolutely mesmerizing. And then, as I think I mentioned, I worked with him before Northern Exposure on Quantum Leaps. We were in Mandela Mancha together, and I. I always had a reverence for.
- [45:28]
Rob Morrow
John Cullum, and I mean, Mandala Mancha.
- [45:31]
Janine Turner
It was like Quantum Leap. It was sort of the making of that play. Like, we were actors in the play.
- [45:36]
Rob Morrow
Oh, I see. I see.
- [45:38]
Janine Turner
I was. I portrayed a character in the. In the. In the Quantum Leap. Right. That's also perhaps applicable to today's show. Everything we're kind of talking about is a Quantum Leap. If you want to get into metaphysics, the atoms that split and they. They do the same thing, no matter where they go. But we. We digress. But I revere John Colum, and I used to walk up to him and say things like, would you recite this poem for me? Because I would just want to hear him recite it with.
- [46:05]
Rob Morrow
I always remember the way it always. I used to make fun of you, and it just. The way you say. No, the way you say poem, it's so. It's not. And it's not. You know, it may not. I say poem.
- [46:20]
Janine Turner
Poem.
- [46:22]
Rob Morrow
I know, but it's funny to me. I say poem. Poem. You say poem.
- [46:27]
Janine Turner
Well, I'm from Texas, all right?
- [46:29]
Rob Morrow
I'm not just saying. I just. It just brings back memories of. Of. Because Janine is a poet. She actually writes poetry. So we would talk about poetry fairly often. And. And I think at first, when you first started to say I didn't know what you were talking about, I was like, what is she saying? And then I realized that that was your way of saying, we say things.
- [46:48]
Janine Turner
We say we. We have a lot of sayings down here in Texas, like, you're just gonna get upset every little whip stitch, aren't you I got a Texas Someone said what's a whip stitch? This episode is brought to you by Stay Farm. Knowing you could be saving money for the things you really want like that dream house or ride is a great feeling. That's why the State Farm Personal Price Plan can help you save when you choose to bundle home in auto bundling. Just another way to save with a personal price plan. Prices are based on rating plans that vary by state. Coverage options are selected by the customer. Availability, amount of discounts and savings and eligibility vary by state. Are you ready to dairy free your mind this summer? Melt away your dairy free expectations with so delicious Dairy Free frozen desserts. Enjoy mind blowing flavors like salted caramel cluster chocolate cookies and cream cookie dough and more. For over 35 years, so delicious has been cranking up the flavor with show stopping products that are 100% dairy free.
- [47:52]
Rob Morrow
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- [47:54]
Janine Turner
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- [48:06]
Rob Morrow
I think you know, I wouldn't mind reading a couple because I'm not coming up with any any questions but but some of the comments are interesting and there is a general theme that we talk about of how how the show has affected so many people. This is from we don't have the name but this is the their hand their handle on face on on YouTube. This is Turtle Kitty 357 thanks so much for this show. It meant more to me than you know. I was relatively young but not only was I embarking on different path, but I was actually living in a very funky, unique and different life path at the time, but living in a small community of equally eccentric souls in the foothills of Montana. I went from city life to rural life, but it was eye opening experience. Then I had a show that often reflected my experiences so I loved it. It was also comforting too. It's. It's interesting, you know that it's that a show, you know so much television can be anchoring for us if we see ourselves in the characters, you know. And, and a lot of there were so many different kinds of characters on Northern Exposure that a lot of people could see themselves in the journey. I'm always amazed at who when people come up to me who their favorite character is, you know, or who they hated, you know, it's always interesting.
- [49:33]
Janine Turner
This. Okay, this is from Sky Tenniel. Sky Tenniel, love that you're doing this. Thank you. If I want or need to Feel uplifted. I can always go to Sicily. It's no exaggeration that it's affected my life positively over all these years. In fact, I'll soon reside on a small Caribbean aisle. South to the future, he says. Haha. Which, which reminds me, a lot of Northern Exposure in Sicily. Robin, Janine, please keep going with these awesome talks. Much love. So that's, that's great. Thank you for that. And also that fits into what you just read, Rob. He's now going to go to his own small town that the show affected him for years. So that's cool. If positively affected, Uplifted. We talk about that, don't we Rob? Yeah, absolutely uplifting for people. So thank you for that one. This is from Matthew Farace. Matthew Farace. This podcast delivers on every level. If you're a fan of the cap like Capital Letter, greatest TV show ever made, you'll get lost in how brilliantly Janine Turner and official Rob Morrow navigate the ins and outs of making the making of the series. As an executive producer, I can also assure you that this podcast satisfies even at the, at the deeper level of production and storytelling. Bravo. There. Cool.
- [51:08]
Rob Morrow
Here's one. How does one get the original series with the original soundtrack? Now the one, the one that's playing on Amazon prime now, which is streaming, has most of the original music. So you can get it there for sure.
- [51:23]
Janine Turner
Yeah, I'm surprised how much of the original music really is. I mean we talked about that a lot when I worked with Universal to get this stream. That was the major, major contention. And actually they have a lot of the same songs.
- [51:34]
Rob Morrow
And what happened with the music rights? Because he also says. Could you guys also address what happened with the music rights? The back, back in the, when we did the show, there wasn't this sense of eternity with television shows. They had a kind of a shelf life and so they would make, they would make these deals that would be short term, so they would make the music rights. Deals I think tended to be around five years and when those rights expired, there was so much needle drop music in Northern Exposure that was really expensive. Nat King Cole, you know, the, the, the French song Lemaire. All these songs were super costly. So that when it came time to, to, to syndicate the shows in, in subsequent years, the rights for the music were gone and so the studio would have to pay a fortune to get the rights. But somehow enough time went by and they were able to come up, make some kind of deals so that, so that they could get the rights again. Or they were willing to pay money. I don't know which it was. But the thing that's interesting is now if you get a, if you get a license for a song, you, you get it in perpetuity, you know, so, because they, these, these shows go on forever. I mean, here we are 30 years later and Northern Exposure is streaming.
- [52:55]
Janine Turner
And also this was a, as I said, I talked to them a lot about this. This was also a. Is different now kind of to build off what you said, Rob. It's, it's, it's many different forums. It's, it's not just television anymore. It's going to go in stream and be all over in all kinds of places. And I think they just started to work out certain situations where everybody would be the pay the same. But it was a big undertaking for our executives. We want to thank them very much because they had to call each and every one. I mean, it's a big deal when you have to reach out to re. License all the music. And I, I was working with them for three years on this and I, I just kept calling and at one point they said, no, we decided we're not going to do it. And it came to me third person. So I called back and said, what is this? I hear that you're not going to do this. And they're like, oh, okay, here we go again. And they got it back on the wagon. But the music, it was really difficult to have to call all the licensing. And I think they finally figured out a way to do that. What I said to them though, is music. The music was a star in the show. And all the intricacies of every choice of music meant something to our producers. But also it's not all there was to the show. And that's what I would say. It's like, are we gonna lose the show and not have it out there for, you know, all kinds of people to see again, rising generations to be able to enjoy it, have a legacy for it because of maybe a song or two that's missing. And also it was, it was great scenery, it was great writing, it was great acting, it was great costumes, it was great storytelling. So we don't. Are we gonna throw it all out with the Baby with the Bathwater for a couple of songs? So I think I, you know, finally there was some headway made in that area.
- [54:39]
Rob Morrow
So here's one. This is from ky2fl 2015. Most all of the characters were relatable, at least a little. Okay, maybe not Adam and Eve and the Idea of getting away from normal, to carve out a unique existence in a little community in Alaska is a dream for a lot of us who yearn for a life full of unique experiences. Plus, Maggie and Joel's chemistry was so damn cute. I do think that's an interesting appeal of the show. I don't know when we were talking about. Is that we were doing an interview yesterday, Janine and I, and we're talking about the idea of Alaska being the last frontier, which I think this person is kind of getting at. And the show spoke to this unique existence where you would have unique experiences. And I think that. That I. I know for me, the idea of. Of kind of running away to a town like Sicily is. Is something I. I think about a lot. You know, just living somewhere where my experiences weren't necessarily shaped by the. The. By. By. By grand culture, but. But more intimate and so. So. So it's nice that that person wrote that.
- [56:05]
Janine Turner
Yes, it is. Here I have one from. Okay, how do I say this? Mar. Mariposa, blue sky. Mari. Mariposa. Maybe it's Mariposa blue sky. Anyway, hope I'm not Mara. Or could be Mara Posa. Blue sky. All right. I still marvel at the amazing storytelling this series brought to television and still does. A testament to the great writing, acting, and producing. And I am loving how detailed you both are telling the backstories. Keep it coming. It really was a short story each week. Jeanine. I totally agree. I want to hear more about every one of them.
- [56:50]
Rob Morrow
So do you remember any more of the shooting of this particular episode? Like, do you remember anything? I guess you talked about, Chris, you know, because those were new scenes for you and John Corbett. Those. Were those fun to do?
- [57:07]
Janine Turner
Yes, they were fun to do.
- [57:09]
Rob Morrow
Yeah. Do you remember any of. Do you remember. And you remember how many. How many houses do you think your character had? Like, I think three. Right. I.
- [57:17]
Janine Turner
Well, I know one burned down. And when we were talking earlier about what our crew had to do every week, I sit back sometimes and think about they. They pull you out of your trailer at 2am and say, come on, you know, the house is burning. You got to get there. The house was literally burning. It's like, how did they do that? The things in production that they had to think of? So, yeah, one at one of her house. Her house is burned. Burned down. And it was. It's always a joy to work with John Corbett. He's. He's just a delight in every way. And, you know, when you have a kissing scene, it's always like, is my breath nice? You know what I mean? It's like, do I have a little mint? They used to have Altoids in the. In the camera, like, box right underneath the camera. So we. I remember I cannot see an Altoid to this day and not think about Northern Exposure.
- [58:03]
Rob Morrow
I think you went. I think they had three different. They kept coming up with different houses for you for some reason, I guess they lose. They would lose. Like, we would. You know, the town. It's an interesting thing to talk about, the town of Roslyn, where we shot, because when we first started shooting the show up there, they hated that we were there. They didn't want us there. We were a burden to them. We would come in, take over the town, tell them where they could go, when they could go. You know, once we took over the street, no one could walk down it because we were shooting. And at first, they really wanted us out of there until the show became a hit and it kind of put them on the map. And then. Then their tunes changed. And also, I think Universal started paying more money. But I think what would happen is we would get a location, say, Janine's house, Maggie's house, and we would use it for an episode or two. And then the people would say, no, I'm done. I don't want anymore. You have to pay me so much money that they couldn't afford it. And so. So we'd have to use different locations. And. And I just remember looking at that house last night because it was a different. Yeah, it was a different house. Right. It was like. We used it a couple times, but then it was. That was the last. And that was early on.
- [59:09]
Janine Turner
Was that the one that burned down, though?
- [59:11]
Rob Morrow
I don't think so. No. I think that was another one. Right.
- [59:14]
Janine Turner
Remember, we'll have to pay attention. Well, to kind of. And also, a lot of people have said north to the future, so they really love that. Oh, and there's one Rob I want to make sure I read, but this is from Ken Shouldman, Ken Sholdman. He says Northern Exposure is the perfect antidote to the times we are living through.
- [59:34]
Rob Morrow
Yeah, well, we've spoken about that a lot. I got one here saying getting Elaine Miles on would be absolutely amazing. That's right. We got her coming, and it was great to reminisce with her. So that was fun. That was from Kallum Frame. C A L L U M F.
- [59:58]
Janine Turner
R A A M E this is from Jen Clearman. She says, I'm so happy you two are doing this, you can feel the love and respect you both have for each other, the cast, crew, and the story. Thank you. Well, thank you, Jen. Someone said, how often does it drop? I can't find it right now. But of course it. Every Tuesday, a fresh episode will be released. And also, someone asked something about. Wish they were more than once a week. But, you know, I kind of think it's great that it's not. I miss when I, When I, When I. What's the word we call it when you watch everything at once? Stream, binge watch, binge watch. When we binge watch, it's so you're, you're, you're like, I want to watch the next one. But then it's over. It's sort of like eating a bowl of ice cream and you're loving the ice cream, and then it's gone. And you want more, but you can't get more. And the great thing about having an episode released once a week is there was an anticipation. It was a slow saver every. You know, I don't really have a show that I look forward to coming home to watch anymore because it's just this kind of binge thing. But at the end, during the time I would hear people on the radio talking about the show that all. They'll all get together at the office and talk about it around the water cooler. Because back then, the show was a national event at the time. Same, same. Everybody watched at the same time on the same night. And so it led kind of to this, like watching a football game. Oh, talk. Let's talk about the football game last night.
- [61:38]
Rob Morrow
There are still a lot of shows that drop weekly, by the way. Oh, yeah, there's a lot of, A lot of networks that still do.
- [61:47]
Janine Turner
Television.
- [61:48]
Rob Morrow
No, HBO drops their shows weekly. Netflix drop. You know, a lot of them drop their shows weekly. It's. It's kind of come back into fashion and, and it never, it never went out, really. They were just. There's. But there is certain shows where they.
- [62:02]
Janine Turner
Seasons at a time.
- [62:04]
Rob Morrow
Well, once they're aired, you know, they're there like I've been binging Breaking Bad, which I never had. So. But. And there are shows that do drop the entire thing at once, but mainly it's come back in Vogue where it's good. I'm glad to drop them on the weekend.
- [62:19]
Janine Turner
But what, what is missing though, I think is, you know, when everybody watches a Super bowl, let's just say the whole nation is sort of like watching the Super Bowl. And so afterwards, the next day, everybody's talking about the Super Bowl. Everything is so diluted now. You can go to so many different stations. It's hard to build a star, actually. I would hate to be a publicist in this day and age. It's hard to actually build a hit, hit show. But you never have that kind of three networks only and then people. Not that everybody watched as many people watch Northern Exposure as watched the super bowl, but that, you know, everyone kind of watched it at the same time and there wasn't that diluted factor. So more people talked about it and I think that that was. It's not really going to be replicable today, even if you drop a show on HBO or Paramount plus, someone might not have Paramount plus, but everyone had abc, NBC and you know, yeah, it's.
- [63:13]
Rob Morrow
A different world for sure. It's fragmented and. But it's the world we're in.
- [63:19]
Janine Turner
But it's a great. But Northern Exposure is a nice antidote to that world. But. Well, okay, Rob, we had an interesting show. Josh, we love you. We respect that you don't want to be attributed to benevolent universe. We get it. We get everybody's points of view that come to the show and bring their own perspectives. And we certainly have our own. All right, well, thank you all for listening to this very probably most eclectic, eclectic and philosophical show.
- [63:50]
Rob Morrow
You should know that you can, you can listen to the show or you can watch it on the Northern Disclosure YouTube channel. Either or. Just so you know, if you want.
- [64:01]
Janine Turner
To see us everywhere available. Everywhere. Alrighty. Well, next week, look, we had a great time today and we're gonna sign off from o' Connell and Frank Fleischman.
- [64:13]
Rob Morrow
Actually, I think it probably should be Fleischman o'.
- [64:15]
Janine Turner
Connell. In your dreams, Fleischman.
- [64:22]
Rob Morrow
Northern Disclosure is a production with evergreen podcasts and executive produced by Paul Anderson and Scott McCarthy for Workhouse Media.
- [64:35]
Janine Turner
Mom and dad, the school supplies you buy me this year will mostly end.
- [64:39]
Rob Morrow
Up in my mouth.
- [64:40]
Janine Turner
Maybe shop low prices for school at.
- [64:42]
Rob Morrow
Amazon so I don't eat up all.
- [64:44]
Janine Turner
Your money, just something to chew on. Amazon.
- [64:48]
Rob Morrow
Spend less, smile more.
- [64:50]
Janine Turner
Are you a Bravoholic 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 or host David Yontif interviews all of your favorite Real Housewives and Bravo liberties. Plus, he dishes the dirt seven days a week. That's behind the Velvet Rope on Apple Spotify or wherever you get your podcasts.