S4E1: “Northwest Passages” with Rob Morrow and Janine Turner

Summary

Northern Disclosure – Season 4, Episode 1: “Northwest Passages”

Podcast: Northern Disclosure
Hosts: Rob Morrow & Janine Turner
Original Air Date: March 24, 2026
Episode Focus: A rewatch of Northern Exposure, Season 4, Episode 1 “Northwest Passages” with in-depth commentary, anecdotes, and life reflections from co-stars Rob Morrow (Joel Fleischman) and Janine Turner (Maggie O’Connell).

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Episode Overview

This episode marks the start of Season 4 for the Northern Disclosure rewatch podcast, with Rob Morrow and Janine Turner delving into “Northwest Passages.” The episode centers on Maggie’s 30th birthday and her existential reckoning, sparked by a traditional ritual to say goodbye to her deceased boyfriends. The hosts revisit the show’s signature blend of humor, quirky life lessons, and introspection, mixing nostalgic behind-the-scenes stories with personal reflections on aging, vulnerability, and life journeys.

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Key Discussion Points & Insights

Chemistry and Catching Up ([01:51]–[02:20])

• Janine introduces the show and banters with Rob about their current locations (Texas and New York), revealing their ongoing off-screen rapport.
• Discussion about interacting with fans on social media and YouTube, establishing a casual, self-deprecating tone.

“Northwest Passages” Recap and Maggie’s Storyline ([02:47]–[04:20], [14:14]–[15:39])

• Rob summarizes the episode, focusing on Maggie’s ritual for her 30th and her vulnerable journey:

  "On Maggie's 30th birthday, she decides to perform an ancient Native American ritual for saying goodbye to her dead boyfriends..." ([02:47])

• Janine shares her approach to Maggie’s vulnerability, contrasting it with the character’s usual strength:

  "There's something about your vulnerability, you know, that we don't get to see." ([02:47])

Directorial Praise and Behind-the-Scenes Details ([04:38]–[05:38])

• Discussion of director Dean Parisot and writer Robin Green’s contributions:

  "The great Dean Parisot. The great Robin Green. I love them both as people and as artists." – Rob ([04:38])

• Reflections on subtle humor and the impact of editing and directorial choices.

Mood on Set and Actor Insights ([05:38]–[08:21])

• Janine describes noticing nuances in performances, sometimes projecting backstage moods onto screen.
• Both hosts discuss how actors’ personal lives subtly filtered into their work.

Favorite Lines and Quotes from “Northwest Passages” ([09:21]–[10:19])

• Janine highlights favorite show quotes:
  • "So confidence, common sense, and consciousness." – John Corbett as Chris Stevens ([09:21])
  • "I think, therefore I do." – a riff on Descartes, delivered by Chris ([09:27])
  • "I lean into a curve and she's there for me." – Chris teaching Marilyn to drive ([10:18])
• Reflections on the episode’s philosophical underpinnings.

Rites of Passage and Character Journeys ([10:21]–[12:24])

• Rob outlines the episode’s thematic focus on rites of passage: Maggie’s birthday, Marilyn learning to drive, Maurice writing his memoir.

  “It’s all about rites of passage this episode… We’re all on a journey, and they were in a car, on a journey.” – Janine ([10:40])

• Discussion about the symbolic meaning of Marilyn opting to walk instead of drive.

Teaching and Coaching Philosophies ([12:24]–[13:09])

• Both Rob and Janine reflect on their experiences teaching acting, highlighting the importance of listening and “being there for the student.”

Maggie’s Ritual Scene: Letters to the Past ([14:14]–[18:05])

• Janine describes the ritual scene, writing letters to her deceased boyfriends.
• Humorous nod to recurring boyfriend deaths (one “crushed by a satellite”) and the cathartic, sometimes comedic tone of Maggie’s letters:

  "Had you lived, you would have realized the error of your ways. And I would forgive you everything as I do now." ([17:33])

• Cameo praise for Patrick Warburton as “Glenn,” and Grant Goodeve as “Rick”:

  “He’s so funny, I enjoy everything he does.” – Janine on Warburton ([18:50])

Character Details and Growth ([20:21]–[22:01])

• Lighthearted discussion about learning new canonical details, e.g. Joel skipped two grades.
• SpaRkling banter over Rob’s vocabulary and their off-screen intellect vs. character personalities.

Life Lessons and Aging: 30s versus 60s ([22:34]–[24:52], [33:03]–[36:47], [37:07]–[41:43])

• Candid reflections on emotional maturity over time:

  “It’s taken me forever to learn… how to keep my mouth shut. For sure. I still work on it.” – Rob ([23:08])

• Discussion about God, compassion, and trying to be better each day.
• Transition to observations about beauty, aging, and self-esteem, with Janine sharing vulnerability about being seen as a “beauty”:

  “It’s so weird when you’ve been kind of considered a beauty to then age as a beauty ... I heard Jessica Lange… when I was young, I didn’t want anyone to pay attention to my beauty, but as I’ve gotten older, all I want to do is be beautiful.” ([35:44])

Episode’s Emotional and Cinematic Highlights ([24:52]–[27:46], [42:24]–[44:43])

• Rob highlights Joel’s evolving comfort in Alaska – “He’s so comfortable now out there” – as character progression.
• Favorite on-location moments, especially the canoe scenes:

  “It always feels like you’re getting a day in the park... they’re paying you to play.” – Rob ([26:51])

• Discussion of the emotional hospital scene and understated tenderness between Joel and Maggie:

  “He looks at her chart… then he tucks himself in a chair... and just gonna be there in case she needs him…” – Rob ([42:24])

Philosophizing on Milestones and Success ([33:44]–[41:43])

• Debunking Hollywood and American age myths (“If you haven’t made it by 30, forget it.”)

  “At any age you can do anything... The standard is loving what you’re doing. The age thing is a construct from Madison Avenue, really. I don’t buy it.” – Rob ([38:41])

• Importance of perseverance and self-belief, regardless of timing or outside expectations.

  “Don’t give up before the miracle.” – Janine ([41:38]) “Don’t let anybody put out your flame.” – Janine ([41:43])

Notable Ending & Memorable Moments ([43:59]–[44:59])

• Rob remarks on the intimacy and cinematic touch in the episode’s hospital ending, highlighting Dean Parisot’s direction and the poignant use of Stevie Wonder’s “Happy Birthday.”
• Janine relishes a small but real moment: Maggie’s reaction to Joel’s caring gesture.

Ruth Ann’s Iconic Outburst ([45:06]–[45:58])

• The pair dissect Ruth Ann’s destruction of Maurice’s tape recorder:

  “Why would she do that? It seems so cruel, you know… but it’s just the universe saying, okay, shut up about yourself.” – Rob ([45:32])

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Notable Quotes by Timestamp

• On Maggie’s vulnerability:
  “There’s something about your vulnerability, you know, that we don’t get to see.” – Rob ([02:47])

• On aging and self-forgiveness:
  “From a physical standpoint, I love being in my 60s... I feel more like I understand more, and I’m more forgiving of myself and others, and that only comes from age.” – Rob ([33:03])

• On the ‘rite of passage’ motif:
  “We’re all on a journey, and they were in a car, on a journey.” – Janine ([10:40])

• On acting and vulnerability:
  “My acting is always better when I’m sick... you let go of all your, you know, kind of ways that you present yourself to the world and you’re just you.” – Rob ([16:44])

• On life’s winding journey:
  “It’s just around the bend. And you said around the bend. We’ve passed 35 bends.” – Janine recalling a favorite line ([27:35])

• On self-worth and perseverance:
  “If you are approaching 30 and you haven’t achieved your dreams, don’t give up, you know, keep going, but do it for the right reasons. Do it because you love it.” – Rob ([39:44])

• Philosophical lesson from the episode:
  “You set my past to rights... It’s a purging. It’s a catharsis. Right? The letters in the... It’s like a baptism, right, of your past.” – Rob ([30:50])

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Segment Timestamps

• [01:07] – Show Opens, Banter, Inviting Listener Clips
• [02:47] – Episode Recap & Themes
• [04:38] – Directorial & Writer Praise
• [05:38] – Mood on Set, Noticing Actor Subtleties
• [09:21] – Favorite Lines & Philosophical Nuggets
• [10:21] – Rites of Passage Motif
• [14:14] – Maggie’s Ritual & Boyfriend Letters
• [20:21] – New Canon/Fleischman Character Details
• [22:34] – Reflections on Youth, Aging, Emotional Growth
• [24:52] – Joel’s Growth & Canoe Scene
• [27:46] – On-Location Filming & Philosophy of Life’s Journey
• [30:50] – Emotional Takeaways, Self-Forgiveness
• [33:44] – Discussion on Age, Beauty, and Hollywood Expectations
• [37:07] – 30th Birthday Party Memories & Evolution
• [39:44] – Wisdom, Perseverance, and Success at Any Age
• [41:43] – Self-Belief “Don’t let anybody put out your flame”
• [42:24] – The Hospital Ending & Cinematic Touches
• [45:06] – Ruth Ann’s Tape Recorder Moment
• [46:14] – Supporting Cast Praise & First Show Back Feelings
• [46:48] – Outro & Hosts Signing Off

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Tone and Takeaway

The episode is characteristically warm, playful, and philosophical, mirroring the original series’ unique blend of humor and heart. Rob and Janine pepper their critique with behind-the-scenes stories, generous praise for their colleagues, and open discourse about vulnerability, aging, self-acceptance, and creativity. Their reflections serve as both a love letter to Northern Exposure and a gentle encouragement to listeners to embrace their own journeys.

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Summary prepared for listeners new and old – whether you’ve visited Cicely, Alaska before or just want some smart, quirky comfort food for the soul.

Transcript

[Jeanine Turner]

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[Rob Morrow]

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[Jeanine Turner]

Hi, I'm Jeanine Turner and welcome to Northern Disclosure, where my handsome and charming and debonair and talented co host Rob Morrow and I walk through episodes of Northern Exposure. So, howdy. I'm in Texas, Rob's in New York this week, and I just want to remind you to hit that subscribe button. Share it with friends. And if, by the way, Rob and I were talking ahead of time, if you have a little clip that you just love of Northern Exposure or clip, if you kind of know where we are in these episodes, send us an advanced clip. Where do they send it, though, Rob? We haven't figured that out. I guess send it via. How. How does that work on social media? Rob, I really don't know. You. You can send it. You could post it and add us or something.

[Rob Morrow]

Yeah. Well, first of all, hi. How you doing?

[Jeanine Turner]

Hi. Hello.

[Rob Morrow]

How's it. How's it going?

[Jeanine Turner]

Just fine, fine and dandy.

[Rob Morrow]

Good.

[Jeanine Turner]

Yep.

[Rob Morrow]

Glad to hear that you're slipping into your little Texas sound there.

[Jeanine Turner]

Yep, fine and dandy down here on the range.

[Rob Morrow]

Glad to hear that. And to answer your question, how are you? I'm good. I'm so happy. I'm in New York. I'm seeing a ton of theater. I'm seeing friends. I'm just, I love being in New York, so I'm happy.

[Jeanine Turner]

Yeah. Good.

[Rob Morrow]

But to answer your question, you know, a lot of where I see people's comments occasionally on social media, on general social media, but in the YouTube comment section, people, that's where I see a

[Jeanine Turner]

lot of comments just at us, right? They just say, hey or tag us. I don't, I don't know. As if I'm the expert. I'm an old timer. I'm officially an old timer, which is definitely how I felt watching this show. But I'll let you. This is the show. Northwest Passages.

[Rob Morrow]

This is the first episode of season four, as you say. Northwest. Northwest Passages. And the little synopsis is on Maggie's 30th birthday, she decides to perform an ancient Native American ritual for saying goodbye to her dead boyfriends. Joel and Ed later have to rush in for the rescue, which when she turns out to be ill. So there's more to it than that. But that's the big story. The big. The a story is your. Is your journey, which is really fun. I love this episode. You were adorable and fun. You know, there's something about your vulnerability, you know, that we don't get to see. We don't see. Well, I guess we see it often. But it's such a contrast to Maggie how she presents herself in the world. And so the first time, you know, you're walking along in the. In the opening, it's this great little. You're walking along somewhere, I don't know where, some trail, and you come upon Chris Stevens, John Corbett, and you're kind of happy. Go lucky about turning 30. It's no issue. And then all of a sudden, everyone starts to plant these ideas about, wow, man, more mortality. If you don't. If you haven't achieved everything in your life by 30, you're nothing. And. And the look on your face each time someone says to you this, you know, makes you aware, is just so sweet because you just kind of, all of a sudden you see you sinking into. Into this depression, basically.

[Jeanine Turner]

It was funny. I thought. I thought Cynthia was great with all the things she said behind the bar.

[Rob Morrow]

She was really funny.

[Jeanine Turner]

Your. Your buns are going to go to this and you're going to get crow's feet. And it'. Everyone telling her it was. Robin Green wrote it. Dean Parisot directed it.

[Rob Morrow]

The great Dean Parisot. The great Robin Green. I love them both as people and as artists. Robin has written many shows for us and was a staff writer and producer and Dean directed, I guess, two or three. And he's just such. He's such a great touch. And there were so many funny little charming moments that I'm sure came from him.

[Jeanine Turner]

It's all in the editing, isn't it? In post production. There's just. Well, it's not all on the editing.

[Rob Morrow]

Well, you got to give him something to edit, right? You got to. You got to give him something to edit.

[Jeanine Turner]

So you're saying it's the shots that he did, but also the editing.

[Rob Morrow]

Not just the shots. The way he directed people, the performances, the subtle little moments between people, the. The. The. The angles that. That kind of enhance the story. You know, I think he just. He just has a great. He just has a great sensibility, and he has a kind of. He's really funny. His. His. His sensibility is funny, and he does it in a subtle way. It's my favorite kind of humor is subtle.

[Jeanine Turner]

Yeah, mine too. No laugh tracks, thank you very much. But, you know, it's. It's interesting now that we're in our four. We were in our fourth season. By now we had done what, I don't know, 25. Was it? Three.

[Rob Morrow]

Just about 44, 45 shows.

[Jeanine Turner]

I think we had a lot of episodes. And you know what I started to. What I think I could pick up on when I watch is the kind of mood that person was in today that day. You know what I mean? I can see it. I know him so well. Like, with Corbett, I'm kind of like something's going on with Corbett. You know, I. I sense there's a little something going on behind with Corbett, and. And sometimes I sense it with Elaine. Like, I think Elaine is. She. Sometimes she has that very sto. You know, the stoic. And sometimes she's got that little bit of humor. And I'm thinking. And I'm. I'm. I'm imbuing. What. How. What. Right. And how even though we're going out to act, we sort of know. I mean, I wouldn't know specifically at all at this point, but I can kind of pick up whether they were in a good mood that day or a bad mood. That. Can you. Can you see those subtleties behind.

[Rob Morrow]

I know what you're talking about, and definitely I can certainly. I can project things onto it. And I do remember when I watched the shows originally, having known what people were going through, I could then see a little bit of it go in there. You know, having known that Corbett was on a bender that weekend and he looked a little hungover or that. That, you know, Elaine was, you know, going through some relationship issue or, you know, whatever it was. But I don't know so much now, but I'm sure what you're. You're. You know, the unconscious is an amazing thing, you know, and the memories are stored there that we don't know.

[Jeanine Turner]

The subconscious.

[Rob Morrow]

The unconscious. Subconscious. Unconscious. Yeah. I mean, it's. It's where these memories are stored, and we don't know that we remember them. So they do come up and they feel like new thoughts, but they're really based on what we experience. Experience back then, you know.

[Jeanine Turner]

So I wouldn't even know if I'm correct. I mean, I could make an assumption, but I. I can just sort of look at their performances and pick up things. And maybe, as you're saying, I just. Muscle memory, Like, I just sort of remember something that went on at the time, I think. So I don't remember anything specifically at all in regard to anybody's performance. I just thought I could see, like, behind Corbett that. That something was maybe going on. But it brought an interesting kind of a different color for him. Especially the scene, I think, in the. That where it. Where he's working on the car and she comes in and wants to teach him something. There was something going on with Corbett that day. Right. And you could. I could really there. It brought a completely different color. He was almost a little. A little perturbed, you know, it's like you're asking me to do. It was just different than what we normally see from John from. From Chris in the Morning, let me just say. But it was. It was interesting. It was cinematic. It was cinematic. I really liked it.

[Rob Morrow]

I was loving his performance in this. And I thought that it may have been just him dealing with. You know, each character is dealing with their own kind of sense of mortality, you know, And I think maybe John was. Was either unconscious again, everything unconscious, conscious, you know, he was kind of dealing with that, you know, I'm always amazed how subtle. Like, I catch little subtleties in his performances now that I don't remember back then, but they see them now.

[Jeanine Turner]

Yeah. Well, I have great lines, and I do want to talk about kind of what was going on in my head in this thing, but you want to hear some. I wrote them down. I watched. I have a big loft for my bedroom, and I don't have a really big TV because, I mean, my big TV broke about 10 years ago and I've never replaced it. So I have this TV over here and it's way across on the other side of the loft. So I can't really see well out of. Out of it for nuances, but I moved it to the close to my bed so I could watch it today on TV and take notes. So I have notes of some of my favorite lines and, well, shout out to Robin Green on the. This. You ready?

[Rob Morrow]

Yes.

[Jeanine Turner]

John Corbett says. I don't know where he said it. So confidence, common sense and consciousness.

[Rob Morrow]

Yeah, that's great.

[Jeanine Turner]

We're talking about consciousness. Isn't that weird that that would be. Okay, so I love that line. And of course, day Descartes, I think, therefore I am. But what. That's of course, the philosopher Descartes. But he said, I think the, the line that Robin did, which was a take off of that. I think, therefore I do. But of course, it's really I think therefore I am by the philosopher Descartes, which started a whole revolution in consciousness.

[Rob Morrow]

It's true.

[Jeanine Turner]

I. I think, therefore I do. I thought that was clever. I thought a lot of these. Of course, they all come from John Corbett because that's, you know, Chris and Moore. That's when they can do all these philosophical lines. He was teaching her to drive and he said, I lean into a curve and she's there for me.

[Rob Morrow]

Yeah, great.

[Jeanine Turner]

That's a great line too. Right?

[Rob Morrow]

That's a whole interesting storyline with Marilyn learning how to drive as her, you know, her dealing with kind of. I mean, I guess it's all about rites of passages, this episode. Maurice dealing with mortality and his writing, his memoir. And Elaine. Elaine learning how to drive. And you on your, you know, kind of coming to terms with the past.

[Jeanine Turner]

We're all on a journey. And they were typically. They were in a car on a journey.

[Rob Morrow]

Right, Right.

[Jeanine Turner]

In Corbett, Chris in the morning was bemoaning. You know, I. I failed as a teacher because I made it too difficult. And. And I think that that's. That's symbolic in so many ways too. Sometimes something that should be so joyous, we mess it up as humans and make it difficult even. Even in our own minds. Right? Not. But then also she, she. It was too difficult. So did she back away from something that a lot of us do too? We go, this is too different. Not usually. I. I usually walk through the storm, but it's too difficult. So I'm gonna walk back from it. But then you could say on the flip side of what Elaine was doing. Marilyn. Marilyn was doing is that then she chose the simplicity of just walking. And how beautiful is that?

[Rob Morrow]

I love that. I mean, that's what she says is she didn't want to drive because she missed walking. It's such a sweet notion what Corbett, what Chris Stevens said that was so interesting. It was a great line where he said, she asked me, you know, I had a student who asked me for the time and I told her how you make a clock or. I'm paraphrasing, it was something like that, which is such, you know, and I do I teach sometimes some acting. And, and, you know, I have to remember and I'm always kind of helping people. And, and, you know, you have to really, you have to. As a teacher, you have to be there for the student, not for what you want to impart. You know, what do they need? And so that's a. And that's. You see, kind of Chris Stevens learn that. And, and, and I love. Elaine always has the, you know, the most kind of profound, philosophical, you know, resolution, you know, with just like, yeah, I'm gonna drive. Why? Why drive? I'd rather walk. It's so great.

[Jeanine Turner]

Yeah, it's really, it's really cool. And, and I teach acting as well, and I really love doing it. And this. I just finished these founding father minutes, which are going to be released soon all over social media. And I directed it and wrote it and all that kind of stuff. And the actor after was like, will you coach me? How much will you charge? You know, and I'm like, oh, come on, you just worked for us. You know, I'll. But it's so much fun to coach. But I, I remember what my acting coach, Marsha. Marsha Hofricht. How won. And she was in the actor studio with Marilyn Monroe and Paul Newman and all of them, all of them. She was there with all of them. But she, she would listen. She was just a great listener. And so when I'm teaching too, I thought I just, I'm just gonna listen. You know, I'm gonna sit back and I'm gonna listen.

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[Jeanine Turner]

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[Jeanine Turner]

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[Jeanine Turner]

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[Jeanine Turner]

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[Rob Morrow]

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[Jeanine Turner]

Okay, so I thought it was funny when Maggie was talking to the guy who was camping on the same place and she said, I have invasion issues.

[Rob Morrow]

Right. That was a funny mom. That whole speech is great. Where you. So let's just talk about that moment where you're. You show up, you're trying to deal with your birthday, and everyone assumes you're gonna have a party. You're turning 30, which you were turning. We both were turning around this episode, around this time, this season anyway. Which is interesting to talk about as well, but. So you. You don't know what to do. And Ed tells you about a n ritual where they go to a. A place on a river and they write letters to their. To the past, to either dead or alive, to kind of. And you say, I mean, here's a great line that you had. You said, I write my letter, I look at the stars, and I set my past to rights. And you, you go there, you go to this spot on the river and you're going to write your letters. But when you get there, there's. There's someone there. So you can take it from there.

[Jeanine Turner]

Yes. She steps forward with all of this. This, like, you don't understand. I've got to. I've got to walk through this. I've got it in that wonderful line, you said, I've got to set my path to rights. And he kind of. He's first standing his ground. He said, okay, you, lady, you have whatever you want. And I loved being able to play, by the way. And because I always try to go for the multi layers, the little bit of being a little bit sick, you.

[Rob Morrow]

You love playing that.

[Jeanine Turner]

You say, well, I kept that even in that scene. It hadn't really manifested thoroughly yet.

[Rob Morrow]

Oh, right. I did see that. I saw that as well. You're right. It was good, right?

[Jeanine Turner]

As an actress, I kind of had that. It's great to be able to have those things. And when I'm coaching, I'm like, what temperature is it? There's a great scene. I don't know what it was with. There's always one great scene with Meryl Streep.

[Rob Morrow]

One great scene. There's only great scenes with Meryl Streep.

[Jeanine Turner]

Yeah, but there's always one in my mind. There are many, many, many, of course, in the scope of the movies, the singular movie that she does. But there's always one where I go, oh, gosh. And the one. It was. She was some movie where it was like a newsroom or something, and they're all in this kind of glass room inside the other, and she's sitting there going over their notes, and all of a sudden she stands up and she goes, oh, it's really hot in here. And she. She goes over to the thermostat and starts turning it down. I'm like, yes, you know, what are those little things that we can bring to the scene? And so I brought a little bit of that, which grew and grew and grew in the course of it. But even when she's on that beach, you know, she's starting. She's just not herself. You know how you're not yourself when you're starting to feel kind of icky?

[Rob Morrow]

Sometimes I feel more myself when I'm sick because. And it's why I say when you're sick and you're acting, act, you're acting. My acting is always better when I'm sick. Now, between takes is not great, but the acting itself is. And also, I think in life because you let go of all of your, you know, kind of ways that you present yourself to the world and you're just you.

[Jeanine Turner]

Yeah, well, that's how I felt when it was 2:00am we were doing scenes at 2:00am same thing.

[Rob Morrow]

Yeah. It's being exhausted or sick. I think both. Both.

[Jeanine Turner]

Right.

[Rob Morrow]

I'm just saying. Yeah.

[Jeanine Turner]

So anyway, she had invasion issues then I have this. Had you lived, you would have realized. Oh, this is one of the letters that she writes. She writes this to Rick, which is hilarious. You ready?

[Rob Morrow]

So Rick is Grant good Eve, by the way. We should say Grant Good Eve.

[Jeanine Turner]

And one of her boyfriends that got. That got killed by a satellite.

[Rob Morrow]

Yes, Crushed by a satellite that fell

[Jeanine Turner]

from the sky when he was bemoaning the fact that she did not pass him in his flight test. But she writes, had you lived, you would have realized the error of your ways. And I would forgive you everything as I do now. Yeah, had you lived, you would have realized the error of your ways.

[Rob Morrow]

That's really funny. Yeah, she doesn't. She kind of has to. She doesn't quite. She writes them, the letters. But it's really kind of blam for their problems. But we should also point out that my friend Patrick Warburton plays your. One of your ex boyfriends, Glenn. How did Glenn die?

[Jeanine Turner]

You know, I don't know that they really special. I know that one choked on sushi or something. So I think they talked about the glacier. He was really. That actor was really good when he was always cold. Rick died by a satellite one. Yeah. I don't know. I. Maybe sushi maybe.

[Rob Morrow]

But he was. It was great to see him. He's. He's a good pal of mine. He's a great guy. And to see him, I, you know, see him back then, he was. You know, we were all so young.

[Jeanine Turner]

He's so funny. I enjoy everything he does.

[Rob Morrow]

He's so funny. He's really. And he's just. And, you know, by the way, he's a standup comic now. And if any of y' all out there in audience land, see him coming to your town, go see him, because he is great. And he only started doing it in the last few years, and you can't believe how good. He's so comfortable up there and really charming and funny. And I can't recommend it enough.

[Jeanine Turner]

I would love to see it. I remember going. I didn't. I haven't been to too many comedy stores, but I remember I was at one with Robin Williams when Robin Williams was there, and I spoke up and said something. So he. He did that, like, pick on the audience person with me. He made fun of me. I don't remember what it was. I was only, like, 19 or 8. Whatever. I don't know what it was. But. Okay, well, I will go see him, because comedy's who. We need to laugh. We need more laughter.

[Rob Morrow]

We need to laugh.

[Jeanine Turner]

He's so funny and everything he does. But I thought all of them. Okay, Fleischmann, another thing I wrote down that was established for your character, by the way, I loved your character. I loved. There was a line when you walk up. First of all, I was. So I'm jumping ahead from what. Where this line is. But. But when. When you walked up and then she sees. She sees Darren Burroughs. Ed in a. You know, feathers, right? Like a feather cap. I'm like, oh, yeah.

[Rob Morrow]

Night, American.

[Jeanine Turner]

That was so fun. Funny. But you, I love. There was a moment when you come up and you start defending me, and there was a little moment where I'm like, yeah, you tell him. You know. Yeah, yeah. You know, you tell me once again. I could play that sick thing which gave me that vulnerability, but I didn't know, Fleischman, that you skipped two grades, Right?

[Rob Morrow]

Well, he's a precocious young man, for sure.

[Jeanine Turner]

You knew that.

[Rob Morrow]

Probably, yeah. I don't remember. But for. Probably. But I knew, you know, he was a smart guy, for sure. Way smarter than me. Who. Who, Who, Who. Who was left back.

[Jeanine Turner]

Well, that doesn't mean you're not smart.

[Rob Morrow]

That's not true. I'm just saying that I should have been left back to you.

[Jeanine Turner]

I will just clarify to the audience, you're one of the most brilliant people I know. So wow, that's so sweet. You know. You know when you're working with actors, when they're really smart and you're obviously very brilliant, very smart, and you have the greatest vocabulary.

[Rob Morrow]

Oh, thanks.

[Jeanine Turner]

Yeah. You used to go on Jay Leno, you know, was it. Was it Jay Leno or whoever, you would go on? And you do all use all these big words. I love words. I am a grammar fanatic.

[Rob Morrow]

I'm also pretentious, and I love. And I love pretension.

[Jeanine Turner]

You were using these big words. I'm like, I don't even know what that word is. Okay. And I pride myself on knowing words. But you have a great vocabulary. I think it's kind of a lost art. I. I think that people. This grammar is going to pot. I am.

[Rob Morrow]

I am loquacious, you would say, There you go.

[Jeanine Turner]

Oh, that's just one of those things that you might not have known about your character. 44 episodes into it and you finally figure out, oh, I skipped two grades. Which I think that that tells us a lot about. About you, because, Fleischmann. Because I think when you have really brilliant people there, there's a lot of discontent, you know, because really brilliant people, their minds are going like this. Right. They're always moving and doing and wanting to do something else.

[Rob Morrow]

Well, they see what could be right.

[Jeanine Turner]

Yeah. But I think that gives your characters. We kind of understand you better and. And give you more grace.

[Rob Morrow]

There you go. All right. I love how. How at the beginning of the show, Joel comes in and. And. And Marilyn's talking about taking driving lessons, and he offers his. To teach her. And. And he's like, why? And. And he's. She's like, you make me nervous. And he's so offended by that. I make you nervous? Oh, I make you nervous, right? No, you make me nervous. If. Really, it's so funny, you know, and he keeps going. He walks into the other room and you hear him talking. Oh, you make me nervous. I'm. I make you nervous? You make me. It just keeps going.

[Jeanine Turner]

And isn't that such a 30, 20 something thing? I mean, I really catch myself now to not react. I mean, to not just be so reactive. But I remember in our 20s, you and I both, because we're very passionate, we were pretty reactive, you know, But. But once again, I have my. My racehorse theory. I mean, we're. We're on action. We're supposed to deliver all the emotion. But don't you find. Because, you know, I wanted to talk a little bit today later, at the end of the show the difference between turning 30 and now being in our 60s. But, but don't you, don't you find this part of youth too is just that kind of reactive knee jerk thing? Okay, well, you know what? You know, I'm nervous around you.

[Rob Morrow]

Look, it's taken me forever to learn, you know, how to, how to keep my mouth shut. For sure. I still work on it. Every day I pray to keep my mouth shut or to just say what's worthwhile. You know, that what I, what I say into the world makes the world better. You know, that I'm not taking away, that I'm not, you know, criticizing or hurting anyone. I, I really do. I think about it every day.

[Jeanine Turner]

I pray that every morning, say, dear God, because I, I somehow feel like I fail every day at that. Not in a major. You know what, Whatever. I just, I'm hard on myself.

[Rob Morrow]

Look, the trying is the thing, you know, it's like I, I, I do feel like I'm starting to learn that there's no, you know, it'. But the destination isn't the, you know, the goal, it's the journey. And so, you know, if you're, if we get up every day and we say we're gonna be better today than we were tomorrow, that's about as all you can ask.

[Jeanine Turner]

We can try. And, you know, I remember reading, I think it was CS Lewis, but he talked about God knows your heart. Right?

[Rob Morrow]

Right.

[Jeanine Turner]

God knows what you've been through and what you experienced as, say, a child or other traumas in your life. And so what you bring to that particular experience, God sees the heart of, of how you're trying to cope. And the greatest example is if, if someone's really, you know, checking you out at the grocery store, right? And then everyone's like, well, she's just doing a terrible job. And, and then the story, and I won't tell you who because it was a pastor, but he walked up to the bitchy gal and he, he looked at her and he said, are you having a bad day? You know, and she's like, yes, as a matter of fact, you know, my husband left me and I have a newborn child and all that. And so to be able to look at people and to know their hearts, and often we don't do that. We're just react, knows our hearts.

[Rob Morrow]

Yeah, I hear you. Just getting back to the show, I think it's, you know, I also. No, no, I like talking about that. No, no, I'm, I'm just trying to get us back to the show. But I loved, I loved what you, you just said. But, but what Joel. I love how, you know, Joel's also so, he gets, he's so impressionable. So Maggie's going through this crisis, you know, and Maurice is clearly kind of wrestling with mortality and Elaine is, you know, you know, telling him he's that, that, that she's nervous around him. And then all of a sudden Joel starts to question his life, you know, and, and, and, and you know, the, that he's get, he's getting, you know, and he's, he's not comfortable. You know, maybe he's failed. You know, he's not, he hasn't achieved what he wanted to. But I also love, this is a little thing that I noticed. He, he's so comfortable getting the canoe out of the truck. You know, he's so comfortable now out there. Like, you know, in the, in two seasons before, he'd be like, you know, you get it. I'll, you, I'll, I'll, I'll watch, you know, and now he just jumps up there and he unties the thing. And that's a real progression of, of his character.

[Jeanine Turner]

You've got your modern day cap on

[Rob Morrow]

backwards, which was a fight. I had to fight for that.

[Jeanine Turner]

Right, right. Look, Looking a little hip. Looking a little hip.

[Rob Morrow]

Right. I don't think it was a hypnis. I think it, it's an a. It was an old network thing. I've talked about it before. Net. Network television didn't want people to wear hats or sunglasses. Sunglasses because they thought people couldn't see you. You know, it was just ridiculous. Especially when you were out in the elements.

[Jeanine Turner]

Well, that's true. You, you did hop out and, and you talked about your, where you, how you felt about where you were in your life.

[Rob Morrow]

Which comes from his compassion, from Maggie, because he just picks up on her energy and he starts questioning his own.

[Jeanine Turner]

Yeah, well, isn't that true? Then you start to reflect and go, oh, right, you know, where was I? What I was doing. But you have this great line when you're canoeing around. And by the way, wasn't it fun to be on location like that and canoes?

[Rob Morrow]

It always feels like. It just feels like you're getting a day in the park. You know, you're, they're paying you to play.

[Jeanine Turner]

And I was looking very closely because quite frankly, I don't remember if I did all that canoeing in the wide shot.

[Rob Morrow]

I don't think you did the wide shot. There's no reason to.

[Jeanine Turner]

Come on. Why not? I think it could have been me?

[Rob Morrow]

I guarantee you it wasn't you in the wide shot. It was you in the. Cause there's no reason they just, they would have filmed it after you. They wrapped you and it's not you couldn't do it. It's just they would have wrapped you and they just. No reason to do it.

[Jeanine Turner]

Well, yeah, and, and of course when I'm coming up, I kind of have those little. But it was so fun to be in a canoe and to be on location. Like I always loved those locations. But you have this great line when you're canoeing with Ed to come find Maggie. He says it's just around the bend. And you said around the bend. We've passed 35 bends.

[Rob Morrow]

Right.

[Jeanine Turner]

And I love that line. I mean, think about that line philosophically. And I don't think even Robin meant it that way necessarily. But isn't life just keep going around bins?

[Rob Morrow]

Sure, yeah.

[Jeanine Turner]

How many bins have we all been around? I thought that was a cool line.

[Rob Morrow]

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[Jeanine Turner]

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[Rob Morrow]

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[Jeanine Turner]

I loved how Grant Goody when he was eating and she says, you know, well, you know, you were eating bad foods. How he kept stuffing himself at the table.

[Rob Morrow]

Uhhuh.

[Jeanine Turner]

He was eating and eating and eating all the bad food.

[Rob Morrow]

Yeah, yeah, yeah.

[Jeanine Turner]

I thought that was really funny. And okay, so I noticed I put four letters in the river, and I kind of had forgotten because it's been so long. And then when I'm watching it, I looked at the table, I'm like, wait, there are five boyfriends. So I couldn't quite figure out because I knew I just put four in the river. And then I'm like, that guy that she didn't remember.

[Rob Morrow]

That was when you were a kid. Like, you were like, obviously you were like 18 or something.

[Jeanine Turner]

He died on an oil rig. Boom. Electricity. He was good. The casting just never ceases to amaze me.

[Rob Morrow]

Yeah. Megan was shouted out to Megan Brandman, who I think we're gonna try to get on an episode if she's around.

[Jeanine Turner]

Oh, and then I loved when she said, oh, you're right, you're right. I'm a horrib, terrible person. I'm a horrible, terrible person. And that's how she feels when they're all beaten up on her.

[Rob Morrow]

Ultimately, she learns about herself and is able to give herself. Let herself off the hook a little. Right. Isn't that the journey? You know, her mortality is one thing, but also the mistakes. You know, you're setting your. Your star. You look at the stars and you set my past to rights. You know, you're. You're clarifying. You're. You're coming to understanding with what you've done so that you can move forward. It's a purging. It's a catharsis. Right? The. The. The letters in the. You know, it's a You. It's like a baptism. Right. Of your past.

[Jeanine Turner]

Yeah. And going around those 35 bends and don't. You know, it's interesting. You have met. Have. Isn't it interesting when you meet people who never have that kind of growth? I've been around them. I mean, there are some people that just. They're never going to be wrong. They're never going to see it. In a way, it's sad because I'm always apologizing. I'm always like, I'm a horrible person. I'm a horrible, terrible person. Almost too much.

[Rob Morrow]

I don't think you need to say that. But to apologize is a good thing. I mean, to take responsibility.

[Jeanine Turner]

Okay. I started to cry at this line, and it wasn't my performance. Okay. But when you come and you say you're ill, you've got this going on, and, you know, you're a panic, and I say, take it out. Throw it in the river. I started to cry. I don't know why.

[Rob Morrow]

I mean, I guess it's just. It's like. It's. It's somehow that's. That she's embodied and epitomized her. Her pain into the. What is it? What's. What's. What are we talking about? Not your pancreas, but your.

[Jeanine Turner]

It was her appendix. Right.

[Rob Morrow]

Appendix. Right. So she's, like, placed all her, you know, disappointments into that place, and so she's just saying, get rid of it.

[Jeanine Turner]

It was a fun show and how everybody was going through their journey of aging. And I will tell you something about my hair and. Yep. Which is interesting. First of all, I looked at this show and thought, okay, I peaked at that show.

[Rob Morrow]

Oh, why do you say that? There you go again. You're just. That's so funny. That. That's. That's. That's literally what Maggie would be saying. You're ser. You're just. Indict. Your. Your character and you are merging in this moment because.

[Jeanine Turner]

Because 60s are so hard, and right now, I have on makeup and the blur effect and all that kind of stuff, you know, But I. I just.

[Rob Morrow]

From a physical standpoint, I love being in my 60s. I just want to say I. I do. I'm not saying there aren't problems, and I don't have problems and issues, but I love it. I feel better today than I've ever felt. You know, I feel more like I understand more, and I'm more forgiving of myself and others, and that only comes from age. And that's why I wanted to talk about. I don't want to interrupt you. Your thought, but I want to, at some point, talk about what we think about the notion of if you haven't reached a certain point by your 30, which is the basic premise of Magnificent Maggie's, you know, concern and every. And Joel's concern is that they haven't done that. If you don't achieve what you set out to do by the time you're 30, you're a failure.

[Jeanine Turner]

Yeah, I'd love to talk about that, and I want to talk about that. Go. Even going into 60 and how everything changes. And I agree with you. I think I'm a deeper, richer person.

[Rob Morrow]

You are. I can Tell you. I can tell you, knowing all these years, you are. You're much more yourself. You're much more comfortable in your skin. You're much more open. I mean, you know that. That. You've earned that.

[Jeanine Turner]

That. Well. And I'm going to be Judi Dench. I've had no Botox. I will not put a wire in my chin, and I'm not going to, like, go under the knife. So that's hard to live with when you look at yourself on the screen, when I don't have this fabulous light, and I go, okay, I'm Judi Dench. I'm Judi Dench.

[Rob Morrow]

It is hard. I know what you mean. You look at yourself and you think. You think you feel a certain age, and you look and you go, oh, my God. You know, I get that.

[Jeanine Turner]

Yeah. But I mean, I just thought I had just returned from Cliffhanger. This was the first. I literally wrapped Cliffhanger on a Friday, flew through Texas on a Saturday, flew out on a Sunday, and started work on a Monday. I mean, that. That's how crazy it was. But my haircut had been. Now, they did wonderful hair on Northern Exposure. I'm not saying they didn't, but the guy. I don't remember his name. I'm so sorry. Who cut my hair on Cliffhanger, just did this really beautiful kind of cut. And then also on Cliffhanger, and this might be interesting to some people, maybe not. But on Cliffhanger, they didn't really put a lot of bass on me. Right. They didn't do a lot of eyebrow. They didn't do a lot of bass. They let my freckles show. So when I got back and I lost weight. Weight on Cliffhanger. So when I got back, I was at this kind of svelte weight. My skin, I did. And I think I must have talked to Joanie a little bit, like, don't put all that thick base on me. So it was interesting just to see the pure skin and the freckles and the kind of cool haircut. And I was thinner and. And if you look at my face, you just really. Actually, a lot of times I was not supposed to wear makeup, but I really had on base and some lip and whatever. If you looked at this show, there was really very, very little makeup on. And I just thought that's. That was in my mind kind of. You know, there. There's a saying. They put me on People mag and put me in. I was in a little blurb in People magazine with Tom Cruise and Demi Moore, because we're all the same age. But it says 38, looking great. That Arp said that the peak age of how you look is 38. And I'm like, okay, well, I kind of feel at that, at 30, that. That. That was kind of, in my mind, the peak of. Of. Of my youth and maybe even my beauty. And it's so weird when you've been kind of considered a beauty to then age as a beauty. And. And I heard, especially when I'm not doing anything. I mean, you look at all the actresses, they're doing so much, and I'm just not doing it. But I heard Jessica Lange, I think, and I'm. I'm just gonna preface this, that you read things in articles, and I don't want to, like, quote, but it was along the lines of, when I was young, I didn't want anyone to pay attention to my beauty. Beauty. You know, it's like, pay attention to me for my acting. But as I've gotten older, all I want to do is be beautiful. You know what I mean? So it's just. It's just kind of a funny dynamic. But it was interesting to see my skin be kind of clear and that cool little haircut and to be slender. I thought this. As far as the show's concerned, I'm probably going to consider this episode the peak of looking how I feel. Maggie could have, you know, Maggie should have looked. That was the Maggie to me in this episode, for whatever that's worth. I'm just being vulnerable and explained, explaining everything.

[Rob Morrow]

Okay, I hear you.

[Jeanine Turner]

Yeah. Because did you notice I didn't have a lot of makeup on at all? That was just very, very.

[Rob Morrow]

I noticed you looked great. You know, I didn't really attribute it to makeup or. I just thought you looked great and, you know, healthy and alive and. And your performance and young was great, I guess. Young for sure.

[Jeanine Turner]

Well, let's talk about aging, because I think there's a really interesting aspect of aging. I was walking down the stairs thinking about the show and thinking about the whole show being about aging. 30, by the way, I had a fabulous 30 30th bir. Birthday party. Do you remember?

[Rob Morrow]

Was it at your house?

[Jeanine Turner]

Yeah, I. I got my house. Supposedly, this is what they told me was Robert Redford's, like, sister's house or something. That. That she had lived there. I don't know if that's true or not, but it was. It was a beautiful house with lots of pine trees, but it wasn't a. It wasn't a Custom house or anything of that nature. But I put in all this white carpet. It had three stories. And I threw these parties. Everyone's always talking about through all these parties. So I threw a 30th birthday party and I decided it was going to be all candles and all that jazz and, and people. So fun because people, you know, I always had a piano playing and all that kind of stuff. But do you know what you gave me for my 30th birthday party?

[Rob Morrow]

I don't remember what you gave me.

[Jeanine Turner]

Like a stand to put your suit

[Rob Morrow]

on was an antique one or something.

[Jeanine Turner]

I don't know.

[Rob Morrow]

Interesting gift, but.

[Jeanine Turner]

So talk to me about your thoughts about, you know, the evolution of hitting 30, and then we can even parlate that into 60 for a little bit.

[Rob Morrow]

You know, in show business, there is that adage that if you haven't made it by your 30, you know, forget it. But there's so many outliers to that. There's so many examples of people coming into their own after that that I think, you know, and also with women, it's harder for women. You know, they, they say if a woman doesn't make it by the time she's 25, you know, but you're an example. You didn't really hit till you were 30.

[Jeanine Turner]

27. We, we got the show when we were 27.

[Rob Morrow]

Oh, is that it? But, you know, it's, it's. I just, first of all, you know, nowadays, I, I, I don't know if you've noticed, but so many people that I hear drop the line. Oh, my. So and so is 90, or they were 92, or they're 95 or they're 94. Like, when you and I were 30, when we were doing this show, it was very rare to hear someone hit 90, 95. Now everyone's in their 90s, and then people are living into their, into their hundreds, you know, so life is, and I think you can, I really believe this in my heart of hearts that at any age you can do anything. You can start out. And that doesn't mean you're going to be, you know, the standard of success is not being on a TV show and not being a millionaire. The standard is loving what you're doing. And so the AIDS thing is just, it's a, it's a construct from Madison Avenue, really. I don't, I don't buy it.

[Jeanine Turner]

It's very American.

[Rob Morrow]

It's very American, too. You're right. Like, because I think even Corbett Chr. In, in the beginning of the show he says there's a morbid fear of aging. Simplistic view of youth. But in the east, age is wisdom. You know, it's. It's associated with wisdom. And I. And I really, you know, we're. We're talking like that. I feel that that's true. And so I think it. It. It's a construct that is not. Is not written in stone. And so if you are approaching 30 and you haven't achieved your dreams, don't give up, you know, keep going, but do it for the right reasons. Do it because you love it. If you do what you love in this world, right, things will work out. It may not be exactly as you think it will, but good things will come. Love brings love.

[Jeanine Turner]

So what I love about you, Rob, that's why I loved working with you so much, right? Because with. Deep within us was this kernel of similarities, of passion for our work, of kind of an intellectual construct, of a desire to reach high, you know, to make everything remember. You and I would look at each other at the end of a tank and go, I don't know. You know, I don't know.

[Rob Morrow]

Did we hit it?

[Jeanine Turner]

You know, we really cared. But also, you have that. You have that innate sense, which I would like to think I do, too, of. Of just trying to make the most out of your life and. And being an. A hopeful example and. And that the woman that. My musical. I keep talking about my musical, but it's about Belva. I'm. I'm not going to say too much about it, but she. Man, she was 18, 30 to 19, 17, and she broke. Broke every. It wasn't until her 50s that she accomplished this, in her 60s that she accomplished this. And, you know, look, look, look at. Look at the great female leaders and male leaders, too, that. That, you know, are later in life. So, yeah, we. We can't be. But they do it. I. I felt like I was a failure at 21 because Brook Shields was such a hit, right? And everybody said, I look like Brooke Shields. I'm like, oh, My God, I'm 21. I'm a failure. But it. It's. Don't give up before the miracle. And another saying I have, because I heard God say it to me right before I got Northern Exposure. Yeah, don't give up for the miracle. But the other one is, don't let anybody put out your flame. Flame.

[Rob Morrow]

Oh, that's good, too.

[Jeanine Turner]

You're more. I thought I heard God say that to me. Don't get weird on me and say, oh, my God, Janine. Turner. Here's God. Speak to her. I mean, let me just say, you know, I felt it in my spirit that, you know, that was. That was a. That was just. I can't let anybody put out the flame of my purpose. And. And everyone wants to put that out. I mean, it. Not everyone. But the Force, There's a force on Earth. They're vying forces. That's why I love Star wars so much. You know, may the Force be with you. They're. There's. There's just this kind of thing that happens organically in human beings where you want to. Sometimes you're not always your best. And so there are people that might want to put out that flaming. You have to believe in yourself and know that you can do it no matter what. No matter what age you are.

[Rob Morrow]

Well, that's the. That's what the episode deals with. And I think it's. You know, it's interesting getting to the end of the show. You know, we. So Joel. And again, you know, Joel is so. He's become so compassionate for Maggie that he sets out on the. You know, he goes out to find her because he's worried about her. He takes. And they go out and they go up river and they come upon her and she's hallucinating and sweat, you know, and has a fever and they take her to a hospital. And I love the scene where Joel comes in. I always love, you know, I talk about it. The endings of Northern Exposure episodes really just always pull me in, no matter what's going on. And so he shows up there and he looks at her chart. You know, he's just checking on her. And then he tucks himself in. In a chair, closes the shades, puts on a blanket, and he' just gonna be there in case she needs him. So I love the way Dean shot it. You know, it's a high shot and it holds us both kind of small in the world, but together, you know. And Robin wrote this moment where, you know, Joel tucks himself in with the blanket and the. And he shuts the shades. And, you know, she. Her whole thing is like that life is out there, that she hasn't gotten something out there, right? But then meanwhile, both of these people who keep thinking the same thing. Cause Joel thinks the same thing. I fail. I didn't achieve this. I didn't achieve that. But here they are together, you know, and they don't even realize it yet. There they are. You know, it's like you don't realize that what you need is right in front of you.

[Jeanine Turner]

Right. And I loved the whole scene, though, because you had to get in a helicopter and you hate helicopters. And so it's like, wait, you hate helicopters? And you say, you know, yeah, no wings. And so she's. She's thinking about the fact that you got in a helicopter for her and then you give that kiss to. To her on the forehead. And I have to say, I really kind of liked my reaction. I was like, what's that for? I think. Didn't she say, you know, what's. What's that for? Or something?

[Rob Morrow]

Yeah, yeah, she does. Yeah.

[Jeanine Turner]

I don't know. But it was very sweet. And I loved when you sat down and you kind of covered up. And then, because I spent so many times with my mom in the hospital. But then you got up and you closed the blinds and you got back down. I thought that was a really real moment. That played in a master shot.

[Rob Morrow]

I'm sure that was a Dean touch. I mean, I'm sure he. I can only imagine. I don't know. I can't. I mean, maybe it was written. I don't know. But it's also great that they got the Stevie Wonder Happy Birthday song. That must have cost a pretty penny. That must have cost some bucks.

[Jeanine Turner]

And it's still there.

[Rob Morrow]

And it's still there. You're right.

[Jeanine Turner]

But it was. It was a very thought provoking episode with humor. You know, it still had that humor.

[Rob Morrow]

A lot of funny stuff. Well, riddle me this, though. I find. And it's so funny, I mean, it doesn't quite track, but I also understand it, and it is kind of funny. It's where the show would take chances with their characters. When Ruth Ann takes a hammer to Maurice's tape recorder.

[Jeanine Turner]

I was just thinking about that. I was thinking, I don't want to end the show without talking about that. Yeah, right. Yeah. So what are you thinking about that?

[Rob Morrow]

Yeah. Well, you know, at first I was just like, why would she do that? It seems so cruel, you know, and. And. But it's so like, you know, again, it's just. It's just the universe saying, okay, shut up about yourself. Stop focusing on yourself. We're tired of hearing you talking about yourself. Yourself.

[Jeanine Turner]

The look on Maurice's face, right, was. I was like, what? But I like that, you know, I mean, it might have been harsh, but it's just real.

[Rob Morrow]

No, you're right. It was. It was a good moment.

[Jeanine Turner]

Give me this and shut up.

[Rob Morrow]

And like, when. When Ruthan also, she's a little persnickety in this episode she get, like when, when she's, she's trying to teach Marilyn how to drive and, and she just wants to get out of the car.

[Jeanine Turner]

You know, she had a big episode. This was a big episode for her and I thought she did it really well. Yeah, I thought that was the one thing that was missing that we hadn't talked about. When she snapped that down, I thought Darren was engaging as always. I thought Cynthia delivered those lines in the bar perfectly to Maggie. You know, she's going to be 30. She just did. But she did it with a little bit of an edge too. So I thought, you know, what was, how was everybody feeling? Because it was our first show back and that's always difficult to be the first show back for sure. Anywho. Well, we did it.

[Rob Morrow]

Good show. It was fun. Oh, we didn't even, you know, we, we just decided we'd do a show with just Janine and I for, we'll do that every once in a while and we hope you enjoyed it. As Janine said, hit the subscribe button, send us your comments.

[Jeanine Turner]

Okay. And for now, we are going to say, see you later. We'll see you next week. And we're signing off with o' Connell and Fly Fleischman.

[Rob Morrow]

No, actually, it's Fleischman o'. Connell.

[Jeanine Turner]

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

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[Rob Morrow]

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[Rob Morrow]

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[Rob Morrow]

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[Rob Morrow]

Available at your local grocery store or

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online at athleticbrewing.com near Beer Fit for all times. Hi, I'm Wil Wheaton and I am so excited to tell you about my new podcast series, It's Story Time with Wil Wheaton. You may recognize my name from my acting work in television shows like the Big Bang Theory, Leverage and Star the Next Generation, or from a movie called Stand By Me. You may recognize my voice from one of the hundreds of audiobooks I've narrated, including number one New York Times bestseller Ready for Player One, John Scalzi's award winning Collapsing Empire trilogy, or even my own best selling memoir, Still Just a Geek. When I'm not reading stories, I am listening to stories and I was a massive fan of my friend and mentor LeVar Burton's podcast, LeVar Burton Reads. When he finished his final season, I realized how much I missed it, so I asked him if I could take a shot at picking up where he left off and to my delight he gave me his blessing and I got started. It's been a long time, a lot of work and absolutely worth it to bring you incredible stories that I love pulled from the pages of Uncanny Magazine, Lightspeed on Spec and others. You're going to meet authors you don't yet know you love, including some who are being narrated for the very first time. I will take you with me as we travel together through time. I will take you to meet some gods. We will watch people fall in and out of love and more. It's Storytime with Wil Wheaton is available wherever you get your podcasts. I hope you'll join me.