S4E11: "Survival of the Species" with Elaine Miles

Summary

Northern Disclosure S4E11: “Survival of the Species” with Elaine Miles

June 30, 2026 | Evergreen Podcasts
Host: Jeanine Turner & Rob Morrow
Special Guest: Elaine Miles (“Marilyn”)

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Episode Overview

In this episode of Northern Disclosure, hosts Jeanine Turner (Maggie) and Rob Morrow (Fleischman) are joined by fan-favorite Elaine Miles (Marilyn) to revisit Northern Exposure’s Season 4, Episode 11: “Survival of the Species.” The trio dives into behind-the-scenes stories, the episode’s environmental and feminist themes, personal anecdotes, and reflections on how the show feels as relevant today as it was in the ‘90s. Elaine also shares moving personal stories about her life after the show, being recognized in public, and a recent traumatic experience with ICE, connecting her experience to the show’s broader social commentary.

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Key Discussion Points & Insights

1. Episode Recap & Structure

[02:51] Rob Morrow gives the summary:

• A 12-year-old runaway arrives at The Brick, develops a crush on Shelly, and ends up working for room and board.
• Ed dreams about the planet’s environmental destruction, inspired by Mike Monroe’s activism.
• Maggie discovers Native artifacts in her garden, leading to a confrontation with the town’s men and her own feminist frustrations—which culminates in a dream sequence inspired by Little Red Riding Hood.

[03:31] Jeanine Turner:

• Reflects on Emmy submissions and wishes she’d chosen this “quintessential Maggie” episode, praising its forward-thinking environmental themes from the 1990s.

[04:41] Rob Morrow:

• Notes recurring themes in the show—what’s old is new again—especially environmental anxiety and gender dynamics.

Rob Morrow [04:41]:
“The more things change, the more they're the same…there are so many issues that crop up in the show that…we're still dealing with now.”

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2. Feminism, Earth, & “Gaia” Energy

[06:32] Jeanine Turner:

• Praises the delicacy required to play Maggie’s feminist frustration without pushing viewers away.
• Shares how the episode’s mix of intensity and vulnerability felt “so much like” her real self, both as character Maggie and on her ranch.

[08:29] Rob Morrow:

• Observes that Jeanine’s real-life ranch work mirrors Maggie’s on-screen character.

[22:11] Jeanine Turner:

• Recalls the “men vs. women” dynamic when all the men crowd into Maggie’s yard to exploit the artifact.

Notable Quote [06:32]:
“I think it was so interesting to play that kind of annoyance that she had with everybody…in such a way it wasn't too intense that it was a turn off. And what I like about it is everyone just…let Maggie do her thing.”
— Jeanine Turner

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3. Dream Sequences & Symbolism

[05:29] Rob Morrow:

• Describes the episode’s dramatic dream opening: the environmental apocalypse, recurring “Gaia” theme, and character fates symbolic of their connections (or lack thereof) to earth and nature.

[24:06] Rob Morrow:

• Highlights the forest dream sequence with Maggie as Little Red Riding Hood and the seductive “wolf”—a metaphor for the creeping dangers women face and the episode’s use of myth to explore feminine intuition and vulnerability.

Rob Morrow [24:06]:
“I love the psychological kind of reductionism of the scene with Janine and the wolf walking through the forest…she walks off with him, theoretically to her death. He seduces her.”

[24:49] Jeanine Turner:

• Reflects on the disturbing resonance of the Red Riding Hood seduction in modern contexts, such as the sex trade.

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4. Personal Connections & Behind-the-Scenes

Relating Life to Art:

• Jeanine discusses real-life parallels with Maggie, from burying a beloved cow to handling emotional family dynamics ([08:39], [14:44]).
• The trio share stories about children and empathy, emotion, and being raised by or raising strong women ([13:11]–[16:04]).

Rob Morrow [15:32]:
“I've certainly imagined what it would be like [to be a woman]. I have a really strong kind of female energy inside…I've been surrounded by women.”

Behind-the-Scenes Acting Insights:

• Jeanine recounts the challenge of performing her feminist monologue at the pool table ([19:43]–[21:26]) and the helpfulness of the script being broken into sections for shooting.
• Rob observes character traits that felt out-of-place (Maurice as “anthropological expert”) but ultimately served the story ([21:26]).

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5. The Show’s Sexual Politics & '90s Context

[22:41] onwards:

• The hosts discuss dated but frank sexual content—including the kid’s overt crush on Shelly and sexually charged dialogue.
• Elaine shares fan feedback about “risqué” storylines, including age gap issues between Holling and Shelly and changing perspectives over time.

Elaine Miles [26:01]:
“I had a woman…get mad because Shelly is so much younger than Holling…She kind of talked about you and this Red Riding Hood… ‘do you ever think about that?’ But I never thought of it like that.”

[23:05] Jeanine Turner:

• Discusses the boldness of the female characters' conversations—openly talking about men and their bodies.

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6. The Real World Resonates: Elaine’s ICE Encounter

[34:36]–[39:02]
A powerful, harrowing account from Elaine Miles on being stopped and questioned by ICE agents while out walking:

• Details of the encounter: being surrounded, her tribal and passport IDs dismissed as “fake,” held for 45 minutes, then abruptly released, with apparent video evidence of the incident erased.
• Elaine relates this discrimination to her grandmother’s stories of historic injustices, connecting the episode’s themes of displacement and injustice to ongoing American realities.

Elaine Miles [35:08]:
“They go, we need to see your id. Where are you from?…He goes, ‘this looks fake.’ And I was like, it's not fake…It's a federal ID because we're federally recognized tribe.”

• The hosts reflect on the tragedy and cyclical nature of these injustices ([40:16], [41:01]).

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7. Enduring Fandom & Pop Culture Legacy

• Elaine shares her ongoing public recognition—at grocery stores and post offices, more than 30 years after Northern Exposure’s peak ([32:07]–[32:53]).
• Discussion of how Northern Exposure was ahead of its time, foreshadowing contemporary issues, especially environmental ones ([31:05], [39:39]).

Jeanine Turner [31:05]:
“[The show] is prescient. I mean, they really thought about things before they became a big deal.”

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8. Shout-outs & Credits

[41:12]–[43:31]:

• The hosts give kudos to their co-stars (Don McManus, Doug Ballard, Anthony Edwards, Darren Burrows) and crew—hair/makeup artists, costume designers, and the actor who played the Wolf.
• They reflect on the small things that made production special, from haircare routines to the speed of on-set prep.
• Rob shares his preference for a natural look and gentle ribbing about on-set hair and makeup habits.

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Notable Quotes & Memorable Moments

• “The more things change, the more they're the same.” — Rob Morrow [04:41]
• “That's me… everybody asks this question: how much are you like your character? …I look at this show and say, that's me.” — Jeanine Turner [08:29]
• “My granddaughter was asking me, how come he always yells at you, Lala?” — Elaine Miles, on being recognized by family [12:45]
• “It's okay to cry. Don't be ashamed to cry…” — Elaine Miles, on teaching emotion to the next generation [18:28]
• “Some of the stuff they do on the show… it's happening now.” — Elaine Miles, on Northern Exposure’s prescience [39:39]
• “When you nail the right chick, she's going to be one lucky dudette. Holling owns the key to my pants and my heart.” — Shelly (quoted by Rob Morrow) [45:12]

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Key Timestamps

• [01:09] – Show Intro & Guest Tease
• [02:51] – Episode Synopsis (Rob)
• [03:31] – Emmy Talk and Reflections (Jeanine)
• [04:41] – Then and Now: Environmental & Gender Issues
• [06:32] – Acting Maggie’s Frustrations & Episode Tone
• [08:39] – Real Life Parallels: Ranching & Burial
• [10:31] – Elaine Miles Joins
• [12:45] – Family & Generational Viewing Stories
• [15:32] – Male vs. Female Emotionality
• [19:43] – Behind-the-Scenes: Learning Dialogue
• [21:26] – Maurice as Amateur Anthropologist
• [22:41] – Female Solidarity & On-Screen Double Standards
• [24:06] – Little Red Riding Hood Dream Analysis
• [26:01] – Fan Feedback: Retrospective Sexual Politics
• [34:36] – Elaine’s ICE Incident (must-listen segment!)
• [41:12] – Shout-outs to Cast and Crew
• [45:12] – Classic Shelly Line (“key to my pants…”)
• [46:10] – Episode Finale: Women’s Burial Scene
• [47:15] – Closing Thanks and Goodbyes

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Final Thoughts

This candid, heartfelt episode of Northern Disclosure blends nostalgia, humor, and sharp social reflection. It reminds listeners why Northern Exposure retains cultural relevance—thanks to its nuanced handling of gender, history, and belonging—and also offers new perspectives through the lived experiences of its cast. Elaine Miles, in particular, shines with her warmth, honesty, and enduring connection to the show’s themes.

Highly recommended highlights:

• Elaine’s stories of fandom and family ([12:45], [32:07])
• The poignant discussion about emotion, gender, and generational change ([15:32]–[19:02])
• Anecdotes about recognition and behind-the-scenes camaraderie ([32:07]–[32:53])
• Elaine’s chilling ICE encounter and reflections on history repeating itself ([34:36]–[41:10])
• The hosts’ playful banter about hair, makeup, and on-set life ([42:49]–[44:48])

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For more behind-the-scenes stories and guest appearances, follow, subscribe, and check out past episodes of Northern Disclosure.

Transcript

[Rob Morrow]

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[Wil Wheaton]

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[Jeanine Turner]

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[Rob Morrow]

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[Jeanine Turner]

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[Rob Morrow]

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[Jeanine Turner]

Hello everyone, I'm Jeanine Turner. Welcome to Northern Disclosure, where my handsome and debonair. I love saying debonair.

[Rob Morrow]

That's my wife's name.

[Jeanine Turner]

I know. I love saying that. The handsome and debonair Rob Morrow and I, as co hosts, walk through every episode of Northern Exposure, the show that everybody loves it. How can you not love it? Whether he and I are in it or not, it is just, I still believe, one of the best shows ever in the history of television. So we are walking through Survival of the Species today and I have had a major storm in my house and I've had to watch in between storms. We had to stop and restart. But we're doing it. And we have a great guest today, which I'll wait in two seconds you'll all be so excited, but Rob Morrow, my handsome and debonair co star.

[Elaine Miles]

Hello.

[Rob Morrow]

Hey, Jeanine. Nice to see you. You look lovely. Yeah. This is a fun show called Survival of The Species Season 4, Episode 11. It's. Let's see, it's written by Denise Dobbs, a name that does not ring a bell to me.

[Elaine Miles]

But it's good.

[Jeanine Turner]

She did a good job.

[Rob Morrow]

Did a good job. And although we never know who actually wrote it, when there's a credit that we don't. You know, sometimes Josh and John do their pass and it change dramatically, but nevertheless, she is credited. And the great Dean Pariso directed.

[Jeanine Turner]

Oh, Dean. Dean directed this one and he did

[Rob Morrow]

such a great job. You know you were. We were talking a second about some of the sequences, but there's that Little Red Riding Hood sequence that you're in that's just beautiful. It looks like a movie. Great funny scene. Albert, you want me to read the synopsis?

[Jeanine Turner]

Yeah, go ahead.

[Rob Morrow]

Okay. So a 12 year old kid arrives at the Brick, who escaped from his camp, and Holling offers him to work there to pay for his room and board. He also falls in love with Shelley, but Holling doesn't care much. As Ed worries about the future of the planet and dreams about it. He may well have been listening to Mike Monroe. Maggie finds some Indian artifacts believed to be buried in her garden a long time ago and begins fretting about male attitudes to womenkind. With Fleischman taking the brunt of her feminist anger. She dreams of walking in the woods just before sunset in her best red hooded cloak and of meeting a wolf.

[Jeanine Turner]

This episode was a lot of fun and I look back at it and you know, I was nominated for Emmy, I guess, this season, for the fourth season and for those who don't know, you have to submit an episode, which I never knew for episode one and two and three. Nobody ever told me you submitted episode, but in this one I guess I was aware of it and I submitted Love's Labor, Mislaid or one of those. There was a back to back one where Rob, you and I had the roll in the hay and then I forget about it the next day. So I submitted, which was a Jeff Melvoin. I think he wrote both of those. And I look back now and I'm like, why didn't I submit this episode? Cause this episode was so quintessential Maggie and she was very intense and yet had that still. You could still see her emotionality behind it all and whatnot. And I thought, oh, this was a better script probably to have submitted. I think I might have had a better chance. And of course everybody would have loved it because it was so future. It was futuristic in a way, futuristic in the opening, but also it was so ahead of its time with the ozone layer and all that. It was. It's saturated in our market now, but. But this was back in the 90s when they were first thinking about it.

[Rob Morrow]

But that's what makes me think that. That the more things change, the more they're the same. There's so many issues that, that, that crop up in the show that I'm like, oh my God, we're still dealing with this now, you know, I mean, it's just amazing, you know, it's interesting the way the show opens with this. This kind of dream sequence that Ed has in this post, post apocalyptic time where the environment has all of Al Gore's premonitions and fears are realized. We have bad air, you know, Holling's lost his hair. Shelly's wearing some kind of synthetic protective plastic garment. I've been exposed to the sun and so I have to. I' the Invisible Man.

[Jeanine Turner]

You're like a mummy.

[Rob Morrow]

Yeah. Chris is walking away around with oxygen on his back.

[Jeanine Turner]

My face was covered with like, you know, marks.

[Rob Morrow]

Right. Pus. And the sun had gotten to you too. Right, so. And it starts, Ed, on this journey to try to figure out what we can do to save the planet. You know, the whole show has a kind of a Gaia theme to it, you know, if you will, what you're pulling out of the earth and putting back in the earth, ultimately, how Maurice wants to exploit it, how Ed and Mike Monroe are looking at the effects of the environment on vegetation. You know, and the kid, you know, what the. I'm not sure what the. How the kid factors into that. Such an interesting performance with that kid, you know, smoking cigarettes and hitting on Shelley, graphically hitting on her. It's interesting. You know, Chris says late in the episode, a woman uses her intelligence to find reason to support her intuitions.

[Jeanine Turner]

That is a great line. And I would say. I would say that's very, very, very true. And, you know, from. I want to bring our guests on, but from an acting standpoint, I think it was so interesting to play that kind of annoyance that she had with everybody in such a way that it wasn't too intense, that it was a turn off. You know what I mean? It was like. And. And when she, when she turned to, to John Corbett and said, what does he say? Oh, shut up, you skinny tall twerp. And what I like about it is everyone just. Everyone just sort of let Maggie do her thing. They're like, okay, okay, okay, okay. But she wasn't wrong in what she was saying. And when she ripped it up and swallowed it and started putting it in her mouth, I do remember filming that. I remember filming that episode. It's funny because my mother goes to sleep with us every night. And so I will see a lot of them and I look at them and go, I don't remember that episode at all, but I do remember this one. And it was fun to have something to do with Maurice and, and the guys and everybody that was there, but it, it was poignant once again. And that music at the end, it's

[Rob Morrow]

called Tango to Avera, and it's by a woman named, performed and written by a woman named Lorena, Lorena McKenna.

[Jeanine Turner]

And of course, Shelly's always wonderful. And Cynthia Geary and John Cullum and everybody else that was in the episode. And even you, of course, Rob, by the even you. What I mean is, you didn't have that much to do in this episode, but when you come out, we're all staring at you and you're like, no, no, no, I'm not gonna, like, be sucked in. We'll talk about that with our guest. But sucked into this vibe. Anywho, it was, it was a good episode. And I watched this episode and go, you know, I'm so, you know, everybody asks this question, how much are you like your character? How much are you not like your character? And I look at this show and say, that's me.

[Rob Morrow]

Yeah, I got that too. I mean, when you were digging in there, in that hole in your front yard as Maggie, I would think, oh, that's just like Janine on her ranch.

[Jeanine Turner]

Yeah, I wear gloves like that. I wear snake boots. I'm getting ready after this. I have to go bury a cow.

[Rob Morrow]

That's so perfectly apt to this episode.

[Jeanine Turner]

Yes, A wonderful female cow, a Gaia.

[Rob Morrow]

Why don't you bury something with it, like some artifact?

[Jeanine Turner]

Oh, I should. She was so sweet. And her mother, her mother, I, I, I save a lot of their heads in their longhorns, but I don't, you know, I breed them. I, they live to be in their 20s. I don't kill them. But then I, I do mount a lot of them. And so her mother respite is in my living room, so she's reunited with her mother and her daughter. So anyway, it's just life on life on earth. This summer, prime video takes you back before Legally Blonde, before law school, and into the world of Elle woods in high school. Set in 1995, this Gemini vegetarian knows exactly who she is until her family moves from Bel Air to Seattle. Packed with iconic fashion, 90s nostalgia, and a throwback soundtrack, Elle proves one law school was hard. High school was harder. From the world of legal blonde, watch L a new original series only on Prime Video July 1st.

[Rob Morrow]

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[Jeanine Turner]

Okay, shall we bring in our special guest?

[Rob Morrow]

Yes, let's do it.

[Jeanine Turner]

Okay, everybody listening? You're going to be so excited because she's probably your favorite character on the entire show. And it's Marilyn. It's Elaine Miles, who everybody adores and is one of our top two rated shows of like, what, Rob and I have been 50 and you know, Elaine and I were just on the phone the other night. We were on the phone for what, an hour and a half?

[Elaine Miles]

Yeah, it was a long time.

[Jeanine Turner]

And it's like 30 years, 30 years later. I'm like, wow, we are so much alike. We've walked through many, many of the same paths.

[Elaine Miles]

Right?

[Jeanine Turner]

Yeah. So welcome to the show. Everyone's gonna be thrilled to have you here.

[Elaine Miles]

Oh, good. Thank you. Thank you. It's good to see you all too. I miss you guys.

[Rob Morrow]

Oh, we miss you. You look great.

[Elaine Miles]

Yeah, you do too.

[Rob Morrow]

What are you up to? What's going on in your life? I know you got your grand kids and you're dealing with them and you love that.

[Elaine Miles]

I have three grandbabies now and the little one is 18 months old, so I, you know. Yeah, he was just here, so. Oh, he's a spitting image of his dad. So he looks just like my son.

[Jeanine Turner]

Oh, who looks like you, right?

[Elaine Miles]

Yeah, because his daughter is a spitting image of me. People when we're together, they think she's my daughter and she's like, that's my grandma. And I was like, yeah, she's my granddaughter, but she's this spitting image of me. She's got my attitude too.

[Rob Morrow]

What's going. Are you doing any acting? Have you been getting any work?

[Elaine Miles]

I have a video shoot, a short video this guy is doing in New Jersey next month or August. In August.

[Rob Morrow]

Oh, great.

[Elaine Miles]

Yeah, so I have that. Then there's a movie in the works. They're trying to get the budget together that's gonna be in August. And then I have some stuff this fall, winter time. I can't talk about that because I signed a paper. Well, good.

[Rob Morrow]

I love that you're working. I love that people are getting, getting knowing how great you are. And yeah, every time I watch the episodes, I'm just always. I just love watching your little nuances and it's such a great performance.

[Elaine Miles]

My granddaughter was asking me, how come he always yells at you, Lala? And I Go, he doesn't always yell at me. And then she saw the one, oh, he likes you. He was looking for you, Lala. And I go, yeah, he was looking for me when I went to Seattle, you know. Right, right. She saw that. And the other two, they were like, I want Lala out of the tv. They don't understand yet, you know.

[Jeanine Turner]

Oh yeah. My daughter used to get very upset when she would see a sexual scene or if I were smoking or drinking. That's when she was little. When she was little, we just didn't watch it. And then finally, I guess when she was in college, we sat down and watched the first four seasons.

[Rob Morrow]

We were talking the other day about. My daughter came to visit me on the show on the set of Numbers and she was like six or five or something like that. My mom was visiting and we were shooting a sequence on a bridge and it was a big action sequence. And the cameras were like on one end of the bridge. And then me and the guys come running up and there's an explosion. And the way they did it was they put a big fire thing in front of where we were, but it wasn't anywhere near us. But because the lens was compressed, it looked like the fire was right in on us. And my daughter was sitting on the monitor watching with my mom and she saw the fire blow up and she screamed and started running toward us because she thought I blew up.

[Wil Wheaton]

Yeah.

[Elaine Miles]

Oh, that poor baby. Traumatized.

[Jeanine Turner]

You're right.

[Rob Morrow]

She'd probably be in therapy for that for the rest of her life.

[Jeanine Turner]

How brave she was to run towards you and not run away. Right.

[Rob Morrow]

I know she ran. She was like running toward me.

[Jeanine Turner]

Yeah, she has a lot of Gaia.

[Rob Morrow]

She's got a lot of Gaia for sure. She's all female power.

[Jeanine Turner]

I don't know if that's the right use of the term, but not quite.

[Rob Morrow]

But it'll work. I'll get. I get it. She does have Mother Earth in her.

[Jeanine Turner]

Yeah, Mother Earth instincts. Save everybody, save everybody. And you know, that's funny because I'm dealing with my mother now and it's really interesting to watch the difference between a daughter dealing with the 90 year old mother and a son. Right. It's sort of like I'm the, I'm the empathetic one going, well, you know, she feels this, this, this and this. My brother's like, I'm just telling her to buck up, you know, this is the way it is. And I'm sitting here carrying all the emotion for her. God, I wouldn't be interesting to be a man for one day. I mean, I often think about this when men come in and they can lift things that I can't live lift. I'm like, oh, would it be interesting just for one day?

[Rob Morrow]

There's a bunch of movies that way, you know, that have been made.

[Jeanine Turner]

But, Rob, do you ever think about that? About what it would like to be in a woman' body and feel the emotion and the, you know, the emotion women feel?

[Rob Morrow]

Yeah, and not only that, but I feel. I always feel because I was raised by two women, you know, my dad was pretty much gone, and because I then recreated that same dynamic. I'm surrounded by women, my wife and daughter and me, you know, it. I have. I feel like I have a really strong kind of female energy inside.

[Jeanine Turner]

So.

[Rob Morrow]

But I, you know, I've certainly imagined what it would be like.

[Jeanine Turner]

Yeah, you're emotional in your own way. I was thinking about it.

[Wil Wheaton]

It.

[Jeanine Turner]

Elaine, Rob and I are two emotional creatures. Rob, you're very emotional, actually. And so I am so emotional. I always got to keep a lid on it.

[Rob Morrow]

As I get older, I get more so. I mean, not like wildly emotional, but, like, you know, someone will. So they. They showed me this. My. My wife and daughter showed me this video the other day of this. It was amazing. Video of this fox right in the middle of some, like, preserve somewhere, running up to a car, right? There was like a ranger or something and climbing up to the. To the. To the. To the window and trying to get the attention, just screaming, screaming. The fox was screaming, like, just screaming. And the ranger went, okay, okay, I guess you want me to follow? And the fox took off and he and the ranger followed the fox into the bush and underneath Barry. Then the fox goes to this area that's covered in snow and starts digging. And the ranger goes, oh, you want. There's something under there. And. And he helped the fox dig out the hole. And there were all the fox's babies buried. Oh, and they were still alive. And he helped take the foxes and he helped, you know, get them, make them okay and everything. And I started crying. I was like, I can't believe I'm crying at this.

[Jeanine Turner]

I love that. You know, I have a story about that now, Elaine, I want to hear yours. Where? Out here with all these cows. I feel like I'm Gorillas in the Mist out here. What was her name? The archaeologic. The.

[Rob Morrow]

Yeah, she just passed away.

[Jeanine Turner]

Yeah. What's going Gorillas in the Mist? Anyway, one day at the barn, one of my wonderful Old cows came up. Her name was Clover. And she came to get Juliet and me at the barn. And she's like, follow. Follow me. Follow me. We're like, what's going on? What's going on? She, like, walked into the barn. So we followed her out, and she took us all the way to the creek. And her son, baby. Her baby calf had fallen in the creek.

[Elaine Miles]

Oh, no.

[Jeanine Turner]

So she took us, same thing, Rob, to the creek. And then I called my neighbor Hammer. I'm like, hammer. I called him Hammer. He goes, nobody el calls me Hammer. And I realized I call him Hammer because, Rob, I always called you Fleischman, right? So I call all these men by their last names, you know. He goes, you're the only one that calls me. I called the middle of the night one night when something was going on. How'd you know it was me? Because you're the only one that calls me Hammer, you know? But he went out and pulled the cow out with one arm, the calf with one arm, and then we had to, like, rappel up the creek. But it's the same thing, the way mothers will go do that. And, Elaine, what are your thoughts about that? Because I know you've raised your children, you know, your son by yourself.

[Elaine Miles]

I did. And his. His very emot.

[Jeanine Turner]

But he's also a Marine.

[Elaine Miles]

He said he had to learn how to control his emotions, you know, when he joined the Marines. Now he's like, hardcore, you know, but he's always telling his sons, it's okay to cry. Don't be ashamed to cry. And they listen to their dad because he goes, I was raised by my mom and me, so he was raised by two women, too. But he's kind of in between. Between, you know, because the Marine kind of changed him.

[Jeanine Turner]

But.

[Elaine Miles]

Yeah.

[Rob Morrow]

Well, it's good to find the balance, I think, ultimately.

[Elaine Miles]

Yeah. For real. And then it's not. There's nothing wrong with being emotional. A man being emotional.

[Rob Morrow]

No, it's good. It's a good thing.

[Elaine Miles]

It's good because you don't want to hold that stuff in for sure.

[Jeanine Turner]

About my mother, I used to say she's going to live forever because she's so emotional. Here we are. She's 90.

[Elaine Miles]

Yeah. Yeah. My mom only lived to be 82, so.

[Jeanine Turner]

Oh, I know. I'm so sorry you lost your mother. And she was on the show with us.

[Rob Morrow]

She was great. We talk about her a lot because she pops up all the time on the show.

[Elaine Miles]

Yeah, I know.

[Rob Morrow]

Let's talk about the episode some. Jeanine, what did you think when you. When you watched it?

[Jeanine Turner]

I remember for. They're gonna be a lot of episodes that I don't remember, but I remember a lot about this episode. I remember the digging. I remember putting the.

[Elaine Miles]

The. The.

[Jeanine Turner]

The paper in my mouth and figuring out how I was going to talk and what was. How was I going to swallow, you know, what was I going to do with the actual paper? And I noticed that cut off of me for a lot of that after I put the. The paper in my mouth. But I also remember, Rob, that scene with you. I think about it all the time. The scene at the pool table when I'm talking about all the women from the past, and Catherine the Great was one of them. And I talk about all the things that were amazing that she did, but people just remember the apocryphal aspect, that she had sex with her. And I think about that all the time. I think about that. That scene because I go out with my horses and I think about Catherine the Great. And I just put Catherine the Great in my musical Belva. So I remember also having to remember all that dialogue, because that was a lot of dialogue there about the Greek goddesses and the historic, Historic women. And if you notice, there were a lot of cuts which were nice. So it's nice when you have a lot of dialogue when they give it to you in sections. Actions. Did you catch that? Did y' all catch that?

[Rob Morrow]

Well, I'm not following you. What do you mean?

[Jeanine Turner]

It was a long monologue for me when I'm talking about all the historical women and you come up and ask if I'm okay. And so I'm playing pool at the pool table. And so there's a shot here where I give, like, the first part of the speech. And then there's a shot here on where I'm on the other side of the pool table where I give. Where I give that part of the speech. So it was nice that it was broken up because then you can kind of. You do a master shot, but then when they go up for close ups, you're able to kind of go, okay, I'm going to do this fourth of the speech here and this fourth of the speech on this shot, and this fourth of the speech on that shot.

[Rob Morrow]

Oh, I see what you're saying. I get it. Yeah, you get to drill down on it. What about the fact that Maurice. Why is Maurice all of a sudden, like, an anthropological expert?

[Jeanine Turner]

There's money involved.

[Rob Morrow]

I know, but his knowledge, like, he was so knowledgeable about anthropology and I just was like, that seems a little. A little pushed. Like, I don't remember Maurice having that informational. You know, it just seemed a little contrived. But it worked. Ultimately. Ultimately. Because I think what you're saying, Janine, ultimately, his motive for wanting to expl. Exploit this dig is clear, but it didn't quite track.

[Elaine Miles]

Oh, I remember that now. Yes. Because they found the. The artifact, and he was hell bent on everything being around him.

[Jeanine Turner]

And it was all the men. And all the men arrived in her yard, and her yard is the sole women against all of that. And she. She kind of was going with it, which I sort of liked, because at the beginning, you saw her vulnerability. She was sort of, okay, well, maybe. And then she said, no, no, no, all of you have to go. And then, Elaine, you and I. You and. And Ruthann and I, Peg, have this great scene where the three of us are talking about men and I talk about their penises, which is, like, crazy.

[Rob Morrow]

It's amazing how forward. There's so many things in the episode, like the kid. The kid. That kid who shows up, he looks at Shelly and he goes, nice hooters. You know, and then. And then the. Maurice talks about the gay guys. Like, he's just so reductive, you know, about them. Gay stereotype.

[Jeanine Turner]

Yeah. Yeah. They're strong in the upper body, but they have the emotion to, like, really care about the dick.

[Rob Morrow]

Right.

[Jeanine Turner]

And then, so Elaine, you. You and Peg and I are in the. In Fleischman's office, and we're talking about men and their penises and all this. And then Rob walks out, Fleischman walks out. We both. We all three stare at him. So it was kind of fun. You know, you and I had a lot to do in that episod together.

[Wil Wheaton]

Yeah.

[Rob Morrow]

There was something that jumped out of me. Another thing that jumped out of me is there was a moment where they. Mike Monroe's working out in the. In the octagon. You know, he's. He's. He's working out and Ed's there, and they're having a conversation, and Mike gets up and walks away. He's got this giant sweat stain on his butt. And I'm like, why did they put that there? Like, why? Because it's clearly put there. Like, who's thinking? Like, oh, that's going to help enhance the scene. Like, it just seemed. It's so bizarre looking.

[Jeanine Turner]

You think maybe it was real?

[Rob Morrow]

No, it was. Wasn't real. He wasn't sweating that much. He's so. It's so wet. It just doesn't. It's the kind of thing, the stain that, you know, they use a little oil to put on. I don't know why they did it there. Very bizarre.

[Elaine Miles]

Yeah.

[Rob Morrow]

But I love the psych. I love the psychological kind of reductionism of the scene with. With Janine and. And the wolf walking through the forest.

[Jeanine Turner]

Remember, I was a little. Little Red Riding Hood?

[Elaine Miles]

Yeah, I remember that, too.

[Rob Morrow]

All the kind of chatting about the psychological motivations and, you know, why she's doing this. And then. But what's interesting is Janine is. Maggie is skeptical, you know, and. And he wins her over, and then she walks off with him, theoretically to her death. You know, he kind of, like, seduces her.

[Jeanine Turner]

Yeah, it was kind of creepy. When you think about the sex trade today, you know, all the kids that are being seduced. It was. It was a little creepy.

[Rob Morrow]

And.

[Jeanine Turner]

And you. You see, remember, you know, I used to talk with my acting coach over every script. We talked about this in the. In the beginning of the show where she and I would walk through every kind of. Where I was emotionally in every line, and I would change people. Like, let's just say in the beginning, I'm. I'm kind of irritated, so I most likely think of my mother. And then in the second or third part of this. Of this page even, I would. I would flip it. But I noticed in this, I was trying to. I was act. I was being kind of young. And I'm sure that I made some choices of being sort of childlike, being an adult adult, but also being childlike. But it was a little bit creepy where he finally won her over in the end.

[Rob Morrow]

I know. Well, when you walk away, I'm just like. Because it didn't occur to me. I thought it was like he put

[Jeanine Turner]

his hand on her rear end. Are you. No. He took her basket. He took her basket.

[Rob Morrow]

Yeah. You just. Yeah, it's definitely. But I think that's the point. I mean, it's supposed to be. It's a. It's a creepy cautionary tale, you know, so they definitely didn't give up on that. I just wanted to throw out that the kid who played Brad Young is Eden. Eden Gross. And I don't know if he's done anything else, but he was such an interesting kid, the way he's smoking and,

[Elaine Miles]

you know, and then I have people that message me, you know, on my fan page, and they talk about how Northern Exposure was. So. Because they. I had a woman, like, get mad because Shelly is so much younger than Holland. It's like, he was pedophile. Ish. And I was like, oh, my God, I didn't think about that. You know, and then she kind of talked about you and this Red Riding Hood, because she goes. And then she just follows, and that guy just takes her. It's like you guys were doing stuff that. Do you ever think about that? And I was like, oh, my God. Okay. But I never thought of it like that. I mean, you know, when we're watching it, I never thought of our show being so risque like that.

[Rob Morrow]

Yeah, I mean, it's. You know, it's an interesting thing, the hauling Shelley thing, you know, now it seems, you know, that people. People now, when they're looking through it, they. They see that through that perspective. But when we were doing it, you

[Elaine Miles]

know, it was funny.

[Rob Morrow]

You know, look, there's a. There's. There's certainly people taking advantage of other people and. And pedophilia and all of that, but in this case, there was beauty and love.

[Jeanine Turner]

Well, and she was of age, you know, she wasn't 17.

[Rob Morrow]

Absolutely.

[Jeanine Turner]

And what was going on with Little Red Riding Hood was a dream.

[Elaine Miles]

Yeah, exactly.

[Rob Morrow]

Right. And it was a fear. It was a fear, you know, her fearing something, which is the same with Ed's dream, you know, and. And a lot of dreams are our fears manifesting. I had a dream last night that I was bald. It was so straight. It was with Steve Martin, and I just. And it was so. It was so. I have celebrities a lot in my dreams. Like, I have celebrities all the time in my dreams. And last night was Steve Martin. And I, like, looked in this mirror, and I went, there was this giant bald spot, and it was so real because I really thought, like, go. Dang. I never noticed that. It's like this giant bald spot.

[Elaine Miles]

You have a lot of hair.

[Rob Morrow]

I have a lot of hair. Yeah.

[Jeanine Turner]

Why don't you let it grow, Rob? I missed the curls.

[Rob Morrow]

I did. I just cut it.

[Jeanine Turner]

You know, it's funny. Rob always tells me about my hair before we start. Like, Janine, fix that. Fix that. Fix this engine. Why are you wearing a wig? Why are you doing that? I never say anything to you about your hair. I just.

[Rob Morrow]

You do all the time.

[Jeanine Turner]

Okay. No, I never say anything to you about your hair. I've never said anything to you about your hair.

[Rob Morrow]

You have. We could go. We could.

[Jeanine Turner]

No, I had.

[Elaine Miles]

No, not.

[Rob Morrow]

You have. You've told me that you like it and that you like it long and you like it curly and all that.

[Jeanine Turner]

Okay, well, what happened to your Curls. Rob, why'd you.

[Rob Morrow]

I just cut it this week because it was getting so long.

[Elaine Miles]

And plus, it's. It's summer. It's going to be hot.

[Jeanine Turner]

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[Rob Morrow]

By the way, cutting your hair short like this is almost like a catheter, cathartic experience. It's like a rebirth, you know, it's like the thing about shaving and stuff.

[Jeanine Turner]

Did you cut it yourself?

[Rob Morrow]

No, no, no.

[Jeanine Turner]

I cut my hair myself.

[Elaine Miles]

The only time I cut my hair was when my mom passed away, because like you said, Rob, it's like you're starting over. It's a new you. That's the way I believe, you know, because I took care of my mom. So I cut my hair. My hair was up to my ears. It was like a bob. Wow. Yeah. It was up here. Yeah.

[Jeanine Turner]

What'd you do with the rest of it?

[Elaine Miles]

I saved it. We save our hair. And my hair grew, you know, it was to my thighs. And then I cut it up to my, you know, mid back last year. But it's down to my butt again.

[Jeanine Turner]

So it grows. Mine doesn't grow like that anymore.

[Elaine Miles]

Oh, I was just gonna say, like, some of the stuff that they do in Northern Exposure, some other people talk to me about it is they like, it's. They foreseen stuff. And I go, what do you mean they foreseen stuff? And they go, some of the stuff they do on the show is like, it's happening now. And then I was like, ah, okay. I don't. I guess so, you know, or maybe

[Jeanine Turner]

they're talking about the ozone, because, see, I thought the ozone really wasn't that prevalent. If you think about it, there may have been people talking about it, but it wasn't in the social consciousness. It wasn't in the American mind, and now it is. So when we look back, I think, wow, the show is prescient. I mean, they really thought about things before they became a big deal. But then I was educated. But, yeah, I think that's probably. They're probably having the same reaction that I do, but in. But in a lot of things. Right? Like with. With. With folklore and mythology and philosophy.

[Elaine Miles]

Yeah. Because this guy is like a hardcore Northern Exposure, and he's always messaging me. And he. He watches this, too.

[Jeanine Turner]

Who does? Who?

[Elaine Miles]

I forgot his name, but he. He watches Northern Disclosure because he goes, I saw you on that. And I was like, good, good. Thank you for watching that. And watch them all the time, you know, because they. They interview everybody from, you know, behind the scene and on screen, you know, so watch it. So he watches it.

[Rob Morrow]

Do you get recognized a lot when you walk around?

[Elaine Miles]

Yes, I do. Even to this day. I was at the post office yesterday, and this guy was sitting there, and he was in his post office box. And then he kept looking at me, and he goes, are you. Are you Marilyn? And I was like, oh, my God, yes, I am. I had no makeup, no nothing on. You know, my hair was all messy. I had shorts and a T shirt on. And he's like, oh, my God, that was shot here, wasn't it? I was like, yes, it was. It was. You know, and people recognized me and shot.

[Rob Morrow]

Right.

[Elaine Miles]

They always tell me Shelly lives here, too. I go, yes, she does.

[Jeanine Turner]

You know, weren't you recognized in the grocery store? I think. Weren't you checking out? You were telling me the other night.

[Elaine Miles]

Oh, yeah, I was checking out at a grocery store, and this. This guy kept looking at me and looking at me, and then his wife looked at me, and she goes, they recognize me from smoke signals. They're like, you're that little Indian girl that drives the car backwards. And I was like, oh, my God, they've seen it. And the people that work at Safeway, you. Because some of them have been there since Northern Exposure time, you know, because we caterers used to shop there. So they. They go, oh, my God, I can't believe people still think about and. And see the show. And I go, well, it was on prime, you know, so is that the Safeway in Woodinville? No, it's a Safeway here in Redmond.

[Jeanine Turner]

Okay, yeah.

[Elaine Miles]

Bear Creek. It's still there.

[Rob Morrow]

Sometimes people will give me, like, you'll see them like, you're talking about that. It made me think of it when you're like, on a line somewhere, and you'll see someone kind of clock you, you know, and they'll kind look and you feel them looking, and you're like, you're waiting, waiting, waiting. And then they'll say, like, you know, they. They say like, I know. I know you. I know you. And you'll be. I used to be like, no, sorry, I don't know you. But now I just. To get it over with, I just say, well, I'm an actor. Maybe you've seen me in something. And they'll be like, no, it's not that.

[Elaine Miles]

I've had that happen.

[Jeanine Turner]

I know you and I do the same thing. And you just sit there for. I go, northern Exposure. No, I don't ever watch tv. I'm Cliffhanger. No, you just go through everything. They're like, no. I'm like, okay, right.

[Elaine Miles]

I was mad because ICE didn't. I. Those damn ICE guys didn't recognize me.

[Rob Morrow]

Let's talk about that. Because I wrote about it and people were like, like you that. Tell us the story.

[Elaine Miles]

Oh, my God. I went to the bank, and I was walking from the bank to Starbucks is by Safeway. So I was like, I'm going to go to Starbucks. So I was walking, and all of a sudden these cars stop right by me and these guys jump off, and then they're like, we need to see your id. And I was like, what did I do? Because the one guy, he looked like a cop, but you could tell they weren't cops because they didn't have the badge or nothing.

[Rob Morrow]

So fucked up.

[Elaine Miles]

Yeah. So I was like, what do you need to see my ID for? I used to crosswalk. I didn't jaywalk. And I kept tell. And he goes, we need to see your id. Where are you from? And I go originally from eastern Oregon, but I live here. I've lived here for 30 some years.

[Rob Morrow]

You have no idea. You have no idea. But that their eyes at this point?

[Elaine Miles]

No, because they didn't have anything. They had the vests on.

[Rob Morrow]

Right. They don't show id. They don't do anything.

[Elaine Miles]

Yeah.

[Rob Morrow]

Did they have masks on?

[Elaine Miles]

Yep, they had masks and they had their guns and their. Their ID was on the side of their belt, but they would turn away so we couldn't see it. And I was like, oh, my God. And so I got my. And he goes, what are you doing? I go, I'm getting my id. You want to see It. Right. And because the other guy had his hand on the gun. And I was like, these guys are going to shoot me for looking for my id. So I pulled out my purse, you know, my id, and I gave him my tribal ID because the tribe said, give him your tribal id. So I gave him my tribal id and then he looks at it and he says, oh, this looks fake. And I was like, it's not fake. I go, there's an 800 number on there. You could call it. That's my tribe. They'll answer it. It's the enrollment office. He goes, what's the enrollment? I go, for our tribal id. It's a federal ID because we're federally recognized tribe. And then he looked at it. He goes, it looks fake. And the other guy said, yeah. And it's crazy because the guy that said it looked fake was a black guy and the guy that agreed was a Mexican guy. And then the two white guys were sitting there, and then there were two other white guys standing by their rigs, you know, and there was one guy in his car. And so I was, like, argued with him for a good 45 minutes.

[Rob Morrow]

45 minutes.

[Elaine Miles]

And then they said, we need to see another id. So I gave them my passport, you know, because I work in Canada, so I have a passport. Why do I need a state id? You know, because I already paid a heart, lung, and liver for my passport, you know, So I gave them the passport, and they go, why do you have a passport and don't have a state id? And I was like, are you kidding me?

[Rob Morrow]

How dare they? How dare they ask this? I can't believe you show them their passport. And then they're not even accepting.

[Elaine Miles]

Yeah, yeah, yeah. And then the guy in the car must have been looking me up, and then all of a sudden, he whistled and they all jump in their car. And then I've been talking about it, you know, with a bunch of people, you know, reporters from all over. And two of them have looked because there's cameras all over. Over, Right? Two of them have looked, and they can't find that when it happened that day.

[Rob Morrow]

No way. Oh, my God.

[Elaine Miles]

And then I said that I was driving. I go, I was not driving. I was walking.

[Rob Morrow]

Wait, who said you were driving?

[Elaine Miles]

The ICE people. When I did. The cnn. The CNN guy. He goes, well, the spokesperson for ICE said that you were driving. I go, I was not driving. Driving. I was walking. I go, that's a lie. And then I wanted to say about the cameras, because I go, they had those deleted because the store. There's stores, you know, all over.

[Rob Morrow]

Well, I'm sorry you went through that. It's so. It's such a tragic, tragic state of affairs that they're doing that to people. I mean, and that. That they didn't apologize and that they didn't. That they just treated you that way. It's just horrible. It's just horrible. There's no excuse.

[Elaine Miles]

Yeah. And they even had natives, you know, in Minnesota. And then a Navajo girl was put in ice detention, and I hear there was another guy in ice detention.

[Rob Morrow]

There's so many people in ice detention still that have been in there for months and months that are completely innocent American citizens. It's just bizarre. It's just a tragic time in our country.

[Elaine Miles]

It is. It is. You know, my. My grandma talked about this stuff happening. My great grandma, when I was a young girl, because I used to drive when I was 14. So I was driving her, and she told me about. She told me about all of this.

[Jeanine Turner]

How did she foresee it? What does that mean?

[Elaine Miles]

She talked about things that actually happened because she lived through the Depression and she had friends that were put in the concentration camps and they used to work in the field over in Eastern Washington. And she said. And then one day they were gone. And she goes. And after everything happened, they come back and they said they locked them up. They locked them up in California.

[Rob Morrow]

Hopefully, we'll get through this time and we will be aware of it and we won't repeat it again in the near future. I mean, I guess history repeats itself. But they did it to the Japanese in World War II, and now they're doing it. It to.

[Jeanine Turner]

Well, and, you know, the. The. The Trail of Tears, which is one of the things that I'm highlighting in my musical, which you and I have talked about. Right. Which is the Acoda Treaty and then the Trail of Tears and how Belville Lockwood fought for them in the Supreme Court when they wouldn't even allow her to be on the Supreme Court. And then finally she was. But it's just fighting for. So that could be repaid. The Cherokee Nation for their lands, and they won. So they got their, you know, $5 million back in 19. Oh, whatever.

[Elaine Miles]

Yeah.

[Jeanine Turner]

But. Yeah. Sorry that you had to go through that. That would be really. Anytime you have to go through something like that, it's really frightening.

[Elaine Miles]

It's scary.

[Rob Morrow]

Let's dove. We have to wrap up soon, but let's just dovetail back. I want to just shout out to Don McManus, who played Eric and Doug Ballard, who played Ron, and Anthony, who played Mike Monroe, you know, just to say how great they are.

[Jeanine Turner]

And Darren.

[Elaine Miles]

Darren Burrows.

[Rob Morrow]

Yeah. I mean, all our regulars, of course.

[Elaine Miles]

Yeah.

[Rob Morrow]

And that. The guy who played Wolf was. Was Robert Nader, by the way.

[Jeanine Turner]

His voice was amazing. He had a great voice.

[Rob Morrow]

And makeup was pretty intense, too.

[Elaine Miles]

Yeah.

[Jeanine Turner]

I don't think hair and makeup and costumes get enough credit.

[Rob Morrow]

I know we gotta get to one of them on the show. We've got to get Denise or Joanie or someone to come on.

[Jeanine Turner]

Joanie. Mears did such a beautiful job with all of our makeup. And I had so much fun with Joni at the beginning, especially those first few years, you know, creating Maggie and. And kind of the kind of ying and yang that we did, where Maggie one day looks like this with nothing, and the other day. But they did a beautiful job with your hair.

[Elaine Miles]

Yeah, Rebecca was really good. She was going to write a book about all the hairstyles I had because people would ask her, you know, and some of them would ask, like, they still do. Did you do your own hair? I was like, no. Some of that stuff I wouldn't be able to do, you know. But she did a great job.

[Jeanine Turner]

Yeah, she was amazing at get our. Getting our hair really straight. And then she put that. Do you remember she had that little blue bottle of silicone oil and she would put it on her hair and I just wonder, I mean, because silicone's not that great for you. And I'm like, I hope she's okay later. Because, I mean, she put it all over our hair, and that's what gave

[Elaine Miles]

us that shiny, shiny.

[Wil Wheaton]

Yeah.

[Elaine Miles]

Yeah.

[Jeanine Turner]

She did it all the time. Rob, I know you weren't ever really big with hair and makeup. You were sort of, don't touch me. I don't want anything.

[Rob Morrow]

Before I became aware of it, in the early episodes of the series, you see, I was wearing a lot more. They put a lot of make on me, and I didn't know better. But as time went on, I was like, I don't need all this. And then it became a question of how can I get in and out of hair and makeup quick? So, you know, by the time that show was in its fourth, fifth season, I was in. I was in hair makeup for maybe 15 minutes. You know, I was in and out. And that did allow me another probably hour. I know Janine would get there at 5am I get there at 7.

[Jeanine Turner]

I know. Remember that, Elaine? We had to get there so early.

[Elaine Miles]

They got good at doing my stuff quick.

[Rob Morrow]

I maintained.

[Wil Wheaton]

And.

[Rob Morrow]

And a lot of people don't agree with me, but when I come on, when I show up on a set in the morning and I see all the women show up in their sweatpants and their hair just messy and they're normal, I think they look better than when they go through the works. I say, I. You know, I'd. If it were up to me, I'd say, you know, just put on a little lipstick and maybe a little blush to comb your hair. And that's it. Because I. It. It just. I just like it better.

[Elaine Miles]

Oh, thank you.

[Jeanine Turner]

I find that men from LA and New York think that. Because Alec was always like that Alec, when I was engaged to Alec, he was always like, take it all off. Take it off. But I'm a Texas girl, right? And. And I took it all off. And I took it all off for Maggie. And I was completely into it. Give me the tool belt. Let me get my hands dirty. And I definitely am that girl. No makeup, my hair wherever. When I'm roaming around the ranch. But I still feel. Because I'm raised in Texas. Because Texas, though, I don't know. In the olden days, Texas men didn't think that. But now my daughter's married to a Texas man and there's. They. They don't wear any makeup. So it's all kind of come to fruition, I guess. Rob, with what you're about. Talking. Talking about. But for us old timers, it's really hard for me to not feel like I need to get dolled up.

[Rob Morrow]

Well, I'll just say, as a rule, Janine, take it all off.

[Elaine Miles]

Yeah,

[Jeanine Turner]

that's hard to do.

[Rob Morrow]

No, I'm saying everything. Take it all off.

[Elaine Miles]

Oh, yeah. Okay, we gotta be camera ready.

[Jeanine Turner]

Yeah, I gotta be camera ready.

[Elaine Miles]

Remember, Denise always used to be camera ready.

[Rob Morrow]

Elaine, I'm gonna leave you with this last line that Shelly said that I just love. I love her little idiosyncratic lines that she gets to say. She says. She says to young kid when, you know, she's. She says, brad, when you nail the right chick, she's going to be on. She's going to be one lucky dudette. Holland owns the key to my pants and my heart.

[Jeanine Turner]

That's what was so cool about him. You like, whatever. You have great hooters. And she's like, thanks.

[Elaine Miles]

Yeah, exactly.

[Jeanine Turner]

You got Maggie out. You got Maggie out there going, don't. Don't you take over my land.

[Rob Morrow]

You know, we didn't talk about Maggie enough, but you know that that scene was Great. She, you know, in her. Outside on her front lawn, you know, and I agree with you, Jeanine. I don't know if it was the Emmy show, but it was a strong performance for sure.

[Elaine Miles]

That's the one we found the cradle board, right?

[Jeanine Turner]

Yes.

[Elaine Miles]

Yeah, I remember that now.

[Jeanine Turner]

And then all the men come and take over Maggie's. Maggie's front porch and all the women's things that we'd found. And then at the end, all the bury it together and all the men are over there watching with binoculars because she kicks them all off.

[Rob Morrow]

How does the episode end? It's another of these great. Like, it just. It was really moving.

[Jeanine Turner]

Oh, I think it's the burial. Because it was that great music that you knew, which I never knew. The music was listed on IMDb so they list it per scene, per episode. But you weren't there at the end, which was weird.

[Elaine Miles]

Yeah.

[Jeanine Turner]

I don't know why you weren't there. But the women. The women were there, and we were all bare burying it.

[Elaine Miles]

Probably Marilyn didn't want to, because traditionally you leave it where you found it.

[Jeanine Turner]

But she's putting it back.

[Elaine Miles]

Yeah, but you put it back in a different place.

[Jeanine Turner]

Oh, maybe. Yeah, maybe. That was wild.

[Rob Morrow]

Well, Elaine, it's so great having you. It feels like old day. It just. We, we, we, we all, the three of us, just get right into a groove. So I hope we can bring you back again. Thanks to the audience. If you like the show, you know, hit that subscribe button, tell people we, you know, we. We keep finding that people don't know about it. We love reading your responses, especially on YouTube, that see them and so let us know what you think of the show. And thanks for tuning in.

[Jeanine Turner]

Yeah. Thank you, everybody. Thanks, Elaine. Great to see you again.

[Elaine Miles]

It was good to see y', all, too.

[Jeanine Turner]

Yeah. You're awesome. You're awesome. No one. No wonder everybody loves you. I think you're the. The number one favorite of. Of the entire cast.

[Elaine Miles]

Oh, I'll have to say thank you, everybody. Not.

[Jeanine Turner]

Yeah, yeah, yeah. So, okay, well, we're gonna wrap it up tonight and. And we'll see you next week. So see you. From o' Connell and Fleischman.

[Rob Morrow]

Actually, it should be Fleischmann. O', Connell, now that I think about it.

[Jeanine Turner]

In your dreams, Fleischmann.

[Rob Morrow]

All right, well, I'll do some dreaming.

[Jeanine Turner]

Northern Disclosure is a production with Evergreen

[Elaine Miles]

Podcasts and executive produced by Paul Anderson and Scott McCarthy for Workhouse Media.

[Rob Morrow]

Best thing that's ever happened to you, financially. Go easy.

[Wil Wheaton]

Sold my car.

[Rob Morrow]

On Carvana. Amazing offer, really. I hit 200 on the scratcher. Did the scratcher come to your house and hand you a check? No. How many scratchers did you hit to get that? I hit a button on Carvana.com once. Okay, that's fair. It's like the lottery, except you always win. Not like the lottery at all, actually. Exactly. Inexplicably good offers worth bragging about. Sell your car today on Carvana. Pickup fees may apply.

[Wil Wheaton]

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 Bank Theory, Leverage in 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 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 mess. 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 your podcasts. I hope you'll join me.