Christa Miller

Summary

Podcast Summary

Podcast: Where Everybody Knows Your Name with Ted Danson and Woody Harrelson (sometimes)
Episode: Christa Miller
Date: April 1, 2026
Host: Ted Danson
Guest: Christa Miller

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Main Theme

This episode centers on an intimate, in-depth conversation between Ted Danson and actor/music supervisor Christa Miller. They delve into Christa’s vibrant career—from her early days in New York, to her celebrated roles in sitcoms like The Drew Carey Show, Scrubs, and Cougar Town, to her current success on Shrinking (Apple TV). Along the way, they discuss the challenges and joys of reinvention, collaborating with loved ones, and making meaningful creative contributions both in front of and behind the camera. The episode is filled with personal reflections, industry anecdotes, and a focus on the ways compassion and willingness shape both art and life.

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Key Discussion Points & Insights

Laurel Canyon, Nostalgia, and the LA Creative Scene

• Laurel Canyon Life ([02:38 - 04:57]):

  • Christa and Ted reminisce about Laurel Canyon’s unique energy and its role in their respective careers, with stories about communal living, magical luck, and industry friendships—Jen Aniston, Zach Braff, and working actors banding together.
  • “We were just this gang of people, you know, rooting each other on… it must have had magical feng shui or something, because we all got jobs. Who gets jobs?!” — Christa Miller [04:37]

• Music and Location ([03:43 - 05:12]):

  • Ted recalls the nostalgia of the Laurel Canyon sound and Paramount Studios, and how revisiting old LA haunts evokes strong memories of his early acting days.

Connections, Mentors, and Industry Serendipity

• Industry Connections ([05:16 - 07:13]):

  • Ted and Christa ‘play six degrees of sitcom separation’, discussing their mutual friends and professional overlaps: Zach Braff, Drew Carey, Woody Harrelson, Larry David, and Harrison Ford.
  • “Larry David started my career.” — Christa Miller [07:38]

• Larry David and Career Renaissance ([07:40 - 08:57]):

  • Ted credits Curb Your Enthusiasm and Larry David with revitalizing his career—prompting a discussion on second acts and public confusion about reality versus scripted TV.

Christa’s New York Roots & Early Influences

• New York Upbringing ([09:13 - 10:57]):

  • Christa shares stories of her Manhattan childhood, all-girls school, and athletic background (“I lettered in four sports in high school” [09:54]).
  • Family ties to Susan St. James and Dick Ebersol, adding to her creative lineage.

• Discovering Acting ([11:22 - 13:31]):

  • Despite modeling as a child and a “supermodel” mom, acting was not initially on her radar.
  • Eventually drawn in after meeting her aunt; began studying at the American Academy of Dramatic Arts and the Neighborhood Playhouse, immersing herself in the Meisner technique and NYC’s artistic scene.

Music Supervision: Passion and Expertise

• Music in Storytelling ([14:41 - 16:19]):

  • Christa describes how curating music for TV combines her lifelong passion for soundtracks and helping new artists break through (“TV’s the new radio”).
  • She collaborates closely with her husband, Shrinking creator Bill Lawrence, and daughter Charlotte, integrating family creativity.

• The Art of Being a Music Supervisor ([16:21 - 19:52]):

  • Responsibilities include selecting composers, working with existing songs, and ensuring music matches a show’s emotional tone.
  • Anecdote about crafting Shrinking’s theme song via music world connections, including Ben Gibbard and her daughter.
  • “I just can hear it… what’s going to be a great song. We launched a lot of careers, and it was incredible.” — Christa Miller [19:07]

• Special Requests & “Musical Hyperhedonia” ([19:52 - 24:03]):

  • She shares Harrison Ford’s feedback (“why is it so fast?”) and how she tailors music for cast needs.
  • Discussion of her intense relationship with music and the term ‘musical hyperhedonia’, which her psychiatrist, Phil Stutz, used to describe her heightened emotional response to sound.

Creative Collaboration, Marriage, and Family Life

• Working with Family ([29:03 - 30:19]):

  • Both Ted and Christa reflect on working with their spouses (Mary Steenburgen and Bill Lawrence), describing mutual support and creative boundaries, as well as “no asshole” workplace rules.

• Set Culture and Process ([30:25 - 34:02]):

  • Shrinking’s unique rehearsal process: no scripts allowed on set, everyone memorizes lines, fostering authenticity and teamwork.
  • Bill Lawrence’s approach to set culture: “If you’re an asshole, you’re gone.” — Christa Miller [29:48]

• Challenges of Professional and Personal Balance ([34:16 - 37:09]):

  • Christa candidly discusses losing professional ambition during early motherhood and the steep learning curve of truly “being a mom.”
  • “When you have children, you kind of lose ambition a little… I chose to have three small children.” — Christa Miller [34:33]

• Creative Rebirth through Shrinking ([27:26 - 28:35], [35:54 - 39:20]):

  • After a break, Shrinking gave Christa a professional renaissance and inspired greater risk-taking:
    • “It’s given me, like, a whole other… like, Phil talks a lot about breaking frames. To break the frame and do something different and change your perception.” — Christa Miller [27:55], [28:33]
  • She credits her husband and Ted Lasso’s collaborative writers’ room for the opportunity.

Acting: Fear, Risk, & Reinvention

• Risk-Taking and Set Philosophy ([28:33 - 30:49]):

  • Jason Segel’s motto inspires Christa:
    • “A day’s not good unless I’ve been embarrassed four times.” — Jason Siegel (via Christa) [28:33]
  • Discuss improvisation, knowing lines thoroughly, being present and authentic on set.

• Growth and Humility ([37:09 - 38:00]):

  • Christa talks about learning from setbacks, support from her ‘mom network,’ and the value of humility and vulnerability in both motherhood and Hollywood.

Family, Generations, and Creative Legacy

• Supportive Spouses and Children ([45:06 - 46:36]):

  • High praise for Bill’s encouragement (“you’re my muse; you can do it”), and emotional reflections on her daughter Charlotte’s blossoming music career, including a moving Dublin performance in front of 17,000 fans.

• Mary Steenburgen’s Musical Journey ([20:40 - 21:59], [42:53 - 44:57]):

  • Ted recounts Mary’s unexpected transformation into a songwriter after a surgery, describing her willingness to reinvent herself and leap into a new craft at age 57.
  • “She was willing to be, the least talented person in the room, over and over and over again to learn the craft.” — Ted Danson [43:37]

Compassion, Family Dynamics, and Moral Center

• Compassion as a Guiding Principle ([49:05 - 51:05]):

  • Christa shares her personal growth in “leading with compassion and goodwill,” and how therapy and self-reflection have helped her shift from “hypervigilance” to peace.

• Parenting Styles and Learning Boundaries ([51:26 - 53:06]):

  • Honest, humorous look at being the “bad cop” versus the more lenient parent, and negotiations to create a united front with Bill for their kids.

Making an Impact, Hope, and Uncertainty

• Ripples of Kindness & Creative Service ([54:56 - 57:17]):
  • Ted and Christa discuss the desire to make a difference during turbulent times—through their work, through small acts, and through fostering connection and compassion.
  • “I think shrinking is brilliant for that reason and you for being in it.” — Ted Danson [57:04]

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Notable Quotes & Memorable Moments

• “We loved being in Laurel Canyon, and we were just this gang of people, you know, rooting each other on and being supportive. And it must have had magical feng shui or something, because we all got jobs. Who gets jobs?!” — Christa Miller [04:37]
• “Larry David started my career.” — Christa Miller [07:38]
• “I just can hear it... what’s going to be a great song. And we launched a lot of careers, and it was incredible.” — Christa Miller [19:07]
• “TV’s the new radio.” — Christa Miller [16:33]
• “It's given me this renaissance in my career... just being with people... breaking frames, doing something different and changing your perception.” — Christa Miller [27:26]
• “A day’s not good unless I’ve been embarrassed four times.” — Jason Siegel (via Christa) [28:33]
• “...she was willing to be the least talented person in the room over and over and over again to learn the craft.” — Ted Danson, on Mary Steenburgen [43:37]
• “When you lead with goodwill and kindness, like Charlotte, there’s no one...that’s who she is.” — Christa Miller [51:05]

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Key Timestamps

• 00:51-04:57: Laurel Canyon memories; finding community in LA; early career moves for Christa and Ted.
• 07:40-08:57: Larry David’s impact; Curb Your Enthusiasm as a catalyst for Ted.
• 14:41-19:52: Christa’s journey into music supervision; working with composers, clearing music, and championing new artists.
• 19:55-24:03: “Musical hyperhedonia” and a powerful, lifelong connection to music.
• 27:26-28:35: Creative renaissance via Shrinking, breaking frames, and learning from castmates like Jason Siegel.
• 29:03-34:02: Working with family, ‘no script’ set policy, no-asshole rule, authenticity.
• 34:16-37:09: Motherhood, career interruptions and comebacks; humility gained from parenting.
• 45:06-46:36: Christa’s pride for her daughter’s music career and emotional moments as a mother watching her child succeed.
• 49:05-51:05: Compassion and therapy guiding personal and professional choices.
• 54:56-57:04: Navigating difficult times by focusing on kindness, creative ripple effects, and service through art.

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Tone & Language

The conversation is warm, introspective, and peppered with dry wit and self-deprecating humor. Both Ted and Christa use personable, open language—often turning the focus toward learning, gratitude, vulnerability, and the unpredictable joys of creative life.

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For Listeners

This episode is a candid and deeply human exploration of creative growth, family, vulnerability, and the enduring power of compassion in art and life. Whether you’re an aspiring artist, TV fan, or someone navigating career or family crossroads, the warmth, wisdom, and humor shared here offer encouragement and inspiration.

“We’re in love. ...I love that you put the caveat. I’m not saying yes to going out to do anything. I’m not either. Don’t worry about it.” — [54:03]
“A willingness to leap off tall buildings… that’s pretty cool.” — Ted Danson [44:37]

Transcript

[Christa Miller]

We know that weeknights are not for the week, but are you gonna throw in the kitchen towel and order takeout? No way. You've got Land O' Lakes butter, a skillet and a plan. Land O' Lakes. Eat it like you own it.

[Ted Danson]

There's an actual place where it feels like everybody knows your name. A Caribbean paradise where the price of admission is love. When you visit this island with an open heart, it you not only get the best beaches, the sunniest skies and the tastiest food, you make friends with the loveliest people in the world. It's no secret that Arubans love their island home. So take care to show it some love yourself. If you do, you might just find everyone on the island will know your name. Plan your trip [e-mail] Phil talks a

[Christa Miller]

lot about breaking frames. To break the frame and do something different and change your perception. And change my perception about acting, about what I was capable of.

[Ted Danson]

Welcome back to where everybody knows your name. I am very excited to be talking with Christa Miller today. I've watched her for many years, from the Drew Carey show to Scrubs to. To Cougar Town and now to the show she's currently starring in Shrinking on Apple tv, which is co created by her husband Bill Lawrence. And you might not know it, but you've definitely heard her work as a music supervisor, which I can't wait to talk to her about. Here she is, Christa Miller.

[Christa Miller]

Like I rewatch old shows, like I rewatch the Sopranos and now I've been rewatching Curb youb Enthusiasm. So I. And it's like also filmed near where I live. So I feel like you and I are neighbors and friends, even though we've never met.

[Ted Danson]

But I'm in that world.

[Christa Miller]

Yeah.

[Ted Danson]

Living near that place.

[Christa Miller]

Yeah.

[Ted Danson]

Where vague are you near the Palisade area. Palace. Yes. How'd you do? Sorry.

[Christa Miller]

We're okay.

[Ted Danson]

Okay.

[Christa Miller]

Yeah, we're okay. Thank you.

[Ted Danson]

Yeah, we were okay. We were adjacent to it, but we were out. We're talking about the fire. We were out for about three and a half months for smoke remediation and all of that, but longer than we needed to. But we were both doing a show together that was starting right around that time. And we went, let's not deal with it. And so we rented a house in Laurel Canyon.

[Christa Miller]

Oh, by the way, we. During the fires, see, we were in a remodel in our house and they almost were coming up to where we were living. And our house was like a matchbox, like open Cause we were in a remodel. We were in a rental. We stayed with Zach Braff in Laurel Canyon. And I used to live in Laurel Canyon. And I was like, this is so easy to get to work.

[Ted Danson]

Yes.

[Christa Miller]

Like, you're just going over the hill to where?

[Ted Danson]

What studio were you going?

[Christa Miller]

Warner Brothers is where we shoot shrinking. And I was like. And when I used to do Drew Carey, I lived in Laurel Canyon and then Nichols Canyon, and I used to go to Warner Bros. You can get anywhere. And I was like, oh, Laurel Canyon. But we're a far away.

[Ted Danson]

This is almost a Saturday Night Live skit. Right. And then we go over the hill to which studio?

[Christa Miller]

To which studio?

[Ted Danson]

We were going to Paramount. We had the best time.

[Christa Miller]

Didn't you have the best time?

[Ted Danson]

Yes.

[Christa Miller]

And then you also. You're seeing your friends in West Hollywood at all the restaurants, and you're going to Sushi park.

[Ted Danson]

And we missed that. And we were here in the 70s before your day, and both were starting work here in LA in the 70s, but early 70s. That whole Laurel Canyon sound. Well, I'm telling you, music was something was so nostalgic. And then we went to Paramount Studios, where Mary got her start and where Cheers was. And it just felt like this memory lane thing. It was really great.

[Christa Miller]

When I lived in Laurel Canyon, I found the place through a friend of mine that grew up in New York. There were, like, four houses cut up into three apartments, and Jen Aniston lived in one. There was, like, working actors, which is very rare to have that many work. And everyone was trying to get on shows. Jen got on Friends, I got on. Drew Carey, my other friend, was on this, like, Dark Shadows. Like, people were working.

[Ted Danson]

Yeah.

[Christa Miller]

And there was the. We loved being in Laurel Canyon, and we were just this gang of people, you know, rooting each other on and being supportive. And it must have had magical feng shui or something, because that. We all got jobs. Who gets jobs?

[Ted Danson]

Yeah, Laurel Canyon does.

[Christa Miller]

Laurel. If you live in Laurel Canyon, I think you get jobs.

[Ted Danson]

What is the name of the market that has that great restaurant?

[Christa Miller]

Oh, that little.

[Ted Danson]

Pace.

[Christa Miller]

Pace.

[Ted Danson]

Thank you.

[Christa Miller]

Thank you.

[Ted Danson]

We felt like we discovered it. It's been there forever, but it was delicious.

[Christa Miller]

It's Zach loves. We love it.

[Ted Danson]

Hey, two seconds in. You're talking about Zach from Scrubs. Drew Carey has been on the show here, the podcast. And I had never spent time with him, but we share a common interest. And so he was on the podcast. Fell in love with him. What an amazing man. A sweet soul.

[Christa Miller]

He's not Only a sweet soul. He's someone that is an inspiration of someone who's working. When he's not working, he's thinking of other work, other work to do. And I have to tell you, because he directed me on Scrubs and Bill and I would get into fights because Bill would sometimes direct Scrubs and Bill's a great director. My husband, Bill Lawrence, he's amazing. And I would say to Bill, when Zack directs, it's like being on a movie set. He not only directs movies that he's written, but he'll direct. He directed two of Rooster's, this new Steve Carell show, the one that was this week, Zach directed. And when he's on set, like, so prepared, knows how to talk to actors. He works really hard.

[Ted Danson]

Did he direct Bad Monkey?

[Christa Miller]

No, no. He was in Bad Monkey and he did, like. He was fantastic. Astounding. It was the best role he ever met.

[Ted Danson]

Yes.

[Christa Miller]

Unrecognizable.

[Ted Danson]

Yes. Yeah. I love it when people who you expect that they're going to make you laugh, which creates a tension because they don't. But you're on the edge of your seat and you're just ready to be swept off your feet. And he did it.

[Christa Miller]

He did it.

[Ted Danson]

It was so good.

[Christa Miller]

Yep. When I saw it, you know, I'm a music supervisor too, so I do the music.

[Ted Danson]

Hey, we have to talk about that.

[Christa Miller]

So I got in early and I was. I called him and I was like, I really, for a minute didn't recogn. Like, you're so good in this and you gotta lean into that and do more.

[Ted Danson]

Right. And I'm sure he will.

[Christa Miller]

Yes, he will.

[Ted Danson]

Yeah. And then Harrison Ford was here just the other day with my friend Woody Harrelson, who's here sometimes, as you can see by this.

[Christa Miller]

Yes, sometimes.

[Ted Danson]

Do you know Woody?

[Christa Miller]

I met him a few times, if you know him.

[Ted Danson]

And the sometimes is wonderfully appropriate and funny. Harrison. Harrison.

[Christa Miller]

I love him.

[Ted Danson]

All right, so.

[Christa Miller]

So we have all. Everyone that we have. We have a million people in common, and yet you and I have never met.

[Ted Danson]

Larry David. I know. And Larry David.

[Christa Miller]

David and Larry David started my career.

[Ted Danson]

He rejuvenated mine. Really. It was like I had gotten. I'm talking too much about myself. Sorry.

[Christa Miller]

No, I'm interested.

[Ted Danson]

He. I had done something. I felt like I'd stayed too long at the half hour party, half hour comedy. And I thought, I'm no longer funny. Other people are doing it better. And I'm. And so I started doing just small parts in movies to start doing Movies again. And then met him and he showed us a little preview of the pilot. Mary and I. And we were in Martha's Vineyard in this little attic area because they didn't have reception. And the handful of people were there were starting to fall asleep because it was hot watching this. And I felt so bad for him because clearly this sucks and was not going to go anywhere. So I said, if you ever need anyone to play themselves, of course we'd come help, you know. And it took off to be this juggernaut that rehabilitated my sense of.

[Christa Miller]

I mean, you're so great. I mean, I told you I've been rewatching it and I'm obsessed. And you're so funny on it. It's so. And also, I love all the hubbub that everyone thought you and Mary were actually getting divorced.

[Ted Danson]

Please. Isn't that crazy? It's friends out of town friends, granted. But would call, say, wait, what are you. All right. To which Mary said, we decided to get divorced and announce it by doing this show. All right, let's go back to you.

[Christa Miller]

Yeah.

[Ted Danson]

So do you have siblings?

[Christa Miller]

I have a brother.

[Ted Danson]

Fantastic.

[Christa Miller]

Who's very, very handsome and charming and amazing and lives in New York.

[Ted Danson]

You were both raised in New York?

[Christa Miller]

Yes, New York City.

[Ted Danson]

Because you have that energy that is like, can do. And I can do it fast.

[Christa Miller]

Yeah.

[Ted Danson]

And have you have energy at the wazoo.

[Christa Miller]

Yeah.

[Ted Danson]

So what was that like?

[Christa Miller]

I was growing up with my mom and her second husband in Manhattan. And I was born in New York Hospital and went to an all girls school in New York on the Upper east side.

[Ted Danson]

Catholic?

[Christa Miller]

Yeah. Comet of the Sacred Heart. It's more private than Catholic.

[Ted Danson]

Right.

[Christa Miller]

And was an athlete. Was a big athlete in school. How so? I played four varsity sports. I played basketball, volleyball, softball and tennis. I lettered in four sports in high school.

[Ted Danson]

Wow.

[Christa Miller]

But listen, I was at an all girls school.

[Ted Danson]

I understand. I was in an all boys school and There were only 300 of us and we won our, you know, basketball championship. Any high school could have kicked our ass. But nevertheless, just no.

[Christa Miller]

I mean, I can throw. Oh, do you go. Wait, just. Do you go to Martha's Vineyard, like so do you know my aunt and uncle? Do you know Dick ebersolt and Susan St. James? Yes, Susan St. James is my aunt.

[Ted Danson]

I know. I read that. And she's one of my favorite. I know her better than I know Dick.

[Christa Miller]

She is I just.

[Ted Danson]

Delicious.

[Christa Miller]

Yeah.

[Ted Danson]

Please give her my regards.

[Christa Miller]

I will.

[Ted Danson]

She's always so kind. And I don't really have the right to give her a hug when I see her. But she's that person who just embraces you and supports you and your creativity and is so sweet.

[Christa Miller]

She's so. She's been texting me, like, all the press. I just was in New York doing press, and then she'll text me. So natural. You're so great. I'm so proud of you. And she's still like my mom, very vivacious and like, she's just the same. And she's 80. And I'm like, that's a superager. That's where I want to be. Harrison.

[Ted Danson]

And you brought her up just now because you saw her and went, okay, so that's a possibility. Acting?

[Christa Miller]

Yeah. Yes, yes.

[Ted Danson]

Or did acting come before that?

[Christa Miller]

I did.

[Ted Danson]

Sorry, you had modeled. You were out in front of people?

[Christa Miller]

Well, I had modeled little as a kid. My parents, you know, we went to the country on the weekends from New York, so I was also in the country on the weekends. And my parents, even though my mom was a supermodel before they coined the term, but she really was a supermodel. Aside from that, it was a very conservative. I went to all girls school. My brother went to St David's I went to Sacred Heart. And I don't know if you've ever been to that school. They shoot a lot of movies there. Commonwealth, sacred heart, it's 91st and 5th. It's the most beautiful school in New York or in the United states. Like, it's two mansions put together. It's really beautiful. 7th Avenue. But we had very conservative kind of upbringing. It wasn't like. My mother's second husband was a surgeon who went to Yale. My biological father went to UPenn, was a businessman. It wasn't like acting. But I didn't meet my biological father and Susie until I was 16. So I knew about her when I was about 12. And that made me think, oh, I could do that. But in my house, it wasn't something like. And I was doing sports. I wasn't doing plays in high school. And then I started taking classes at the American Academy of Dramatic Arts in high school. And I would go after sports after homework and go at night and take classes and at the Neighborhood Playhouse.

[Ted Danson]

Wait, you went to the Neighborhood Playhouse?

[Christa Miller]

Yes.

[Ted Danson]

That's a full time Sandy Meisner student or after Sandy? It was after Sandy.

[Christa Miller]

Yeah, after Sandy. But I went like the two year. I didn't do the program. I was in classes there like five days a week, though.

[Ted Danson]

Wow. The best.

[Christa Miller]

The best. The best. And Getting yelled at because your project wasn't complicated enough.

[Ted Danson]

Oh, nice.

[Christa Miller]

But, you know, your thing that you're

[Ted Danson]

tasked, but independent activity.

[Christa Miller]

Independent activity. So, yeah. And I used to walk. It's funny, I was just thinking about this because of the music. I was putting music into doing an episode of Steve Carell yesterday that they couldn't figure out. And I was sitting with my husband. It's the only time we fight. We don't fight at work, but we fight over the music. Cause I'm better than he is. And I was doing it yesterday, and I thought, you know, my whole life, I mean, since the first iteration of any sort of Walkman or anything like that, I would walk around New York listening to music and thinking of myself in a movie and how that would go and writing it. So it's like since I was little, and also we would drive back and forth to the country and I would make tapes and put my ear next to, like, a tape recorder and think of myself. I would write movies for myself and think of myself in them with the music. And it's like my childhood prepared me for what I do as a career now.

[Ted Danson]

But you have starred in first Drew Carey. We'll go back to the origins of all of this, but Drew Carey, Scrubs, Cougar Town, and now shrinking, basically, with lots of other stuff in there as well. And you've also, since Scrubs, been a music supervisor.

[Christa Miller]

Yeah, Right. Yes.

[Ted Danson]

Which is a huge part of your life. I mean, like.

[Christa Miller]

Yeah, huge.

[Ted Danson]

This is not, oh, you're married to the boss kind of thing. You do this for films. You do this where you are looking at a film. Aren't you, though?

[Christa Miller]

We just got offered a film.

[Ted Danson]

That's right.

[Christa Miller]

And I had to pass. I love acting as my true love. And I have a partner. And I love, you know, they always choose from my music. And the editors, we work as a team, you know, the editors sometimes put some of my music in. In unexpected places and make my job easier. And obviously, doing shrinking is like the ultimate. It's like mainlining heroin, I would assume, because it's so interesting to be shooting and thinking of the music and then putting it in. You get a thing called frisson, which was when you get goosebumps, you know, like when you're working on a show and doing the music, it's crazy. But I also love it when I'm not working on a show. But I can't do. I can only right now do Bill's shows. And, like, when I do, I was able to do Scrubs. Because Zach has such great taste in music and he helps me. So I have. There's three of us working on it.

[Ted Danson]

All right. As a music supervisor.

[Christa Miller]

Yeah.

[Ted Danson]

Are you. You're not doing. You're not composing the theme song.

[Christa Miller]

You hire the composer.

[Ted Danson]

You do hire.

[Christa Miller]

So Bill's in there, too.

[Ted Danson]

Is on every part of the music.

[Christa Miller]

Yes.

[Ted Danson]

But then the supervisor part. Is that also found music that comes out of a radio, or is it?

[Christa Miller]

So my job is this. So we have a few composers that we love and use. One's Tom Howe, who lives. Who's English. And he did Shrinking. And then, like, for example. So music supervisor Apple came to us two weeks before, like, the show, three weeks before the show is gonna air, and said, oh, we wanna do an original song for the opening. I'm like, well. And we have the composer and we have the score. And so my daughter, who's, like, a musician, like, for real. Classically. Yeah, like, for real. She had been working with Ben Gibbard. This is how, like. And I have all these connections in music world, who was in a group called Death Cab for Cutie and Postal Service, who we had put on Scrubs, and it made them, like, they had the $30,000 to buy an amp. We always use new music. And that's why. Cause music's given me so much. So I feel like I love giving back to new musicians. Cause it really helps. And TV's the new radio. So Ben, we put it on Scrubs. That song became a hit. And then they would play it in concert. And then their band, like. And he always remembers that he's working with Charlotte producing. And he's working with her now to produce her next album. And I called Ben Gibbard and I said, could you work with our composer? It's not even like, can you do it on your own and then have a theme song in two weeks? He's like, yep. And they did. And, like, it was amazing. But so the score. Tom is in charge of, like, musical cues. And we'll listen to the music. He's giving us a bunch of things to listen to. Of, like, do you want to go in this direction? That's a process. How do you want to. You know, like, what's gonna be the sound of the show throughout all of the composed music. Yeah. What's gonna be the sound? And when you're doing a pilot, as you know many cooks in the kitchen, you know, then you got.

[Ted Danson]

I don't know it at your level.

[Christa Miller]

Okay, so. And so. And Apple has a lot of they had a lot of things to say. Everything needs to be perfect, you know, so it's. Apple gives us no notes now. Like. But when you're doing the pilot, you're gonna get like, should it be this? Should it be this? Should it be this? I mean, I did, like, four different kinds of music till we went back to my. What I originally wanted to do.

[Ted Danson]

What was the sense of what you wanted to accomplish was that this is

[Christa Miller]

what I wanted to do. I wanted. So Scrubs we had. Because it was from Zach's point of view and he had the voiceover. We really only used male singer songwriters, kind of indie singer songwriters, who was very specific. I just can hear it. There's just something I can hear of, like, what's gonna be a great song. And we launched a lot of careers, and it was incredible. But those days were hard to clear music. Cause people now, everyone wants their song to be on a TV show. Then people wouldn't, so we had to use new artists. And on Shrinking, I thought, I wanna use new music. I'm not limited to male Harrison. Sometimes I'm gonna put in something older, something I love. Something favorite for Harrison.

[Ted Danson]

You mean ancient, don't you? But yeah, sorry, go on, go on.

[Christa Miller]

You know, like from the Dark age, from the 1800s. So that kind of music I'm very familiar with, you know, for Harrison, like, he yelled at me at one point. We had a wedding and he yelled at me. He's like, why is it so fast? And so for his wedding this season, I made sure that we did something. I did Beast of Burden. Cause that slow. And you can even slow dance to it. I'm not gonna piss off Harrison. And they're like. I'm like, I'm not doing anything fast. Like, wouldn't it be fun if there was another day? I go, no, it's Harrison. I'm not gonna be yelled at him by him again. Beast of Burden, we love it.

[Ted Danson]

Do you ever want to write songs? Have you?

[Christa Miller]

No. My daughter's a beautiful songwriter.

[Ted Danson]

Yeah. See, this is one of the crisscrosses for me. Mary Steenburgen, my wife, actor and songwriter. That came out of total left field. I'll do her story very quickly, but she. I think she was 57. Had a minor operation on her arm to remove something. Nothing too dangerous or anything, but they had to put her under band Aid. You know, Next day, we get on a plane and fly to Europe. But she was a little different from my point of view. Inside her head was just a torrent of Music obsession. It's a condition that people have written about called. There's a book called Musicophilia, where you go from a normal relationship to music to. Doesn't mean you're talented or a genius. It means your focus on music goes from normal to obsession. She could not have acted. She could not have memorized the line. It was hard for her to have a conversation if there was background music, she couldn't focus. If she hears footsteps, it turned into a rhythm that turned into a tune.

[Christa Miller]

Does this happen from anesthesia?

[Ted Danson]

Is that people later on? Because first she thought she was crazy and then she read up on it and she defensively started to write down what was in her head. Because she knew she had kids and her family. I mean, really, I was living with somebody different, noticeably different. And she started writing. She wrote 40 songs she had that summer. And she had a music. I mean, our wedding performer, musician who was really good. Do the chords and sing these songs as a demo. Turned them into her manager, who turned them into a music lawyer, who then said yes without putting her name on it because she didn't want to be that actress that wanted to do music anyway. She's now. She's won a Critics Choice Award. She's the real deal. She writes music for end credit songs and films and stuff.

[Christa Miller]

That's crazy.

[Ted Danson]

Isn't that crazy? But I love that you have acting and music. Hand in hand is just amazing. And it's kind of what Mary has, but different.

[Christa Miller]

But you should tell Mary, because I have a shrink that I've had for 26 years who's actually. Harrison's character is based on my psychiatrist. Yeah. Who's amazing. Who we love Dr. Phil Stutz. And he said to me, just like a month ago, I've been seeing him 26 years. And he said, when you talk about music, someone else was talking to me. This. There's a term called musical hyperhedonia. He said, I think you have that. It's when you hear music in a different way than other people and it's important to you. And it's the feeling, the relationship, which

[Ted Danson]

you've had since that little girl who.

[Christa Miller]

Since I was a little girl,

[Ted Danson]

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[Christa Miller]

You said that Curb youb Enthusiasm, you know, brought your career back. I think shrinking has given me this renaissance in my career, that doing the show with the people I'm doing it with has been so inspiring to me that it's. When Phil says that to me, it's made me go more and more and more and more and more do that. Just engaged with the world. Just through.

[Ted Danson]

Through acting.

[Christa Miller]

Now you're talking about doing shrinking. It's given me, like, a whole other. Like, Phil talks a lot about breaking frames. To break the frame and do something different and change your perception. And change my perception about acting, about what I was capable of, about going out, like, just being with people. And one of the things, like Jason is like, a day's not good unless I've been embarrassed four times, and I'm

[Ted Danson]

like, jason Siegel said that?

[Christa Miller]

Yeah.

[Ted Danson]

I love that.

[Christa Miller]

Don't you love it? So it's not a good day unless you've tried something either dramatically or comedically, that there's just crickets and everyone looks at you.

[Ted Danson]

Yes. Especially if you can have a sense of humor, because I am an asshole. I make a fool of myself all the time, and yet I can chuckle.

[Christa Miller]

It's good for you.

[Ted Danson]

Most of the time. Most of the time, I have a sense of humor about what I.

[Christa Miller]

Let me just ask you this, because you and I do something similar that not a lot of people do. You work with your wife often? Yes. And how. How. How does that go for you?

[Ted Danson]

Fantastic.

[Christa Miller]

Well, you love it, right?

[Ted Danson]

Yes.

[Christa Miller]

Yeah. What are the rules? What are rules that Mary puts on you?

[Ted Danson]

No, no, no. Well, we worked early on and then. But my last work experience is just my dream. And it's when we are in Laurel Canyon working on a man on the inside. Great writer.

[Christa Miller]

Yeah.

[Ted Danson]

Mike Shore, who's just brilliant. And I've worked with him now six, seven years. And so we had beautiful material, but we got to fall in love on camera.

[Christa Miller]

It comes from Bill, who runs the loveliest set. Like when he says, look who he works with. But everyone says, oh, we have a no asshole. Bill really has a no asshole. If you're an asshole, you're gone. And it's business. We don't do it. And so down from Bill to Jason, then you got Jason, Siegel, and Harrison. When we show up to do the rehearsal, the first rehearsal, there's no scripts on the set. Everyone knows their lines backwards, forwards.

[Ted Danson]

Oh, ho.

[Christa Miller]

There's no scripts. So guess what?

[Ted Danson]

Maybe I won't be working with your husband.

[Christa Miller]

There's no scripts. Ted, you come on.

[Ted Danson]

Oh, just cue cards, you mean?

[Christa Miller]

Yeah, just cue cards. Just be cue cards for us. So no, I have an ear thing like Marlon Brando. So there's no scripts. And Harrison's like, I've never worked to come in rehearsal. Everyone knows 1000%. So you are really listening. And everyone says, oh, do you improv on that show? We don't.

[Ted Danson]

It's written.

[Christa Miller]

We don't improv. It looks like it. Cause we've been playing, we all know the material, and we're all in the moment. Like, I'll finish a scene. I won't even remember what happened in the scene.

[Ted Danson]

That's the best.

[Christa Miller]

I don't remember. I watch the show like everyone else. Even I'm surprised, and I don't remember. And I. Everyone is different, has a different acting style on the show, but everyone knows their lines. I think it's like, everyone shows up on time, everyone's lovely, everyone is supportive, and everyone knows their lines. And you have fun. It's the most fun job to be able. And that's why people think we do improv on the show when we don't. It's all written.

[Ted Danson]

Why would you improvise when you have room full of writers?

[Christa Miller]

I'm not a writer.

[Ted Danson]

Me either.

[Christa Miller]

I'm not a writer. I'm not a comedy writer. The most fun is when Bill comes in, because Bill doesn't have an ego. So I love Bill. He doesn't have an ego about, like, that's not. It's not really working. And he whispers. So it will seem like improv because I'm hearing a line from someone else, or I'm saying a line that they haven't heard because Bill will whisper. And, you know, Judd Apatow does that. A lot of people do that. And Bill's really funny.

[Ted Danson]

And will it take the scene in a different direction, or does the other actor have to respond from his line?

[Christa Miller]

The other actor will respond in a line. But sometimes you laugh. And Bill, when people laugh, because he thinks people laugh in real life. So if you laugh, it's just a different. And then you go with that. So you're always feeling that you can

[Ted Danson]

do no wrong, which is a wonderful place when you feel like as an actor, you have carte blanche, that it doesn't matter how I do this.

[Christa Miller]

It's in the writing and to get these beautiful scripts. And then I obviously, I work on. You know, I shut myself in my office my weekend. I have an intent. I have all of that stuff. I have notes on my script and then it's no scripts on set. So it's all away. It's all thrown away. I'm just with Harrison, I have to tell you. So I had a scene with Harrison. I mean, Harrison's so good to work with. Like, if you're doing a scene with him, you can just look at him and you're gonna be great. You're gonna be better than you are, really. So I'm doing a scene with long scene with Harrison on a park bench. And it was like this emotional that I have with him. And I walk in and Bill's watching the rehearsal and I do the whole scene with Harrison. I'm just like this look in his eyes and I think I'm so good. Like, I think I'm just this like maybe an Oscar, like from the television show. And Bill's like, krista, like, yeah. He goes, did you forget how to act? I'm like, that was. He goes, you. It's a five minute scene. You can't stare into his eyes. Eyes the whole time with this motion. You'd be looking out, what are you doing? And Harrison's like, of course she's looking at me. Look. Her hands slam. And then I was like, oh, right. Like, I can't, I can't. But you know when someone's so good and he. He changes his. His performance imperceptibly, you know, it's like, it's just this little. So it's like if you're so. You have to save it though. So I have to remember to look around. Cause then I want to go back.

[Ted Danson]

I have to. I have to ask you more because I'm hearing everything you said, obviously, but it terrified me. I will forget a line. Do you call for lines?

[Christa Miller]

Yeah, you can call for lines.

[Ted Danson]

Oh, I can't help my husband.

[Christa Miller]

Oh, people forget their lines.

[Ted Danson]

No, no, no.

[Christa Miller]

People forget their lines all the time.

[Ted Danson]

Oh, good.

[Christa Miller]

No, people go, oh, we have plenty of bloopers on our show. No, it's not that. But people are ready to go.

[Ted Danson]

Yes.

[Christa Miller]

And I think, you know, I mean, they're just ready to go right from the get go and excited to be there. And so it makes. They're passionate and the crew's passionate, and it's made me passionate about acting again. I mean, through all these shows. And then I also had three children and I was. You know, when you have children, you kind of lose ambition a little. And Bill was working so hard. I couldn't really, after Cougar Town it's like, I can't go to Georgia and film this independent movie. My husband works 16 hours a day and I have three small children. I chose to have three small children.

[Ted Danson]

Was drinking the first thing you did after kids or.

[Christa Miller]

I did a couple of jobs and then it was the pandemic. And then, you know, I really made a choice to be a mom. Right after Kirk Crown, I was offered a show in New York and I thought, well, how's that gonna work? And I have a two year old and I mean my kids were little and I just thought I need to be a mom. And I'm so happy that I did that. And I'm so lucky and privileged that I got another chance. Cause I'm telling you, I had all these offers right after Kuktown the very next year. It was like, oh, are you gonna read for that? Are you gonna read for that pilot? Are you gonna put yourself on tape for that? I was like, oh, what happened in a year?

[Ted Danson]

And the train keeps moving, man.

[Christa Miller]

The train keeps moving. And also then you're kind of like, well, I'm doing mom things now at all mom friends and doing the mom things. And then I'm so lucky that I get to be married to Bill Lawrence. And that he had this script. I mean he had the script a year before they shot it and I was starting to get sent scripts again.

[Ted Danson]

After how many years of a break with your kids?

[Christa Miller]

Four or five. I did a few jobs.

[Ted Danson]

Probably the best thing that happened to your correct.

[Christa Miller]

It was the best and it was the best.

[Ted Danson]

You came back the new and improved and better and different you. And that's pretty cool, I think.

[Christa Miller]

Yeah. By the way, also, Liz's character is based on. There was a steep learning curve. When you're a working mom and you have a nanny and people are helping you with all this stuff, we. When you're being a mom and you have to bring snacks and you've gotta go to baseball games and there's like snacks and there's like things to do and there's homework. Like all this stuff. I didn't know any of this stuff. And all those moms that you think are annoying, they like got me through and taught me how to do all the things and.

[Ted Danson]

And it's humbling too. You come in with humility. That's different. Earned.

[Christa Miller]

And I was lucky because I still was doing music for Bilster. So it's. I wasn't not working, but that I could do from home. And I got to be with my children and we are Very close family. And Bill was working really hard and. Yeah, but this show I knew about, and I was starting to get other scripts coming in, and I was like, I just want to do shrinking. I just knew Brett Goldstein had written a dark.

[Ted Danson]

Do you not love him?

[Christa Miller]

Of course I love Brett. He's my boyfriend. Teddy's one of my boyfriends.

[Ted Danson]

I totally get it.

[Christa Miller]

You get it, right?

[Ted Danson]

You get a hall pass or something.

[Christa Miller]

For sure.

[Ted Danson]

Yeah. No, I can't believe I said that. I've never said that before. I don't know what a hall pass is. But anyway. What a lovely soul. Oh, my God.

[Christa Miller]

I know.

[Ted Danson]

Please give him my love.

[Christa Miller]

I will. So he was writing a dark.

[Ted Danson]

Yeah, give me the origin of Psychic.

[Christa Miller]

So what happened is the whole. So Bill is on Ted Lasso with Brett, who is a writer who billed. Hired as a writer. And then they couldn't cast that part and then.

[Ted Danson]

Love that.

[Christa Miller]

Right. So you know that. So then Bill and Brett became very close, and we all became close. And then Brett started writing this dark shrink show. It was a comedy, but very dark. And he had Krista as well. He wrote it, like, with me in mind as one of the characters. And Bill. And I was like. And Bill was starting to talk about different shows he was doing with Carl Hiasson, like, Bad Monkey and all the things. I was like, I wanna do Brett's show. He's like, what are you talking. I go, I wanna do Brett's show. He's writing it for me. I wanna do Brett's show. And so then they got together and thought, let's combine. He wanted to base the show off Phil. He knows my shrink very well too. And they combined it. And then Bill's like, but there's other shows. My agent was sending me other. But at this point, starting to send other. Shooting.

[Ted Danson]

Sending you?

[Christa Miller]

Yeah. And I was like, I just wanna do shrinking. And Bill's like, we're not even shooting it for 10 months. It was like the writers strike. He's like, we're not. Don't even have it. I was like, I don't care. You know, it doesn't matter. And I'm glad I waited.

[Ted Danson]

And how'd Jason fit in?

[Christa Miller]

So Jeff Ingold, who's the president of Bill's company of Doozer, has had a little place in Ventura on the beach, and he saw Jason Siegel walking on the beach, and he called Bill and he goes, what about Jason Siegel for this part? Like, wouldn't he be amazing? And Bill called Jason Siegel, and they had the meeting, and Jace and, you know, Billsy, you know, come into the fold. Cause Jason also writes. And Jason said yes. And then I'm sure Brett told you how Harrison got on the show, right?

[Ted Danson]

He opened the door with a drink or something.

[Christa Miller]

But he had all these scripts. He was like. He got sent the script. Cause Bill's like, let's shoot for the stars. You know, And Bill's favorite. One of his favorite shows was M.A.S.H, you know, he was like, is it Alan Alda? Is it like Shoot for the stars? And he said, they sent it to Harrison. I was like, oh, it has to be Harrison Ford. Like, it has. Also my shrink now who's, you know, he's from the Bronx in New York. Well, no, he's from the Upper west side. He'll kill me. He's from the Upper west side of New York. Like, you know, he's also a basketball player. Like, tough guy. He's like, harrison Ford's portraying me. I'm retiring. Like, it's done, and they're friends now. But. So Harrison got the script and loved it and just got it. Like, it just. He just went, oh. Cause the pilot was so good. Pilot was incredible. And I've never. We did a table read the first two episodes for the app. The Apple people, the Warner brothers, the studio was packed. We killed. As I'm walking out. Just tell. You will know that this doesn't happen. I'm walking out, and the Apple execs are walking out right behind me. I go, aren't you staying for notes? And they said, no notes.

[Ted Danson]

That's great.

[Christa Miller]

Anyway, so Harrison met the. And Bill said to Brett, harrison's in London. You've gotta meet him. You've gotta meet him now. You know, we gotta. And he walked in and Brett said he saw this shrinking was there amidst all these other scripts. And Harrison's never done television before. And he said, I love it. And then Brett goes, you do? He goes, yeah, I wanna do it. He goes, should we go out drinking? And then he just drank Brett under the table. And then the next day, Bill's like, well, he's doing it.

[Ted Danson]

Yeah. Book. Will you write a book ever? No. No need. Do you have any. I mean, you have music and you have acting.

[Christa Miller]

I feel like I can. I. This is. There's. I feel like I have a disconnect. I can write really great emails and really funny texts and. I mean, I can write really funny things. And then when I sit down to, like, write, write. Because my childhood was a little bit insane and crazy.

[Ted Danson]

So you were writing for your shrink?

[Christa Miller]

Just. No, just for myself. Like, if I was just going to write. Because everyone. I'll tell people some stories of my childhood and things that have happened and living in New York in that way that you live in New York. They're insane. I mean, a lot of my friends are dead and had trust funds, and a lot of things happen. When I sit down to write, there's a little bit of a disconnect, and then I. I feel a separation from it. So maybe I need to get anesthesia from Mary. Just a quick one from where Mary went. Do you know what I mean?

[Ted Danson]

Trust me. I went.

[Christa Miller]

You tried it?

[Ted Danson]

Nothing. Shit.

[Christa Miller]

Nothing. I just am hoping if I go to Mary's guy, he obviously has something in the anesthesia.

[Ted Danson]

Yeah.

[Christa Miller]

Then does Mary sing?

[Ted Danson]

No, no. Mary's not an artist.

[Christa Miller]

She's a songwriter.

[Ted Danson]

She's a songwriter. She has sung and flower films. Because you can go in and.

[Christa Miller]

Yeah.

[Ted Danson]

You know. Yeah, all of that. And she's good. She's really good. But she has no desire to write for herself. She wants the best artist possible, you know, to sing it.

[Christa Miller]

That's. That's the craziest, weirdest, rock star, rock star story. I mean, I just think it's so flat. It's such a flex. Yeah, it is my. It's just a flex. It's so rock star. It's also that she leaned into it and just went with it. That's the cool thing about it.

[Ted Danson]

She was willing to be the least talented, according to her, the least talented person in the room over and over and over again to learn the craft. She didn't walk in knowing anything. Really.

[Christa Miller]

Yeah. That she went, you know what? I have this thing. First of all, it would be a little scary to be a. To have. I think that would be frightening. Like, what happened? And then to go, oh, okay, well, I love it. I'm gonna lean into it. I'm gonna. Even if I don't love it, even if I'm not scared of it, I'm gonna reframe it and change my perception and lean into it and say, yes, thank you. Yes, thank you. That I don't. I just. It's what. I think it's inspiring. It's what I'm trying to do in my life. It's what you're trying to do by

[Ted Danson]

having a podcast, meeting people now I officially love you. You just crossed over into I love you.

[Christa Miller]

We're in love.

[Ted Danson]

Cause you see my wife.

[Christa Miller]

I see her. I get it. But also, not everyone can do it.

[Ted Danson]

No, that's one of my favorite traits in a human being is willingness. And she has a willingness. She. I am Mary's ragtail to her kite. I'm the one that's going, oh, no, no, no. I don't think. Oh, maybe you shouldn't try that. She just leaps off of tall buildings. Pretty cool.

[Christa Miller]

I think it's the coolest. I mean, I have, you know, I don't know how long you've been married. 26 years.

[Ted Danson]

That's very cool. 23.

[Christa Miller]

Yeah. And I have a husband who says, you're my muse. You can do it. You're the best. You can do. More you can do.

[Ted Danson]

How about that?

[Christa Miller]

Look at you, what you're doing. Like, I could write anything for you. Like, I have a husband who is that. And I think that of him, just

[Ted Danson]

off of what you said, he's probably the world's best father, too.

[Christa Miller]

Best.

[Ted Danson]

Because that's what daddies do. They make their daughters feel astounding.

[Christa Miller]

My daughter, we arrive in Dublin. She's opening for this big pop. Iris, you won't know, named Somber, but he's huge. Huge. She arrives in Dublin and usually for the opener. 17,000 people in the stands for the opener. You know, if you're in a big place, they're just. They're talking, they're getting their seats. You know, you don't really know the opener. The.

[Ted Danson]

The headliner's not there.

[Christa Miller]

She walks out. 17,000 people. Now, meanwhile, I'm like, I'm right.

[Ted Danson]

Oh, you went there.

[Christa Miller]

I. Of course. I was a groupie. I just. I just came back from London in Ireland. Her. The last night, she. There's two huge screens of her. It's like, 17,000 people. They immediately know. 17,000 people know the words of all her songs.

[Ted Danson]

Doing the flashlights, really.

[Christa Miller]

Oh, my God, Ted. I had to go. I had to use childhood trauma to shut it down because I thought, I'm gonna start crying. It's not about me. I can't make this about me.

[Ted Danson]

Yeah.

[Christa Miller]

I really. I was like, okay, I know how to do this. I know how to compartmentalize and, like, shut this down. Because, I mean, there's all the flashlights. I just. You know, Bill, because he doesn't have childhood trauma, could just be crying and be okay and, like, get over it. I just thought once I start, it just might lead down a road of, like, it's drugs. Yeah. I don't know. What. Take me to some psychiatric place in Switzerland.

[Ted Danson]

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[Christa Miller]

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[Ted Danson]

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[Christa Miller]

What do I do? My refund though. I'm freaking out. Don't worry, I can fix this.

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[Christa Miller]

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[Ted Danson]

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[Christa Miller]

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[Ted Danson]

One in four was a fraud paying American. Not anymore. Save up to 40% your first year. Visit lifelock.com Special offer terms apply. How would you describe your moral center? Your what's right, what's wrong? Obviously instinctive as well, but do you have that kind of. Where do you turn to to go in a dilemma or a fear or whatever?

[Christa Miller]

You know, I've done a lot of work in changing perception and having compassion, leading with compassion. You know, if there's an annoying neighbor or like Phil doesn't let me have road rage, he's like, you don't know what that person's going through or if it's your kid learning to drive or someone's going to the hospital, it's just dropped. So I try to do when things come up and Phil works with tools, he'll say you gotta stop doing that. And I'm gonna tell you how that's why I had hope with him. And eventually you don't have that. You know, I felt always as an adult I had to be very hypervigilant around me. I didn't feel safe.

[Ted Danson]

You didn't feel safe around yourself?

[Christa Miller]

Just in certain environments and in things and just, you know, I can read the room really? Well, just. And now I'm just not having. I'm just relaxing into my. And leading with compassion and goodwill and saying yes to things that I wouldn't say yes to before.

[Ted Danson]

So relaxing in your body, isn't it, to be where you are now and available.

[Christa Miller]

I had a thing yesterday. Some annoying neighbor near our rental just did something crazy. And then I went, oh, no. I might be annoyed by that. Even though we're right. But, like, that might be annoying. Let's do something to mitigate, you know, Even though we're out of here in a couple, like. So I'm just. I'm just trying to do that at every turn. And you know what? It does? It's just like this stress. I don't need to be mad or annoyed or. I mean, I'm not perfect. I just. When you lead with goodwill and kindness, like Charlotte, there's no one you. There's actors she met once. If you're like, I didn't love them, and that's just like, please don't say anything about that person. Person. That's who she is.

[Ted Danson]

Yeah. My journey was different. I had to learn that I was a dick, that I was capable of being mean, that I had. You know, I had a very dark side as well. Because if you don't allow that, you're not really choosing your automatic pilot. Nice. As opposed.

[Christa Miller]

So you're kind of like Bill.

[Ted Danson]

Yeah. And Mary fires from the hip and has to learn not to fire from the hip. And if you fuck with one of her own.

[Christa Miller]

Now, Bill was. That was. The only problem is that Bill never doesn't want to have a confrontation. And he would give in to the kids. When you have three kids, I was the one that was strict. And we would have fights. And then finally. Finally, I'd gotten them all together. He was in London doing Ted Lasso. You come back, it starts unraveling everything, just unraveling. Giving iPads back. Like, I was like, you gotta. You. You need to go to therapy because

[Ted Danson]

you're making me the bad guy.

[Christa Miller]

Yeah. And you're unraveling. And we gotta be a team. We gotta be a team. And you can't give. He would give. Also give punishments. Like, and now. And then you can't breathe for a month. Well, then you're gonna have to walk that back.

[Ted Danson]

Right.

[Christa Miller]

Like, that's gonna have to be walked back.

[Ted Danson]

Yes.

[Christa Miller]

And then they don't get the punishment. And then they would just torture him. You know, with me, you know, they would be. And then they would tort. And I go, they're torturing you because they know you're gonna give a crazy punishment and then you're gonna walk back. And then you also feel bad about giving the punishment. And so when he's not like that at work, but he within the family. So now I'm like, this is how we do. We're team. Nothing is decided. We'll get a text in like I was wondering. I'm like, bill, don't even answer. We're gonna discuss it together.

[Ted Danson]

I'm so bad about that. Why I wanna be loved, I guess. But they're not gonna risk confrontation.

[Christa Miller]

Oh, that's Phil.

[Ted Danson]

Yeah.

[Christa Miller]

Not at work.

[Ted Danson]

And anger's forever. It's not a cloud.

[Christa Miller]

I gotta say no.

[Ted Danson]

I know.

[Christa Miller]

But that's not helping them.

[Ted Danson]

I know.

[Christa Miller]

And that grandbaby, you better not be doing that.

[Ted Danson]

Well, it's a little bit more in my corner at that point.

[Christa Miller]

A little more in your corner. But you can't just do.

[Ted Danson]

That's true.

[Christa Miller]

No. Well, grandparent I guess you can. I mean, I'm going to.

[Ted Danson]

I'm gonna be worse your kids for doing it. But it's.

[Christa Miller]

Yes, but you're so fun that you have a grandpie.

[Ted Danson]

Five. Five. Okay. At this point, having.

[Christa Miller]

Are we best friends fall in love

[Ted Danson]

with you Best friends.

[Christa Miller]

And I want to meet Mary.

[Ted Danson]

I still want to ask. Yes, but we have busy lives. But if it ever turns out and

[Christa Miller]

we don't like going out, you and

[Ted Danson]

I in the living room listening to music. That would be.

[Christa Miller]

I love that you put the caveat. I'm not saying yes to going out to do anything. I'm not either. Don't worry about it.

[Ted Danson]

If you do want to reach out, please reach out to Mary and ask how I am. Don't.

[Christa Miller]

Don't worry about it. Do you think a phone call from me is coming anytime soon? I love being in my house. You've met me now.

[Ted Danson]

But I do that hurt a little bit.

[Christa Miller]

I'm just saying, Ted, my intention is that I would love to do that.

[Ted Danson]

Yeah, I know. Mine too.

[Christa Miller]

Okay.

[Ted Danson]

So my intention. Very sweet. And it'll be around music. And I love that.

[Christa Miller]

Be great.

[Ted Danson]

Okay.

[Christa Miller]

All right.

[Ted Danson]

Can I ask just. And we don't have to be political.

[Christa Miller]

Okay.

[Ted Danson]

Well, we don't have to be partisan. A lot of fear, a lot of anger, a lot of sadness swirling around us. I sometimes don't know what to do. And I wrestle with it. I know how I feel. But what to do. How's your heart? Is my question in this moment.

[Christa Miller]

It's really hard. You know, I love getting up in the morning, having coffee and reading the news. And it feels lately like, why are you starting your day like this feeling helpless and hopeless? And I have a problem with unfair. And I feel like we're living in a very unfair situation that you go and then like it's. And then I don't want to be inured to what's going on, but I think it's very, very sad. And where to start? You know, I mean, I liken it to having a second chapter in life. Where to start the moves to make a difference, to change things, to help, to be of service. I don't know what that is. Little things. I mean, little things to be of service. But where are you making a difference?

[Ted Danson]

Yeah, me too. I think all of us forget because it's impossible to really know what the ripple effects are of your actions. But actions or your thoughts or your emotions, I mean, and the fact that you are putting out love in your work and your music and you're putting out creativity does have a ripple effect that you can't really know.

[Christa Miller]

And look, I have a lot. Harrison, we'll talk about it as well. We have a lot of people. Instead of selfies and things like that, we have a lot of people going. I was dealing with grief. Someone in my life who has Parkinson's. Phil has Parkinson's. And just really your show, you loved it, really helped me. And then they walk away.

[Ted Danson]

Yep.

[Christa Miller]

And it's like, it's weird. It's great, you know, it's lovely. You get to have an exchange. They don't need to have the picture. They're talking to you as a person and then you're interested.

[Ted Danson]

Yes, yes. Picking material I think is a contribution and important. You know, I think shrinking is brilliant for that reason and you for being in it.

[Christa Miller]

Thank you.

[Ted Danson]

Yeah, I really had fun talking to you. Really nice to get to know you in a little bit.

[Christa Miller]

Thank you. I had so much fun too.

[Ted Danson]

Yeah, thanks. Well, that was fun. I really enjoyed that. Thank you, Christa. Catcher on shrinking on Apple TV's just a fantastic show full of so many wonderful actors. That's it for this week. Special thanks to Team Coco. If you've enjoyed this episode, please send it to a loved one rate and review on Apple podcasts. If you have a mind once again, you can watch our full length video [e-mail] teamcoco see you next time. Where everybody knows your name. You've been listening to where everybody knows your name with Ted Danson and Woody Harrelson sometimes. The show is produced by me, Nick Liao. Our executive producers are Adam Sachs, Jeff Ross, and myself.

[Christa Miller]

Sarah Fedorovich is our supervising producer.

[Ted Danson]

Engineering and mixing by Joanna Samuel with support from Eduardo Perez, research by Alyssa Grohl, talent booking by Paula Davis and Jane Batista. Our theme music is by Woody Harrelson, Anthony Gen, Mary Steenbergen and John Osborne. And Doug, there's nowhere I wouldn't go to help someone customize and save on car insurance with Liberty Mutual. Even if it means sitting front row at a comedy show. Hey, everyone. Check out this guy and his bird. What is this, your first date? Oh, no. We help people customize and save on car insurance with Liberty Mutual together. We're married.

[Christa Miller]

Me to a human, him to a bird. Yeah, the bird looks out of your league anyways.

[Ted Danson]

Only pay for what you [e-mail] Liberty. Liberty. Liberty. Liberty. Hey, it's Max from I Need u Guys. So this week, the therapist himself, Jake

[Christa Miller]

Shane, joins us to talk about his Broadway show with Jenny, when to say I love you to new friends, and whether it is cute to boot people on the nose after a date. Please listen to I need you guys

[Ted Danson]

wherever you get your podcasts or you can watch us on our YouTube channel.

[Christa Miller]

Yeah.

[Ted Danson]

Video.

[Christa Miller]

Enjoy.