Are You A Charlotte? - Inside the Sex and the City Writers' Room with Amy Harris... (S4 E16 "Ring A Ding Ding")

Episode Date: July 9, 2026

Writer Amy Harris reveals the Samantha storyline that landed her a job in the writers' room, why she became obsessed with Miranda's pregnancy arc, and the one scene the writers were still arguing about while it was being filmed.See omnystudio.com/listener for privacy information.

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Listen to Suite 305 with Lele Pons on the IHeartRadio app, Apple Podcast, or wherever you get your podcasts. Hi, I'm Kristen Davis, and I want to know, are you a Charlotte? Welcome back, everybody, to Are You a Charlotte? Part two, we have Amy V. Harris, one of our glorious, glorious writers. She has finally joined us on Are You a Charlotte, because we have gotten to her first episode, ring it ding ding ding it aired on january 27th 2002 so when we were filming it did you feel like like yes we got it like i feel good about this process i was really trying to walk the line between you know michael's so good at this and i've tried to do this on every show since

there's stuff on the page and then there's what comes to life and like really celebrating. Obviously like for example, the desk thing I was like that was written as a desk for a reason and it's really important I think for the emotional setting of that scene. Yeah.

But a lot of it is about in my mind like once it's organic and it's growing and changing. And so like you can't spend too much time Like you want the lines, you know, that you need that, you know, I think jokes are often need to be said the way they're written because jokes are very specific in the words. But like, for me, it became about letting the scenes sort of become alive. And because I've been on the show long enough, I actually could really feel safe in that.

Like, did I see that scene that way? I don't know necessarily always. Like, I don't think I remember. don't think we wrote like you guys circling the table, but like, that was perfection. And that's stuff that happens on the day with the director. And those are things like, if you get trapped as a writer to being like, oh, I don't think that's what happens, or then you've missed something that makes the scene so dynamic. And that was something, I think, because I'd been on the show long enough, I wasn't uptight about that. And I try not to be uptight about that ever.

obviously you want something that's shot as written, but there's these things that show up that make it so special. And I've tried my hardest to sort of be open to that along the way. I know it's hard for you guys. Sometimes you get a little rippie. No, of course. But I think because you've already, it's living in your head. That's what has to happen for it to be written, right?

And to be written well. So you already have a whole picture in your mind. But then when we get there, of course, we don't always have the picture that you have, you know, maybe subtly different or maybe should. shockingly different. I don't think that I don't remember whose idea it was to do the circle. I feel like it might have been Alan Taylor

because I do remember really blocking this for a long time. And I think that the thing that was hard about it, because she came in so emotionally charged, was that we didn't want it to be a standoff fight. Right? Like we're both standing at each other like It was like a seesaw. It was going like this between the two issues that they were in.

And I remember thinking that it was hard to motivate, like it had to make sense. And there's one take where I like kind of jump like well I'm going to go this way you know what I mean like trying to work out when she sees the ring oh yeah yeah yeah but you start moving and it's like oh now she's on her back foot right because we had to motivate the movement so it doesn't just seem like we're walking around the table randomly or whatever I remember that was what took so long but I love it because it's interesting and it's different yes and sometimes that really matters if it fits emotionally Yeah, how you, I think so much of like why people move or get up or walk around a table,

like why those motivations happen is all in the character and how the actor is seeing that moment within their scene. And it does help, I have to say, you know, like a first season of a show, you're as a writer, you're so constantly like, like you're just like, the tone, the tone, the tone, the tone. Sure. The tone of the show, I think, was so, A, it was expanding season to season in such a beautiful way. It was funny, but it was also dramatic. And so I think there's such a comfort because you guys understood the tone. A lot of the directors that had been, repeat, were understanding the tone. So there was also, like, a real comfort there. Got it. So you didn't have to police.

as I felt, I just felt more confident about not having to be, you know, on a first season of a show, I'm like, because it's like, this is, this character could do it this way and then they'll seem sad versus plucky versus, you know, it's like you're constantly trying to like line up and you, you know, you do these tone meetings with the director and. But tone is so hard. That's, it's impossible. What I've learned is so often, that's why it's great to have a writer on set is the thing you, think I remember on one show, like someone was supposed to say a line like, blah, blah, blah, blah, blah, blah.

And I went down and they were like, like they were sort of crying in the scene and I was like, wait, no, it's a funny, like, F you kind of line, not like, that was probably me. No, no, it wasn't on this show. It was on another show. And I was like, oh, yeah, no, I never even thought in the tone reading to say this line is funny because I, in my head heard it and it was funny.

Right, right. So it's great to have a writer on set to be like, like, oh, that's it. And by the way, I looked at the sad take because we had a couple of them and I was like, is that going to be the one? And I was like, oh, no, it's not. It's going to be the funny version. Okay. Well, that's interesting. But I, yeah, Tone is this wild thing that takes a long time to figure out on a show and how to make sure it holds. And the first season of a show is really hard. So it's like, I felt so lucky because it was the fourth season of the show where everybody sort of, you just have a lot of people who are firing on all cylinders. Most definitely, and I mean, I think that's what Michael Patrick expected of us, right? So we were not going to be like, la-di-da, you know, let's find this.

We didn't have a lot of let's find this or whatever going on. Yes. We knew. Yes. But I also think, and he and I talked a little bit about the read-through process because, you know, he's really specific about the read-through, the table reads. And that's not always the case, right? And, you know, I'm always trying to tell the younger actors on, and just like that, like, you know, do a full, like, do your performance. do it. Don't, don't read quietly into the script because it will get cut.

I just think that's a kind of an outmoded, you know, almost theater type of thinking. And traditional half hours, right? Ciccoms are like, is this going to work when we put it up on its feet? Right. And I do it on every show, hours, dramas, a table read. I think they are essential because then you can say to a director, why they did that scene?

No, no. We got to talk through that and that can't happen on the stage. And like, do you want me to talk to the actors ahead of time? Do you just want to be on the stage?

Like, I don't want them to live in that version of the scene if it's not going to work. Yeah, yeah. And what I loved about Michael when my, this episode went to the table read, he, the night before, stayed up with me till 2 o'clock in the morning,

going through page by page, making sure every single joke was the sharp. largest version of the joke. Wow. Because he's like, I want this to go well for you. And it was so, I mean, I'll never forget it because it's like that's what you, you know, and he's exhausted, right? He's running a huge show. I forget what number episode this is in the season, but it's like, it's 416. Yeah. So he's, wow. Deep into the season. And a lot of people would have been like, well, see how the table where he goes

and we'll fix it tomorrow after, but he was like, no, I want this to. go well for you. Amazing. And he did not sleep, really. Which I was ever grateful for. So then, okay, so you're happy with what we get. You're feeling like, yeah, people know, their place, their mood, their tone, all the things. When you saw the first edit, how did you feel?

Well, one thing I want to say is that the Samantha storyline was in the draft. The first draft I turned in did not end up being the story. It was totally different. Totally different. What was it? We had a storyline that, like, Richard was like an adventurer and he wanted to, like, kayak on the Hudson with her, and she was having to pretend she liked it,

and then she freaks out on him and tells him like she can't. And I'm sure from a production standpoint, all of it would have been a nightmare, but Michael was actually, like, the whole, the question in the episode was, what's it all worth? And it's like, he didn't really feel like it. He's like, and that was great, because we all talked about it.

He was like, this isn't really working. as an idea. It's not creating theme. And then I forget how we got to it, but I think it was me, Michael and Cindy just sat in a room and sort of talked about story and then we came up with that.

She keeps getting the cards that say best instead of love. What is your value? Is it a gift? Or is it the words people say to you? Right. And it was such a clean, great story. And I was so, like,

it just made me very happy that I worked with, people who were like, that's not going to be the best version of this story. Let's not be afraid to like rip it up and start over again. That is good. So I love that. That's interesting. I don't remember that at all. But I do think it would have been really difficult to be trying to kayak in the Hudson River. Oh yeah. No. I mean, it's like I don't even think like, like, then she was supposed to fall in. Oh, no. Oh, dear. Oh, no. Yeah, it's gross. Oh, goodness. But it also just was the wrong story. Right. We really realized like, oh, that's not

the story to tell. But to the edit. Yeah. I'm. never like an edit when I first see it. They always make me feel like I failed. Like I have blood pouring out of my ears for like a line that I feel like was too written. Oh, no. So I just get fair. But Michael does a cut before I see the cut.

Got it. So I didn't have to feel that pain because he'd already put together like a gorgeous cut. Oh, good, good. So I think I probably, I mean, Michael and I've worked together since and I'm always like, cut cut cut. Like I'm pretty vicious. I'm like, you can cut that. Cut that, cut that.

And he likes to sort of let the scenes play out more. So I'm sure I had some suggestions for trims. I don't remember if he took them. I don't remember what they were. But the process wasn't painful because Michael had already done. Good, good. A cut. But I usually find cuts.

I want to poke my eyeballs out. Interesting. And so then when it aired, how did you feel? I mean, I was out of body. Cindy had like a get-together for me the night it aired. And yeah, it was just, I was like, okay, this is who, like, you know, you're, you're, you don't know who you are in your 20s ever. And to realize like in my late 20s, I was actually figuring out who I was and that there was something I was passionate about and excited me. And then to see it on the screen, it was, it was very, it was very,

fulfilling. It was very fulfilling. I was like, I hope I get to do this for a very long time. And you have. And I have. I have. I know. Amazing. I certainly had. I love it. I love that so much. But I mean, I feel like, you know, and everyone, everyone is so different, right? We only had talented people. I mean, the talent in all of you guys was incredible. And I think that we were aware of that at the time, you know, like the writing was just so much. The reason for the success, in my mind. It's very... The writing combined with the actors, yes.

Thank you so much. But I mean, you know, you kind of can't do it without the writing. I mean, we could all get up there in our outfits, but it's not going to be the same thing, you know? Well, I think what was so amazing about sex in the city was that the show grew and changed, and I think a lot of times it's hard to evolve, right? Like the questions used to have the people on the street who would answer it.

Yes, yes. Like having that conversation, of like, is it worth spending the time on that? And tonally, does that take you out of these really intimate stories and fun and emotional stories we're telling? And it felt like it did. And the show was changing. And it's like the actors, like to know your writing for actors who can deliver allows

you to really like grow as a writer and allows the show to evolve and mature. And I think that's why the show was so. successful year to year is that it didn't, you didn't get sick of it because it was evolving and changing and the relationships were, you know, and the writers relations, our relationships with each other

were deepening and it felt like that was showing up in the characters friendships also, like how deep those relationships had become, it was fascinating to me. I think that's absolutely right, and I also think that HBO deserves credit for allowing us to

change. Completely. Right. I don't know if that would happen now. I think at HBO it would. Right. But I meant other places. Yes. In the current streaming insanity that we all live in, you know, it's more, I feel like you're supposed to, like, first of all, shows don't get to go as long, generally speaking. And you kind of have to, like, be what you are and deliver that.

Like, I feel like there's so much pressure. And then you only do eight, so it's like really compacted. And you have to like, it seems like the pressure is very high. Yeah, it's been interesting. I mean, look, I work at Amazon prime. And I think what's interesting to me has been good executives are just always good executives who help you get there. And, like, I feel very lucky.

I have phenomenal executives there. And it's like they want to push ideas and move things forward. So I think if you get the right team of people together, I've had lucky experiences there. So I feel. And I just, you know, I have every year after coming out in June. And it's just been like a really exciting. Like, yes, streaming has changed things and how often your show hits the air and the cadence and all that is different.

But what I've found and have felt very lucky, even in the sort of different world of streaming, is that if you land with the right executives who can champion your show and your vision, like you kind of get to do the thing you want to do. That's great. Yeah, I've been surprised. I'm so glad to hear that. I'm so glad to hear that. I guess it's not always clear from the outside, too, because, you know, this is a book. Your series is based on a book, right?

Yes, called every summer after. That's nice because you're, you have your source material, and then you're just kind of executing it, filling it out. Like, that's kind of a beautiful process. Yes, and it's been, and I really will say, like, having, I think having the right people around it, is what allows, I think, yes, you can end up at places where it's like, it's this and it has to be this. And I think what I think Sex and the City did from the very beginning, both with Darren and Michael, is it really had a voice and knew what it was.

And then the voice was changing and evolving and growing. And I think HBO just had the confidence to say, like, that's what we're here for is these voices that have something to say. Right. And I think that's how you get lucky in today's world, is if you find someone who actually is like, okay, you have something to say, even, you know, working from an adaptation, I had something to say about the adaptation too. So it's like, and then just having executives who support that.

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Listen to everyone watches women's sports on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. Hey, I'm Hoda Kotby, host of the podcast, Joy 101 with Hoda Kotby. Okay, if you know me, you know this. I'm always searching for inspiration, for support, and useful tools to help maximize joy. So this podcast lets us uncover all of that together. We're going to have these meaningful conversations with the world's most fascinating people. Like when actress Olivia Munn shared how she overcame fierce health challenges that she never saw coming. I've gone through breast cancer and then helped my mother through breast cancer. And that was more difficult.

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I'm so excited. On the bouncy bed. You have surprised. Many surprises. Welcome to Sweet 305 where the group chat comes to life. What a . It's like a way

of saying like, oh, my God, hello, my friend, oh, never I've ever had to with my kids,

my children, see my amante. Uff That's incredible, yeah, the telenovel You're the only person I know that loves a yellow starburst.

It's really There's someone that you can say, Like you say, I'd like to collaborate with this person. This is Sweet 305. Listen to Sweet 305 with Lele Pons as part of my Cultura podcast network

on the Iheart Radio app, Apple Podcast, or wherever you get your podcasts. Okay, let's not leave out any storylines because we haven't mentioned poor Miranda. I mean, other than in the really funny scene at the shoe shop. So Miranda's now very, very pregnant. Very pregnant.

And we have adorable Steve and she's trying to write this contract. I had forgotten all of this. Yes. I had forgotten that she basically, you know, has sex with him because he has the testicular cancer. Yeah, she has a gives him. So the end when she's like, this is a mercy. Right.

Like that was because he had been sort of, she'd given him that with the one ball. Right. It was so good. It was a nice little call back. And I don't remember how they like get back together. I'm so curious now. Like, I mean, they're going to have their baby, which is adorable. But it's also they're trying to figure out how and they're.

going to make a contract and he's making jokes about like, well, I'd like to pick him up at 459. He's funny. He's terrific. And he was perfect for her because she was about like, let's get this rigid and locked down. And he was like, you can't with a baby. Right. Now how at this point, because none of us in our world had gotten pregnant at this point, how are you finding stuff to write? So, well, Michael was very like, he was like, I became, obsessed with the calendar. Like this was the first time in the show where like it mattered how many months were passing because she was getting more and more pregnant.

Good point. And I became this very annoying. I became like very math driven on it. And it's funny now that I really like I sort of am like this on shows where it's like it takes place over a certain time period. I become very like focused. Like it's a, I think that's a touchdown for me.

Right. But it's a funny thing. But I would be like, okay, so how many months pregnant do we think? she is in this scene and he'd be like, I don't know. So I like was putting up like a board with how many months pregnant she was in each of the episode. Well, someone's got to do it. Yes.

But it was I was very, I was very OCD about it, I think. I was a little like, I was like, and it's not my personality. So it was, I was like, what is happening to me? But it became like, and I had friends who had been pregnant and had told me they had suddenly felt very like. Gassy. Gassy. But also like they.

They wanted to have sex. Oh, oh, yes, sure. And I was like, what? Like, who would want to have sex? Right. Like, as a six-hont pregnant person. It's like your hormones are shifting. Yeah, it's like a whole, like, thing.

And I, so I was fascinated by that. Okay. And so that started the conversation of like all these, Miranda's life is changing in ways that she cannot control. And so this contract is about control, right? It's like putting control on this issue that is completely out of the realm. of control, which is you're going to have a baby and everything's going to be thrown up in the

air and you've got to hope for the best. And so, and we knew we were going to get Steve and Miranda back together. So this was like a nice little like, will they won't they? They will. No, they won't because spoiler alert, he ends up with a girlfriend

in a few episodes. Oh, I don't remember this. Yes. Oh my gosh. So and so we just loved this sort of idea of like she's putting value and contract on this thing and the reality is like you can't do it that way. Interesting. And I just loved the idea of I felt like only we could do a show where you show a six-month pregnant woman who is like want sex and is really. Like I don't think any other show

could or should have done that except. Definitely. Oh, I liked it so much. I mean, yeah, I liked it so much. Yes, I think the context of the, like when you're reminding us that ABC said to Darren, like we couldn't call it Sex and City, it's so easy to forget this. Yes, this is not where the world was now. I mean, now you can be on any, you know, it's on Netflix, it's on TBS, it's everywhere. You could do a show called Sex and the City now on ABC. Right. But at the time. No.

No. I mean. Super interesting. And it also reminds me of when we were trying to do the second movie in actual. Oh, yes. And they said, well, we could never call it sex in the city. Yeah. And that was late in the game that they told them that.

The world, like in certain places hadn't changed. And we, you know, they, we couldn't get locations or wardrobe because the show was called sex in the city. And the other HBO show was real sex, which was like. Everyone thought we were there. Yeah. It was very, very upsetting. We were really kind of like a taboo discussion, I think, for a lot of people. Right.

I know it's funny to think about now when people, you know, are like semi-naked on the red carpet and whatnot. You know, it's a very different. I was like, the world has really changed. It's true. But then in some ways not. You know, in some ways not. Like, we still don't have storylines, like a lot of our storylines in things. No, they're really.

What was amazing to me as my daughter was watching the show is how current the show feels. Like it doesn't, I thought it might feel more dated because the wardrobe is so fabulous and of a time. but actually it doesn't feel dated at all. The wardrobe feels like totally current. And then the storylines really feel like, because they're emotional and some of them are outrageous and funny. And there was a couple places where my daughter was like, I forget what we were talking about.

She was like, wait, what? That happened? There was something that was sort of of the time. But mostly you just sort of feel like, oh, this shows the emotions of it and the humor of it are totally modern, which I am so proud of. Me too. So proud and shocking.

It's shocking. Never would have pictured this happening. No. But it is, we did just go through where she writes her first email. Carrie writes her first email to Aiden. Yes. Stereical. Yes.

And she's like, I don't really like this email thing. Yes. And her flip phone. Yes, the flip phone. But also then she gets her laptop, her, is it the laptop and AOL Messenger? and she ducks because she thinks he can see her. I'm still laughing. I know.

I know. I think those were places where I think Ellis was like, what's ALL Messenger? And I was like, oh, yeah, that was basically our version of texting, but it was only on a computer. I remember when we got those blackberries. And actually in the Chinese restaurant, we had those blackberries where you could AOL message.

And I was, S.J. and I were messaging back and forth. And it was like, this was this incredible new thing we had. Oh, it was so exciting. I was like so thrilled with it. I know. She takes full credit for getting them and giving them to us, which of course is true. I know. I was an addict because of her.

Yeah, me too. And she remember she wore it on her little belt. Yes. Yes. Oh, my gosh. I remember so well. I know we were just so into it. Oh, yeah.

It was like this brand new thing. Great. It was, it was so great. But yeah, we didn't know it was going to take over our whole lives. Yes. If I'd known, I would have put it away. I know, but it was fun at the time. Yes.

No, I never were to put it away once we got it. No, it was, it was, because obviously we were also just, we lived at work. Yes. You had no way and you couldn't call people from work, at least not. It was the best way to stay in touch. It was best. And yes, of course, now we are addicts and that is probably a problem. But at the time, it was amazing.

Yeah, totally. Right? Like, it helped my relationships a lot. My blue, mine was blue. I guess it was like a blackberry. I think I got a blue one later. I think I called it like the blueberry. Oh, I remember that.

Yeah. I remember that. Yes. adorable. I loved that. I know. You're such a good talker, Amy. I thought I was like, am I talking to me?

No, it's fantastic. No, you're not. It's a podcast. It's awesome. You have great memories. You might get the prize. Really? Yeah.

Out of the writers. I mean, Michael has a lot, a lot of detail. And Jenny has a lot of detail. I mean, you know, it's a different, yeah, but I mean, it's, it's, I love to, because it's also so specific to you, right? but also like you bring the room you know i can feel everyone when you talk about it you know like the the vibe of the room and the specialness of the room it was i mean that was a special beyond i know beyond special like it's amazing that each one of you is so incredible all on your own

and you're all together i know we were you know michael always said you know a writer's room is like I forget which part is his and which part I added, but he's like, it's a SWAT team. You don't, everybody shouldn't have the same skill set. And I like to call it like a SWAT team dinner party. Because you want people who are great with story and people who are great with structure and people who have a million ideas

and people who are great at like finding little pieces of, like, theme to like load in. But it also is a dinner party. You want like a lot of people with different points of view and references. And so, and I think that shows. was like the perfect SWAT team dinner party. Definitely.

Like everybody kind of came, you know, there was Charlottes and there and Mirandas and Carys and Samantha's. Like we were, there was lots of points of view, I think, about the world and romance and sex and the city. And I, it was very special. And yet oftentimes when you have that,

you don't necessarily want to feel close to those people after it's done. And that group somehow we, yeah, we stayed so tight. Which is nice. So tight. Oh, it's the best. Yeah. It's the best.

Yeah. It's the best. Oh. So I do have one more question. Sure. Amy. Yes. Are you a short?

I think I'm a secret Charlotte. I love it. You have, your life has turned out more Charlotte than I would have said at the beginning. I know. I mean, look, I am a Carrie. I'm an. overthinking writer with a lot of tumult in terms of my emotions. But yeah, I, in my writing, I've noticed this, I kind of come from optimism and idealism.

Wow. And I think that's very Charlotte. Yeah. Yeah. And I sort of ended up in a more traditional life than even I would have expected. I don't think I ever thought I would be married. I always thought I'd have a kid, but I wasn't sure about the marriage part. Right.

Yeah. So I guess I'm a secret Charlotte. I love it so much. You never know what people are going to say when you ask them. It's fun. I know. What do people, what did like Michael or Jenny or what did the other writers say?

I'm so curious. Gosh, what does Michael say? You know what? He said he was not a Charlotte and I said that he was a Charlotte because he's a good cheerleader and cultivator of talent. Like he's so kind of a mom to you guys, you know? He really is. Right.

And then I think he said he was a carry. Yeah. I think all of us feel like we're carries. Which makes perfect sense. You're right. I get it fully. I mean, Cindy's so obviously a Charlotte. I was like Cindy is a Charlotte.

Yes. Which I don't think she argued. I don't think she argued. But I do love to hear because you never really know how people perceive of themselves inside, right? Which is sweet. But also like the way that Michael is with Craig, you know, is so sweet. Yes. And I actually think the way he has written Charlotte as the years have gone by.

I think there is Charlotte in hand. I mean, the connection is so strong. What a really good marriage looks like and that it's surprising. Yes. Yes.

Yes. Absolutely. Charlotte in a marriage is surprising. I mean, I think I've talked to you about this like in and just like that. She's so spectacular to me because she is like asexual still

and like that I love so deeply as like a character trait. but also she's like funny and ballsy and like in the mess of what it means to be married and not upset about that. Like her idealism holds, but it's, she is in the reality of what a marriage is. That's true. That's very true. I loved. I loved her journey on her just like that. I loved it. I'm so glad. Thank you. Thank you. It's really special.

Listen. And you're there for heart-wrenching knockout. The world's biggest stage. and breathtaking triumph. 2026 FIFA World Cup. The knockout stage. Every match, every moment. Listen on TSN Radio.

Join the globe. On the road to the July 19th final. 2026 FIFA World Cup. Stream it all live on TSN Radio. Available on IHeard Radio. What's up, fam? I'm sports journalist Ari Chambers. Hey, what's up y'all? It's your girl, Sam J.

And we're the host of everyone watches women's sports, a new podcast from Together and I Heart Women's Sports. Because let's be real. Women's sports is giving us way too much to talk about these days. The highlights, the rivalries, the breakout stars, the moments to take over your entire timeline. And the conversations that start during the game and somehow keep going all week.

Every week we're breaking down the biggest stories across women's sports. We'll give you our takes, our debates, and probably a few disagreements. We'll talk to athletes, celebrate big moments and get into what's happening on and off the field, court, track, and beyond. Because we're not just interested in what happened. We're interested in why everyone's talking about it. Because everyone watches women's sports.

So if you're already a fan, you're just getting into the game, there's a seat for you right here. Listen to everyone watches women's sports on the IHeart Radio app. Apple Podcasts or wherever you get your podcast. Hey, I'm Hoda Kotby, host of the podcast, Joy 101 with Hoda Kotby. Okay, if you know me, you know this. I'm always searching for inspiration, for support. useful tools to help maximize joy. So this podcast lets us uncover all of that together. We're going to

have these meaningful conversations with the world's most fascinating people, like when actress Olivia Munn shared how she overcame fierce health challenges that she never saw coming. I've gone through breast cancer and then helped my mother through breast cancer, and that was more difficult. There's a lot of people who understand postpartner depression. I was not prepared for postpartum anxiety. Olympic champ Sean Johnson revealed why she had no choice but to be a gymnast. There was something about gymnastics that was intoxicating to me. It's given me a belief that we all have one of those treasures inside of us. We just have to find it.

Listen to Joy 101 with Hoda Kotby on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. My first guest is Paris Hilton, Shakira, Luke and Yerrin, Samira and Gracie. I'm so excited. On the bouncy bed. You have surprises? Many surprises. Welcome to Sweet 305, where the group chat comes to life. What a .

It's like a . It's like, Oh, my, my friend, hello, my brother. What a . Look, I've never ever had to have to have my kids,

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Apple Podcast, or wherever you get your podcasts. Hey, everyone, it's Jesse Tyler Ferguson, host of dinners on me. If you've been enjoying Kristen Davis on Are You to Charlotte, I hope you'll come pull up a chair for our conversation over on my podcast when we had dinner at Rustic Canyon in Santa Monica.

We talked about raising kids the causes closest to our heart. And one very unexpected moment when Kristen's daughter discovered that her mom had another job besides, as she says, working for the elephants. Take a listen. We were on a plane and in the road in front of us, someone was watching the movie. And she leaned over, she's like, Mommy, that girl on the TV looks like you. Oh, wow. Like, that is me. And see, that's Cynthia and that's Sarah.

She was like, oh, like, that was weird. I'm sure to me. And then I thought, oh, no, what am I going to do in this movie? Right. I do. So I was panicked. To hear the rest of our conversation with Kristen Davis, search for dinners on me wherever you get your podcasts.

On the look back on Sex and the City ending, like, I'm always like, God, should we have ended that? Like, there was. I feel the same. Because for years after that, I would be like, oh, this would have been a fantastic. story for us to tell with Carrier with Charlotte or Miranda. So I think it's always really hard to let go of something wonderful. It is. Because it's also like you don't know what's coming next and the next wonderful thing just

looks utterly different. Yes. And that's hard too, right? It's true. It's true. And I think for me, all of us obviously have our own unique experience of all of it. And yours is incredible. I feel in some ways similar to mine

and that I really felt junior in a lot of ways when we started, right? And then I was able to kind of come into my, you know, fullness of being and acting and all the things that I felt I could do, but I had never really gotten to do. And so over time, the fact that Michael and all of you guys, you know, got me and wrote more for me and allowed me to develop.

up. Yeah. It is special in a way that I don't, you know, Mike Reiser. That's okay. You know, nothing else will be. Yeah. So whenever we end, I'm, you know, sad. And Michael's like, oh, you know, don't be a victim about it.

But I don't, it's not that I'm a victim about it. It's that I didn't know it was coming, right? So I couldn't buy in advance. Yeah. I mean, look, I think two things. I think, one, you're grieving. Yeah. something that you loved that you don't get to do anymore.

And that's right. And nobody gets to chart your grief path. Thank you. In any version. That's right. That's right. Any type of loss. And this is a loss to lose that.

No one gets to chart that path for you. You get to experience that. And look, I think Michael would always make, he was like, oh, you got to stop Amy. But the last season when we knew it was the last season, I was like, this is our last first, first, last table read. This is our last boop, boo, boo. And I started doing it like day one of that season. And Michael was like, you have to stop.

Totally. This is too much. But I really needed to market. I mean, it was like I grew up on that show. Yeah. It was like the first thing I'd ever done. Yeah. It was a humongous success.

Yes. And I found myself. Like, so I needed, like, to say, like, this is the last first time. I'll open a Fiji and a table. You know, I was like, and he was, I think I was incredibly irritating. But I get it. It was important to me to keep marking those moments because I felt like if I did, it would make the ending less painful.

I totally understand. No, but you're trying, you're trying. But I was trying. You're trying. I get it. And then it didn't. Like I was like, oh, when that ended, I mean, look, I ended up getting Oscar, my cavalier because I was like, oh, I need, like, A, it was a little bit of a

touchstone to the thing I had left. but it was also like I needed to know I had purpose every day to kind of get up and do something because I was like, will I ever have a show like this that will give me this level of purpose. And did you remember how he did the comeback, the first season of the comeback? I was on it. Yes. And you remember what the theme is this washed up 40-something year old actress. I'm like, thank you, Michael.

So not only am I depressed in my house, I'm like laying on this sofa crying trying to watch your show. And it's like a knife. Yes. It was like a knife. And I had to tell him at one point, I can't, I'm sorry, I can't watch it right now. I'll watch it someday. But I'm having such a different experience of the comeback now. Thank goodness.

Oh, right. I know. That's like this, my, I'm having such a hard time watching it because I did seasons one and two and couldn't do season three. Oh my God. And I forgot. Loving it. I'm loving it, but I'm also like, oh, I know.

That's hard. I'm sorry. I forgot about that. I mean, what a crazy trajectory. I know. I know. I had like, I was like, am I going to be able to watch the show without just feeling like envy? Yeah. I'm like, I wish I was there. But I'm just loving it and really enjoy it. Because it is about a time in our business. We all. Yeah. Relating so much. I'm just relating to it and loving it. And it's weird. I'm actually just getting to enjoy Lisa's performance. Yeah. Because I'm like, I, that hot wings, the wing, the hot, the show where they, you've seen the episode. I haven't. I'm a little bit behind. Oh my God. She goes on the Hot Wings talk show.

Yeah. And she's the way, I mean, her performance, I'm so brilliant. I can't. She's so brilliant. Agreed. Agreed. But also, it has so much heart to, you know, this particular season. I mean, I think it always did, right?

But because I was like on my couch crying, I couldn't really take it in the first. Yeah. The second season really started to show the heart when Mickey was sick and she was making choices that weren't selfish. Right. That really started to build in. And I know. So it's also like, and again, a show where it's just as easy to not have a character evolve. And there's parts of Valerie that won't evolve because she needs.

But she's so grown up now in terms of how she's caring for other people. And, you know, she's still trying to be the thing. But like there's these other elements to her that I'm just, I'm just loving it. So good. It's so good. I'm so excited for your show. I'm me too. And then you had Julian and Lisa come in some form.

Yes. So I had to very quickly kind of get the show on its feet because there was a version of the show that they weren't happy with. And it was supposed to shoot shooting in three weeks. Oh, my God. So I came on and was like, I got to start from scratch and get back to the, because the novel is really wonderful and romantic and beautiful. So I was like, I got to get to this. But so I had a very short amount of time to get a writer's room to get. And I was like, I just need people who are killers, like, who can write anything,

are emotional, beautiful writers. And I was lucky enough that they were available and said yes. And I was so they, we were writing, you know, in streaming, you could write a show for like, feels like a million weeks. And then you shoot 10 months later. And this was like we were writing as we were shooting. Oh, wow. Yeah.

Oh. Yeah. It was my assistant who had never been on a production was like, is this what it's like? And I was like, no, not even network is like. I've never written this fast. I mean, this part of my face pulsed for like the entire production because I was just like, there's so much to do. And luckily, my cast is phenomenal. Oh, good.

And so they were just able to like leap into these characters. and so I wasn't spending a ton of time being like, I don't have the right, but I cast in three, like it was all happening very quickly. Wow. And it was incredible to have them because it was like two people whose story,

you know, sense of story is so beautiful and the way they think emotionally is so beautiful. And I was so grateful, yeah. How exciting. Yeah, it was great. Wow. I mean, I hope we get a season two so we can do it again. Yeah.

Yeah, definitely. Oh, I can't wait to see it. It's a beautiful show. And it takes place on a lake. And it's lake life. Beautiful. I love a lake. And the actors are really special.

I'm really excited. Yay. That's exciting? Yeah, it's great. Oh, goody. I'm so excited. That's more than I knew. I just knew that suddenly they were off doing something with you. And I was like, well, that's great.

Yes. The only thing that was a bummer is that because it was so last minute, I could not have them on set. Oh. Because they were like, we can only do this amount of time. Right. But so hopefully in a season two, they'll be able to be like around and on set. Because for me, they're equally as valuable as producers as they are as writers. They're the best. They're the best.

I love them so much. I'm so glad I finally got to the point in the show where I could officially have you guys on. I know. Here we are. And I can't wait to have you back. I know. I'm excited. Bring me back to that.

Definitely. Thank you, Amy B. Harris, for a really, Fun time. Thanks. I'm so happy to be here. I love talking about the show. It's fun, right? It's fantastic. What's up, fam? It's sports journalist Ari Chambers. Hey, what's up y'all? It's your girl, Sam J. And we're the hosts of everyone watches women's sports, a new podcast from together. We're breaking down the biggest headlines, the viral moments, and the stories everyone's talking about across women's sports. From game-changing performances to culture shifting conversations, we'll give you our takes, our debates, and a few laughs along the way. Because everyone watches women's sports.

Listen to everyone watches women's sports on the IHeartRadio app, Apple Podcasts, or wherever you get your podcast. Joy is essential and it's also elusive, but now there's a new and exciting way to start your journey toward a more joyful existence, Joy 101. It's a new podcast hosted by me, How to Coppe. If you're craving inspiration to maximize your joy, tune into these candid, uplifting, and moving on-air chats. Open your free IHeart Radio app. Search Joy 101 and listen now. Joy 101 with Hoda Kotfi is presented by CBS. I'm Jake Brennan, and on the Disgraceland podcast,

I explore the wild lives of rock stars and unbelievable true crime stories from music history. These are the stories you haven't heard, the kind you'll end up telling someone else. Like the time Paul McCartney spent in a notorious prison or the bizarre crime Lady Gaga is accused of, where that time Blondie's Debbie Harry escaped Ted Bundy. Listen to Disgraceland on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts. My first guest is Terence Hilton, Shakira, Luke and Yerrin. You have surprises? Many surprises.

Welcome to the Sweet 305 podcast where the group check comes to life. What a hell? You're the only person I know that loves a yellow starburst. It's lemonade. This is Sweet 305. Here, oversharing is encouraged. Listen to Suite 305 with Lele Pons on the IHeartRadio app, Apple Podcast, or wherever you get your podcasts. This is an IHeart podcast.

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