Are You A Charlotte? - Should Charlotte have given Carrie the money??? With Amy Harris... (S4 E16 "Ring A Ding Ding")

Episode Date: July 6, 2026

This is the episode that has spurred endless debates and controversy.Should Charlotte have given Carrie the money, should Carrie have been so emotional and upset over it, is mixing friendship and money ever a good idea???!!!Writer Amy Harris reveals that this episode caused the biggest disagreement ever amongst the writers of the series, and trust us, we get it!Plus, find out the line that Amy Harris feels is the most significant within the episode.See omnystudio.com/listener for privacy information.

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And it gets worse. It's Vacate to Vacation Week on the Ok Storytime podcast, where she caught him buying gifts on Amazon and then taped the 10-page letter inside his luggage before he flew out. So she planted evidence before he even took off? And spoiler, So, Fia two years later, karma hits so hard. He's calling his ex-wife in tears, saying about his mistress.

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has going on right now. Plus, we find out what she really feels about the Stranger Things ending. You have over 60 animals. I don't know where the number is 60. I really got to figure that out. There have been plenty of sheep in my bed. It's a big bed. Literally sleeping in the bed.

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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 Sweet 305 with Lele Pons on the IHartRadio app, Apple Podcast, or wherever you get your podcasts. Hi, I'm Kristen Davis, and I want to know, are you a Charlotte? This is exciting, everybody. Finally, finally, we have Amy V. Harris.

one of our glorious, glorious writers, she has finally joined us on Arya Charlotte because we have gotten to her first episode. Now, we're going to go through the history, but she was in our world for a long time before she had her first episode. But her first episode with her name on the script is Ring-a-Ding-Ding.

It aired on January 27th, 2002, which is interesting. And Michael Patrick was just on last week, and we were talking about how in the... So we're on the air in the... the summer of 2001, obviously it's leading towards 9-11. Yes. And then they had separated the episodes into like a second season.

Yes. And no one really remembers why. Do you remember? So I think we did 18 episodes that season, season four. I think you're right. And I think they decided instead of running 18 through the summer, which would be a very long season for an HBO show, that they would split it up. And so we ended up doing,

I believe we, the first 10 were in the summer and the second, the eight were in January. That makes sense. That's interesting. I don't really remember that as being like something different that they did and obviously something that they would be continuing on doing up until this day where they separate seasons, which is interesting because I remember, I don't know if this is probably silly, but I was always a little annoyed when they did that. Because it was almost like they got another season,

but we were just paid the same. Yes, we did season four, and then they split it up and made it season 4A and 4B. Right, and then season six, we worked that whole solid year, and it was two seasons. That's right. Bonus, whatever they call it different things, right? You don't get the bonus.

Exactly, exactly, right. And I mean, in some ways, it's kind of silly to even think about it now, right? because obviously it was all incredibly wonderful and we were richly, you know, paid for it all eventually. It took a while. I think it was just the Wild Wild West. They didn't know exactly how to do that. And I think probably when they started thinking 18 episodes over the summer

is more weak, we wouldn't have finished until the fall. That's a good point. So I think they were probably like, yes, let's take advantage of us and split it. But my gut is Wild Wild West on that one. I think Wild West, but you know what else? but you know what else I think was happening? I think some of what was happening was that David Chase was taking a long hiatus. Yes.

Because at a certain point, they pushed him to go back. And he felt like the season suffered that he hadn't had time to really, you know, gestate his ideas and whatnot. So that he wanted to take a longer time. And it had been that they would kind of counter program us. Yes, absolutely. So then they were like, oh, well, let's just chop up. Yes, we can put sex in the city in twice and people will be thrilled.

and they'll wait for Sopranos that way. Right. That's right. I forgot he was sort of the first person who sort of, I had, as somebody who's such a rule follower, I had never seen that before where it was like, oh, no, you just deliver year to year to year to year. And I think he really was the first person who said,

I'm delivering when it's ready. Right, which is pretty amazing. Yes. And now, of course, with streaming, it's all insanity. Yes, it's all that. And no one does 18 that I know of, except I guess, wait, I mean, just the pit do. They don't do 18.

They do, they do 13? 12? Yeah, 12 or 13. At Amazon Prime, we do eight. My show is. You do eight? Yes, we have, I launched a show June 10th and we did eight episodes. Why eight? How did they come up with that?

I don't know. I know the, we were a couple years ago on Amazon, you would do 10 and then they moved it to eight. And I think my gut is they wanted to, I don't know if we said we need 10. if they would have said, okay, great. But we started building the seasons to be eight. Got it. Did the budget change when it went from 10 to 8? Or is it roughly the same per episode?

No, that's the hardest part in a way is that you're amortizing over 8 instead of 10. So sets have to, they cost more. Oh, that's a line. So it gets a little trickier that way. But I think at the end of the day, they're spending two episodes less money. So it's still, yeah. Our world. Ooh, yeah.

It's crazy. And it's so amazing that you're just a big, showrunner now. Wow. I know. I really, it's a job I love. I really. I love it. I love it so much. I love it. I think it's a strange skill set of creative and practical. And I think some people are very practical and some people are very creative. And for me, the fun of it is figuring out how to merge those two things at the same time. And I love it. I love it. Those puzzle pieces are the best for me. Like how am I doing this? always your dream. I don't even think I understood this could be a dream. You know, when I meet young writers now and they say their goal is to become a showrunner, I think, how would you have even known to know that was something? I loved the business. I mean, my first real, I had one job before Sex and the City in TV, which was Darren's show Central Park West.

And I- Back up? How did you meet Darren? So Darren's little brother and I went to nursery school together. I love it. And our parents had been friends forever. We grew up in the same neighborhood. We had beach condos near each other. And I hadn't seen him in years. He was older than me. And I was working at Vanity Fair Magazine. And he had done Melrose at 902 and O. And I was in awe. And he was so kind and so generous to me. And we were talking on the beach. And he told me his next show is about editorial assistance at a magazine, which is what I was doing. And he said, can I take you to lunch when I come to New York next and pick your brain? And my head almost popped off. I was so excited. So we had this long, great conversation. And then I wrote him a letter and said,

I don't know if you're going to shoot this in New York or not because he wasn't sure things didn't shoot in New York except for like Law and Order at the time. But if it shoots in New York and there's any opportunity for me to come work for you, I would love it. And his assistant decided not to come from L.A. to New York. And I became his assistant. And how long did that last? So Central Park West was on for a season. And I was in the writer's room taking notes and doing everything assistant related. And then that ended. And I was like, oh gosh, what's next? And he's like, I bought can. And Candice had been around because she'd been doing a piece on him. And he said, I bought Candace's columns and I'm going to write the pilot.

And I hope you'll stay on working for me. And then he was debating whether to sell it to ABC or HBO. And Jamie Tarz's, who ended up becoming one of my closest friends, was like, I'm not even sure we can title it Sex and the City. And he's like, I'd need to go to HBO. Right. And then we shot the pilot. And that was thrilling and so New Yorkie.

and like I was like, I can't believe I'm getting to do this in New York City. Yeah. And then it got picked up. But that first season, you remember, we had no idea if it was going to be anything. We didn't know what it was. Like, I was like, oh, this is fun. And I don't know if it's going to get a season two. And I never worked in TV besides one show that hadn't gotten a season two.

So I was like, my parents were panicking. They were like, you went for like a job with, you know, all sorts of like. perks and benefits and health insurance to these like these shows work or don't work and then you're unemployed again. But yeah. And then Darren was really wonderful. He's, I was very, I was sort of living a Carrie Bradshaw style life where I wasn't making a lot of money, but I was spending it all on my clothes and going out and shoes. And both Michael Patrick and Darren, I think, really supported my desires to kind of move forward and did I want to produce? Did I want to develop? I wasn't sure. And Michael and I have a debate about this. But I swear, I read a script of a freelance script

that came in and he said, I read it before Michael did. And he came out and he goes, how is it? And I was like, it's okay. It's a rough draft. And he, I believe he said to me, like, it's hard. You should try it. And he said, I would never have said that. And I was like, whatever I heard was like, you should give it a go. And see how challenging. the process of writing is. Right. And I was like, you know what? I do want to see how challenging the process of writing is.

Yeah. And I wrote, expect sex in the city. Oh. And I said to Michael, I don't inspect in any way for this to be used on the show. But I would love for you to read it and give me notes and just tell me like either you have talent or don't. He was like, I'm never going to say you do or don't have talent. Because he's so amazing and wonderful and like wants the best for you. And he read it.

it and I had made, Samantha falls in love with a woman in my episode, which they ended up using in the show. Yes, I was going to say, maybe you're the origin of this. I was. Amazing. Because I just thought that's who she was. She would fall in love with different types of people and be attracted to different types of people and that felt very real to me.

And I knew the draft was at least good enough because Darren came right to me and said, why didn't you let me read it? And I was like, I just thought you'd be too busy. and if it was terrible, you would feel the, like, I knew Michael would be able to sort of walk me through, like, why it wasn't working and why it wasn't good, and I didn't want to put two people through having to tell me it was terrible. But, yeah, and then Michael offered me a job on the writing staff,

and so I moved from producing, which I'd been doing for those first two years onto the staff. And then when you moved onto the staff, what was your first title on the writing staff? I think they gave me consulting producer because I, wasn't, they felt like I'd already been a producer on the show, so they didn't want me to come on as like a story editor. Got it. But didn't you at some point have the story editor title?

Maybe I did. I feel like you did. Maybe I did. And part of the reason that... I think I did. Maybe season... I think at the beginning, maybe it was... I went from story editor to co-producer, I guess. That makes sense. Yes. That makes sense. Yes. That's right. Listen. And you're there. Catching knockouts. The world's biggest stage.

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2026 FIFA World Cup. Stream it all live on TSN Radio. Available on IHeart Radio. 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.

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This blew my mind when I saw this, Millie Bobby Brown. You have over 60 animals. First of all, how do you even keep track of everybody? And second, do you have favorites? Who are they? And why? Yeah, I need to know about this. Okay.

I don't know where the number's 60. I really got to figure that out. And I could actually have over 60. I just need to really know that number. There have been plenty of sheep in my bed. It's a big bed. In the bed. Literally sleeping in the bed, yeah.

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Apple Podcast, or wherever you get your podcasts. My husband is currently on a vacation with his mistress and I'm confronting them. Tell me, Sophia, how did she even catch them? One Amazon shopping receipt. He accidentally sent her a photo of the kid's Christmas gifts with a delivery to another woman at the bottom. He exposed himself? That's a rookie move. Couples massages, monogrammed bath robes, and lingerie he then moored her for.

So she spent four weeks gathering evidence and taped a 10-page letter inside his luggage before he flew out. In his luggage, she came to play. And the second he landed, he blocked her. So she called the hotel room directly and got the mistress on the phone. Ooh, she got the mistress live on the phone? That is a bold move. Let's see if it pays off. Then it gets worse.

He took the mistress on the Bahamas honeymoon trip he had planned with his wife. And then the mistress tagged him on Facebook, outing the fair to her entire family. That's like a whole public confession. And spoiler, two years later, karma hits him so hard. He's calling his ex-wife. in tears saying about the mistress, what a mistake that was. To find out what happened, listen to the OK Storytime podcast on the IHR radio app, Apple podcast, or wherever you get your podcast.

Okay, my Hyundai hot take for this episode, which is called Ring a Ding Ding. I am going to go with the final scene where Charlotte gives the ring to Carrie. After all the talk of money and whether friends should lend friends money and Carrie gets mad at Charlotte because Charlotte doesn't offer, like the others do. And then Charlotte really has this great boundary and says, you know, it's not my job to fix this financial problem that you created for yourself. Then I think we have the most beautiful scene where Charlotte does give her the ring. And Carrie says she's going to pay her back. And basically, they kind of pledge themselves to each other. That's how I look at it when I see the scene. And I just

love it. And I love our work. And I think we feel so connected in that scene. And I think it's such a beautiful ending. And I wish that everyone who posts the memes of her asking for the money would also post the memes of me giving her the ring and us bonding over it. So that's my Hyundai hot take. Celebrating iconic moments, bold moves, and unforgettable style just like Hyundai. I want to talk a little bit about what does a story editor do? Because I think this is a job title that people don't really think about. And I think it's kind of important. It's really interesting. And I think a story editor is probably very different in every room. I have looked at story editor the way Michael and Darren looked at story editor,

which is you're a less experienced writer in a room where everybody's opinions and ideas matter. So you're given some grace in the sense that I think your drafts when they come in, if they're not as sharp and wonderful as a co-executive producer's drafts, they understand you're less experienced in your learning. But what I never felt in the room was it wasn't a democracy. I mean, at the end of the day, Michael was deciding which stories went and had a very clear idea of what he was chasing. But the fun of our writer's room was that everybody was pitching

on sort of an equal level. And then the ideas that sort of bubbled for people were the ones that sort of started to take off. That makes sense. And so I've always sort of looked at those younger levels, like staff writer, story editor, executive story editor, as just writers that don't have the same level of experience, but in a writer's room are bringing the same value as someone

with a lot more experience in terms of story ideas and how to shape story. And then obviously writers with more experience, and there was unbelievable talent on that room, they're there to sort of help guide those younger writers through the process. Got it. So if you're there and you may have less experience, but you're obviously living a life that is going to have rich ideas for the stories. Are you also in some way in charge of overseeing the stories that other people are writing or no?

No. So in our, I think every room is totally different. But I, the room that Michael ran has been my template for every room I've run since. I sort, you try to figure out like, okay, like, I was listening to Julie and Elisa's episode and my motherboard myself. They came in with three ideas that went right into that episode and that very obviously became the episode they needed to write. Sometimes that's how it happened. Sometimes it can be, okay, this person, I have five writers and three of them are writing scripts and two are still in the room. And so this person's writing this next episode. But what Michael always did, which I really loved, is he tried to find, he wanted the writer to have like a deep connection to the stories that

were being told, which I really thought was like a very beautiful way to kind of make sure. I mean, look, every writer who's in a room, that's your hope, right? That they connect to the characters, to the stories you like to tell. But he would kind of click into that and know, okay, this is your episode coming up. And so then in the room, as you were pitching for that episode, you knew it was your episode. You were responsible for keeping the story straight, thinking them through. but you're in this unbelievably supportive room where all these amazing ideas are popping up

and notes are being taken and you're, you know, it's like a beautiful pile on of people sort of developing the show with you. I always said like I always felt like the thing I think that was so beautiful on Sex and the City is you really felt ownership of your episode, but you felt fully,

like you were not cut a drift to like, good luck, hope you do a good job with your script. It was like so, it was, this community that was sort of servicing the story and the show, but you got to kind of find your way into the episode in a way that you were encouraged to do. That's so nice. I mean, I obviously felt, I mean, it was the first show that I was around for this amount of time, right? But when I was on Melrose, you never saw the writers. You know, it was one of those old-fashioned kind of TV sets where the writers were off in a room. It might be in a different place even. Yes. And for us,

I think this is a known fact, but, you know, you guys were part of our lives and part of the day to day of the set. And if it was your episode being filmed, you were on set with us. Yes. I mean, almost the whole time, unless you like fell asleep at 5 a.m. or whatever, which was totally understandable. But, you know, did you feel like that was something that was normal or did you know it was special? I did not know it was special because I'd never really done this before. In my mind, writers went to set all the time. Michael loved having the writers on set to talk through stuff. And, you know, we weren't ripping apart scenes,

but a joke could be at it. Or why do you think this isn't as funny as I'd hoped it would be? He was so collaborative in the process. I mean, my joke was like, that show was no sex in the city for me because I spent all my days and nights on set. And then Friday was Friday, and I'd wake up at 2 on Saturday. And I'd get up, you know, and then Monday was 5 a.m. Yes.

So, but I loved that process of, just continually being, because it also helped you as a writer to see how you guys were finding your character and what you were bringing that sort of inspired some other storytelling idea or device. And so for us, that was, I loved it. And I think one of the things, you know, that's been hard for me as I've moved since the pandemic, really, is that often the other writers aren't on set anymore. Because you're not shooting in the same city as where you're so like.

So they don't bring everyone. They don't bring everyone. Oh, that is hard. That is, that's been, for me as a showrunner whose goal is to try to train other people to become showrunners, that has been sad for me. Really hard. Yeah. Because if you're not on set, I think it changes your writing too, right? Definitely.

You really understand if I give this person this crazy action or I give them not enough action and then there's a 20-minute voiceover. Right. Like what is going to happen? Totally. So you start learning how to write to the actual reality of shooting, which is the best. Sometimes when you read a script, you definitely feel like, okay, this person is in a room and everything's happening in their mind. And they're trying to help people who are reading the script envision it, right? So there's a lot of description.

And I'm always like, oh, no. Because when you get onto the set, sometimes that works. Sometimes that doesn't work. Correct. And you never know how attached the writer is or the direct. is to all of that description on the script page. Yes. But sometimes you need that to help people reading it.

Well, that's always, I think, the fine line. I sort of look at scripts as novels for the executives, but then you have to create something that actually, like, gets on its feet for production. So it can be, you know, maybe how you write a pilot to kind of give people the wink, wink, and let them know what they're supposed to be feeling. Because, you know, an actor will give you that feeling of, underneath the happy attitude is desperation.

Right. But you might have to write that in. And I always feel bad because I feel like actors don't necessarily need you to, like, give them that many pieces. It's true. We don't love it. Yeah, yeah. Yeah. It's true. I often will pull that stuff back once we go to production. Smart. Smart. Smart. Smart. But it helps with the read. So let's talk about your first, when your first title by Amy B. Harris came. How nervous were you? Well, I was so nervous.

I cried for weeks on end as I was writing my script. And I'm not much of a cry. I know. I don't think you're crying at all. I mean, I never did it in public. Got it. But I would sit at home on the week that I was writing, I was off writing my episode,

and I would spend the morning just sort of weeping thinking, I can't fail. What if I fail? Oh, my God. Like, I'm going to fail and I'm going to disappoint the people I care about and a show that I love. So I cried a lot. And when I told Michael that later, he was like, wow, I had no idea.

He's like, you just seemed as cool as a cucumber about everything that was going on. And I was like, I was in a state of absolute terror. Wow. And I did sort of what I do now, which is I take a lot of long showers to think about story and how I want to tell it and a ton of walks. And I started to think about, I suddenly started to realize that the show, to some degree was the Wizard of Oz. I like how you start the episode that way. And that is why I ended up starting the episode that way,

because it was all about her home, right? So I was thinking about like, what are quotes about home? And then I was suddenly like, there's no place like home. And then all of a sudden I started to realize, like, Carrie is Dorothy? Like Samantha is this like courageous lion.

That's really funny. Who am I? Oh, heart. Please. Please. That's so adorable. I never knew this. Yes.

This is so cute. And Miranda is spring. Love it. Love it. I mean, in a way, you guys aren't searching as much for that. You actually have those things already. So true. And Oz is New York.

Got it. So it just started making me very happy to think about those things. And that kind of gave me my opening and my ending. And then I started to relax a little. Because I had the story, right? Like we knew what our A story. Like we knew what each of me. Got it.

So you knew. that this would have to do with her apartment and not being able to afford the down payment. Yes. And just a little backstory to make sure we're caught up because this is the point in the show where I don't remember stuff. Up until now, I remembered a lot.

Now I'm like, whoa, what is happening? But it's really, it's enjoyable because I'm in the reliving. But also watching like an outsider in certain ways. Yes. Because I don't remember the storylines a lot. I remember the gist, I guess, but not the details, right? Like I remember, of course, there's a lot of conversation that lives on about the ring and me and Carrie and Charlotte and Carrie. And it's interesting because you can take it, you can take pieces of it out of context and it looks one way.

But then if you actually look at the whole story, it looks a totally different way. Yes. Which, you know, is true a lot of the time, obviously. But I think especially because this is a very unusual thing to be writing about. So with the apartment, just why exactly does Corbett have? of like what happened? Oh, yes. So when they got engaged,

her apartment went from rent stabilized to they were going to sell it. Got it. So this is why she's been able to stay there this whole time for not very much rent. She's a $750 a month apartment, which in New York is unheard of. And then they have an option to buy the apartment.

And then he's like, let's buy the apartment next to it. We'll break through and make a big apartment. And this will be our marital home, basically. Right. And then they break up at the end of the episode before, which is that beautiful fountain scene. Right, right, right. So now she's, he's going to sell that second apartment.

And he basically says, you can buy the apartment from me. And then she starts realizing, like, a lot of New York women, and then she spent all her money on shoes. Got it. So you knew that this is the place in the season that your script would come. And so then it's up to you to flesh out. Yes, but we work in the room so closely. Like, so it was like, okay, so what,

what do we want to see from this episode? And where is Charlotte and her story that we can bounce her up against Carrie? Because they're having very different breakups, right? One who got a beautiful home and was financially secure. And this other one is lost her partner and is suddenly realizing like she's made a lot of bad decisions along the way. So we knew that was going to cross. And all of that is being fleshed out in the room. Like we're working as a group, we're finding it.

And then there was biggest fights we've ever gotten into was this episode. What? Yes. I mean, enormous fights. About which party? Oh. And I was so, Michael and I had very similar ideas about money, I guess, which we hadn't, and we come from very different backgrounds.

So we were like, huh, because we were sort of thinking maybe it was where we came from. But we were sort of like, if you have it and someone needs it, you hand it over and you hope it's a loan, but you have to assume it's not, that it might not be alone. But like if you have the money, it's okay. Like hand it over to people. If you have the money, you pay for dinner. If, you know, next week,

maybe someone else has the money, they pay for dinner. Right. It got pretty heated. Because not everyone felt that. Not everyone felt that way. Got it. So some people felt, no. A lot of people who felt Charlotte,

that you don't mix money and friendship, that it is potentially the end of friendships. Right. And that it's not comfortable conversations to have. and they shouldn't happen. And we were like, and I really appreciated the argument. Like the people who were against the idea

were like, if Carrie goes to Charlotte and says, why didn't you offer me the money, I will hate her for the rest of this, my life. I will hate her. Well, listen, there's people online who pull that clip out

when they want to prove that Carrie's a narcissist. Yeah. Yeah. I mean, that's one of the ones. And it is one of those things where it's like you realize

she's also like angry at herself that she's in this, like difficult situation. Yes. And it's, at the end of the day, she does get the money from Charlotte, obviously. But she was, it was more, she was like, why did you turn your back on me? I get it. Like, look away.

Right. Because drink out of the straw. Yeah. Yeah. I know. I do remember. Totally. That was.

No, Charlotte's very obviously like, I'm not going to be part of this. Listen. And you're there. for heart-wrenching knockout. The world's biggest stage. And breathtaking triumph. In 2020-6, 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 IHeart Radio. Hey, I'm Hoda Kotby, host of the podcast, Joy 101.

with Hoda Kotmi. 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. There's a lot of people who understand postpartum 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. Hey, everyone, it's the Jonas Brothers. If you haven't heard, our new podcast is called Hey Jonas. And this week, we're hanging out with someone we're really big fans of.

Millie Bobby Brown. That's right. Eleven herself. We talk about her new movie, Anola Holmes 3, family life, and all the amazing things she has going on right now. This blew my mind when I saw this, Millie Bobby Brown. You have over 60 animals. First of all, how do you even keep track of everybody? And second, do you have favorites?

Who are they? And why? Yeah, I need to know about this. Okay. I don't know where the number's 60, and I really got to figure that out. And I could actually have over 60. I just need to really know that number. There have been plenty of sheep in my bed.

It's a big bed. In the bed. Literally sleeping in the bed, yeah. Plus, we find out what she really feels about Stranger Things ending. Five seasons, almost 10 years of your life. I could have never have guessed it. I started when I was 10 years old. Our conversation with Millie Bobby Brown is out now.

Go check it out. Listen to Hey Jonas on the IHeartRadio app, Apple Podcast, or wherever you get your podcasts. My husband is currently on a vacation with his mistress and I'm confronting them. Tell me, Sophia, how did she even catch them? One Amazon shopping receipt. He accidentally sent her a photo of the kid's Christmas gifts with a delivery to another woman at the bottom. He exposed himself? That's a rookie move.

Couples massages, monogrammed bath robes, and lingerie he memowed her for. So she spent four weeks gathering evidence and taped a 10-page letter inside his luggage before he flew out. luggage she came to play and the second he landed he blocked her so she called the hotel room directly and got the mistress on the phone oh she got the mistress live on the phone that is a bold move let's see if it pays off then it gets worse he took the mistress on the Bahamas honeymoon trip he had planned with his wife and then the mistress tagged him on facebook outing the fair to her entire family that's like a whole public confession and spoiler two years later karma hits him so hard he's calling his ex-wife in tears saying about the mistress, what a mistake that was. To find out what happened,

listen to the OK Storytime podcast on the IHart Radio app, Apple Podcasts, or wherever you get your podcast. 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 her 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 row in front of us, someone was watching the movie.

And she lay in her, 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, uh-oh, like that was weird. I'm sure to be. And then I thought, oh, no, what am I going to do in this movie? Right.

So I was panicked. To hear the rest of our conversation with Kristen Davis, search for dinners on me wherever you get your podcasts. I remember the scene, the day that we shot the scene where she comes to my apartment and we walk around that table. Yes. And I remember it because I think there was still ongoing debate about the writing. I remember rewriting and rewriting and after the table read, rewriting. Yes. And a lot of stress.

and worry about how to play it even. Yes. And her level of anger. And I do think her level of anger, because sometimes you do this to your friends, you don't mean to, but like your anger comes out of them just because you're so uncomfortable with yourself.

Yes. But that's how close we are. Right. And that's the thing I thought where Michael and I sort of landed. And look, I rewatched and I was like, oh, Carrie, I'm not sure. Like, it's a lot. It's a lot.

It is. That's a crazy decision to go over and be like, I'm angry at you for not offering. Right. I don't want your money, but I'm angry at you for not offering. It's like I understand it. And look, I look at all the times where I wish I'd sort of said, I'm angry about this and didn't.

And it did sort of pop the balloon for her of whatever, that feeling of like explosion that was going to happen for her. It sort of eased her down. And I don't think she actually expected Charlotte to ever offer her. Well, I don't think it was about that. Yeah. It's not about that at that point. Why wouldn't you support me?

that moment. Right. I mean, she thinks it's about that, but I don't think it's about that. And that's what I love about that scene is there are just so many layers. But I was also surprised at how hot she comes in. I was like, whoa, mama. I know. I know. And she's like moving her hands at me and stuff. Do you know what I mean? She's like, I did it to. Yeah. But you see how I'm looking at her? Yes. Like I'm pleased. Sometimes I told Michael there was a scene from a couple weeks ago where I was like unsure of my choice at the beginning of the scene. I was like, why did I make the choice? Did I even make a choice? What's going on there? You know, sometimes I felt, you know, this is going to happen.

But in this scene, I loved what I did because she does. She's so, like, unworked out on what is going on with her, you know. And because Aiden's gone. And he was a very, like, people can complain about Aiden, whatever. But he really listened to her. Like she would have her emotions and have her crazy ups and downs. And he would just be like, okay, okay, you're going to act a little crazy now. Golden Retriever.

Exactly. Right. So that's gone from her, right? doesn't have that and she's alone and now she's going to lose her apartment, which is a huge deal, obviously. I understand it, but I love how I'm just looking at her when I'm like, it's not my job, but I look so empathetic to her. Correct. Which I think is why we're able then to end up at the last scene. Yes. You know, and it's like Charlotte does have boundaries and ways that the other characters don't always have, which also I didn't fully understand at the time,

right? Like I look back, I'm like, well, good for Charlotte. I was going to say it's really a wonderful thing that she was able to say, this is not comfortable for me. And I've seen it go badly. And don't, don't ask me to be who I'm not to make you feel like you have a friendship because I'm here. Absolutely. And present as a friend. Absolutely. And that's why I loved your performance in that. Thank you. Thank you so much. And I do remember being stressed about it. And I remember Sarah and I just walked around that table like for, I don't even know how many hours. It was a lot. But then I love the final scene where I do bring her the ring. And it's so sweet.

And I hadn't really remembered all of it because all of that doesn't make it into the memes. Yes. The idea of it all. And also when she says, wow, we're alone again. That was like the most important moment for me in that episode, which is like, and you did this so beautifully where Charlotte's like, yeah. I know. I'm surprised by that. Charlotte was not like devastated.

by that. She was like, here we are. I was shocked. And I loved it. And I remembered really wanting Charlotte to be like, those are the facts. We are alone again, as opposed to what often Charlotte felt, which was like panic that she wasn't going to find the one. So true, so true. And it made her giving that ring so beautiful because she was in a very, like, secure space about where she had ended up, which Charlotte was. surprising that like letting go of this sort of dream marriage. Right.

That to me felt like this sort of coda for her and Trey was to finally push that ring and be like, I'm going to have to be alone and that's okay. Definitely, definitely. And then also, I love, this is the mysteries of Charlotte sometimes, right? She waits till the very end scene to say, and the reason I'm going to be a docent is because no one will hire me. Like, that does important information? Do you mean?

But she keeps that. And then she's like, and by the way, it's not. also glamorous as it seems over here. Correct. You know, which is really good. And I thought kind of like, foreshadows things that happened later on and just like that. Yes.

It was interesting. Yes. That she was still looking for purpose and struggling to find it when she felt like she'd been pushed out of her career unintentionally, right? She was like, I'm going to be a wife and I don't need this job. And then suddenly it's like, I need to be a person out in the world, not just a spouse or a mother. Exactly. Exactly.

So, okay, take us back to where, okay, so you're, you're, where everyone's arguing in the, in the writer's room about the money, which is so good. That's how you know you have something really good, right? Well, that's, Michael was like, this is, we have to do this because everyone is having humongous responses to this. And what Michael always did and I've used it in every show I've ever worked on is everybody's opinion has to hit the screen. Oh. So, which I love. That's interesting. So if like a writer is, I don't like this for that character and that's awful and why would they ever do that? somebody has to say

with potentially the audience is going to be saying. So Charlotte was that character for us in this episode. Like, it is not appropriate for you to ask for money. Money is not to be mixed with friendship. Right. And I think that helped

like as whatever you think of Carrie in terms of the decisions you made somebody was saying out loud the thing that like you got yourself into the situation. I'm not responsible for, I can't save you. Right. Well, also when they go shoe shopping, Miranda and Carrie, I'm just like, wow. Like, it's fascinating. Again, like, if you're trying to make a case for Carrie being a mess, basically,

there's some evidence for you. Like, she can't help herself. Yeah, she's an addict. She's an addict. She's definitely an addict. It's pretty funny. And Miranda, look, there's a lot less healthy addiction. 100%.

No, 100%. Yeah. But not good on because she has, like, gotten herself into this hole. Exactly. You know what I mean? No, my favorite thing is when she says, I spent $4,000 on shoes and she's like 40. It's really good. It's so good.

And you're like, oh, my God, that is an actual down payment that she spent on shoes. Yeah, back then. Now we need another zero. Yeah, exactly. Yeah. But now if we were to track her spending, it probably would be another zero, right? Yes, correct. Yeah, but obviously other things changed.

But also Miranda is so there's a cut in there. where in that scene at the at the when they're shopping um where she's carries you know talking out loud but also trying to buy shoes you know and and Miranda just looks at her at one point like sideways and you're just like wow Miranda's even holding her tongue yes you know what are you doing and also like like I can't say the whole truth right now it would be too devastating yes because she already said I'm an old lady who's going to live in her shoes like she's already in a dark place but she the thing that brings her joy is the thing that's caused her downfall. Ooh, it's super interesting.

It's super interesting. Okay, so take us back, take us back. So people are arguing you're the name on the script. How do you feel while we're actually filming it? I mean, well, first of all, I was just, again, so nervous I was going to, you know, be on set and make a bad decision when no one else was there. And I had a couple of like my, and I'd been on set for years now. So, but it felt different sitting in that chair as the writer.

And I remember there was the scene where she goes to Big. Oof. Also difficult scene. Very difficult scene. And I had come in and for whatever reason, they hadn't told me, I think, that they were rehearsing. So I came in as the rehearsal was ending. Uh-oh. And I, like, ran in.

and the director Alan Taylor, who's brilliant, he was staging it so that they were sitting, there was a couch in the room. And he added that they were sitting on these couches talking. And I was like, oh, no, it's like, this is a business proposal for her. It has to be different. And it had to feel very different from who they were. It was like she was coming to him.

And I actually do not think she was coming to him for the money. I actually think she was literally like, this guy knows how to make money. Like how can I figure out how to leverage whatever I have to make money? I think the stakes are just so high for her to go there at all. Yes. That it's just got so much crackly energy that it's hard to tell what she's there for. I mean, she very clearly says, you know how to make money, teach me what you know.

Yes. But also he has all the money. Right. It's a very, she's walking a tight rope. Yes. And she's panicked. Yeah. But so I was like, oh, Alan, they need to be at the desk.

Right. Like he has to be behind his desk. she needs to be sitting there and they had to move everything because the shot was obviously down. You know, I think it was on six, seven. So it was like that shot of him behind the desk was had to look down there. And I think the desk was like somewhere else. So they were, you know, props and set deck had to come in. Everything had to be moved.

But I was like, I know what this has to be. And it has to be so different. And Alan was so great. But he was like, you know, we should have been here when we. And I was like, no one called. Like, I don't know. It was like this just because I think people weren't used to being like, Amy needs to be upset and I was like sitting somewhere else. So, yeah, I was incredibly nervous. But again, like being on the show for so long, I mean, everybody wanted it to go well for me. Everybody, I felt that from actors, from crew, from the other writers, from producers. Like, that was what was so beautiful about the show is that everybody, we were family and people wanted everyone to do well.

So I felt so supported in the process. But yeah, I was, I definitely felt like, okay, I have to stand up in a different way. Yeah. That's scary. For sure. And at this point, how old were you? 27. Oh, my God.

You were younger. You were younger than us. Yes. Yes. I was younger. And, yeah, I was scared. Of course. You didn't seem scared at all.

all. Okay, good. I mean, it seemed very seamless from, from my perspective, for sure. And I feel like, also, because you had been around so long, and you had worked so hard, you know, it really felt like you earned it, you know? Like, like, not like, oh, let's just let her do this because she's here. It wasn't that way at all. You were fully a part of all kinds of decisions and, you know, the day to day of all of it, you know, for so long that it made perfect sense. Like, it wasn't even a big deal. Like it was just like, yes, of course, finally, you know? That's how I thought it felt. And you didn't seem nervous either. Well, I tried my hardest. I mean, literally when I told Michael, like, three weeks after we finished shooting, I don't like been, he was like, wow, you are

fascinating. Because I feel like I know you well enough to have seen that was happening. Yeah. I never saw it. No, you definitely held it in really well. But then so, so with the, you know, yes, a bit of drama on this set or whatever, because I mean, this is a different episode too, which is interesting when you're watching it. There's really a lot. of kind of first that happened. And I remember when we filmed in Chinatown, it was like 8 million degrees. So hot.

Do you remember that? Yeah. And we got those little fans, which are so cute. And we, you needed the fans. It was delirious. I mean, they were so adorable.

When I was watching it, I forgot that the fans were in it. And I was like, that's because it was so hot. It was that's wacky summer. I know. And I think weirdly that, I might be wrong about this,

but I think Sarah Jessica and I got in the car after that. Oh, We stopped shooting because it was morning. Right. There was light. Yeah. And then we went to Grace Popeye and got hot dogs and drove out to them.

Yeah, yeah. That's what we would all do. We would do like, because we were so tired. We would follow each other so we didn't crash. Exactly. I know. I know. I know.

Right? That's what it was about at that point. I know. Sleeping and sleeping and sleeping on a Saturday. Definitely. You guys, this is so much fun that we are going to have to have a part two. So join us later in the week on RU.S. Charlotte. 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, Hoda Kotby. 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 Kotby is presented by CV.

My husband is at a spa resort with his mistress right now, and I'm calling the hotel to confront them both. Wait a minute, Dakota. She's calling the hotel while they're checked in together. Yeah, that's right, Sophia. And it gets worse. It's Vacate to Vacation Week on the Okay Storytime podcast, where she caught him buying gifts on Amazon and then taped the 10-page letter inside his luggage before he flew out. So she planted evidence before he even took off? And spoiler, Sophia, two years later, karma hits so hard, he's calling his ex-wife. in tears saying about his mistress, what a mistake that was. To find out what happened, listen to the OK Storytime podcast on the IHart Radio app, Apple Podcasts, or wherever you get your podcast.

Hey, everyone, it's the Jonas Brothers. If you haven't heard, our new podcast is called Hey Jonas. And this week, we're hanging out with someone we're really big fans of. Millie Bobby Brown. We talk about her new movie, Anola Holmes 3, family life, and all the amazing things she has going on right now. Plus, we find out what she really feels about the Stranger Things ending. You have over 60 animals. I don't know where the number is 60, and I've really got to figure that out.

There have been plenty of sheep in my bed. It's a big bed. Literally sleeping in the bed. Listen to Hey Jonas on the IHeartRadio app, Apple Podcast, or wherever you get your podcasts. My first guest is Territ Hilton, Shakira, Luke and Yarin. Have surprises? Many surprises. Welcome to the Sweet 305 podcast where the group check comes to life.

What on? You're the only person I know that loves a yellow starburst. This is Sweet 305. Here, oversharing is encouraged. Listen to Sweet 305 with Llelepon's on the IHeartRadio app, Apple Podcast, or wherever you get your podcasts. This is an IHeart podcast. Guaranteed human.