Drama Queens - Let Me Show You My Backside with Sharon Lawrence • EP 809

Episode Date: March 10, 2025

There is so much to unpack with the iconic Sharon Lawrence, so she is back for a part two episode! Sharon and the queens discusses the dynamic between Victoria and Sylvia, Lisa's incredible talent at playing many roles within the friend group and the moment in the episode when the queens thought the writers made a big mistake! And, our favorite MIL reflects on her groundbreaking role in NYPD Blue, the fallout from her (unforgettable) nude scene on primetime television, and what it means to break boundaries for women in film!See omnystudio.com/listener for privacy information.

This is an I-Heart podcast. It may look different, but native culture is alive. My name is Nicole Garcia, and on Burn Sage, Burn Bridges, we aim to explore that culture. Somewhere along the way, it turned into this full-fledged award-winning comic shop. That's Dr. Lee Francis IV, who opened the first Native comic bookshop. Explore his story along with many other native stories on the show, Burn Sage, Burn Bridges. Listen to Burn Sage Burn Bridges. Listen to Burn Sage Burn Bridges on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts.

First of all, you don't know me. We're all about that high school, drama girl, drama girl, all about them high school queens. We'll take you for a ride and our comic girl. Drama girl. Cheering for the right team. Drama queens, drama queens, smart girl, rough girl, fashion but you'll tough girl. You could sit with us, girl. Drama queen, drama queens, drama queens, drama queens, drama queens.

Welcome back to part two of Thanksgiving. We're giving gratitude because Sharon has agreed to answer all of our questions and yours and stay with us for an extra long time because we're greedy and we love her. We got to talk about Millie and Lisa Goldstein. I had a realization. This might have happened in the episode actually with Antoine and Lee because remember, I was stumping pretty hard for Mouth and Miss Lauren. Yeah.

And what I had, what I've come to realize. is that what I was really rooting for was just more Miss Lauren. What I didn't realize is the only way we got her was through a guy. So I was rooting for this relationship when really all I was rooting for was more Allison Munn. Because as soon as Lisa showed up and Mouth and Millie are doing their thing, I was 100% on board for their relationship. So what I realized was I don't really care. I just want Lisa and Allison around because they're both so good.

Yeah. Lisa was great in this episode. Dude, her little gobble, gobble that she does when Siskel walks up and goes, you're not a turkey. And she kind of just smiles at the way Lisa does. It's like, she has to be around more. And the two of them are just so cute and easy to rue for her. They were so fun to watch, man.

Yeah. Their chemistry is so natural. And they have that sort of intimacy where they can really quickly move. between teasing each other, laughing together, seeming attracted to each other. It's like, it's a groundedness that, to your point, I knew I missed. I knew I hated when they had conflict.

And when you see it come back as a viewer, you just go, oh, that's what I wanted. Let me have more. And it feels so nice to root for something like that. That whole, the three of them in the apartment with the turkey showing up. It's just so good. I did not remember that at all.

It really surprised me. That is so funny. I loved it. I didn't remember how the episode panned out. So when it's, I remembered you directed it. And I, but I didn't recall how. So when everyone was in their own places, I thought, oh, that's so odd. I kind of felt like this ended up being like a big group thing. And then, of course, as each one gets derailed along the way, I was like, oh, okay, that's, that's how we all.

Yeah, that's how it happened. Just seeing that turkey, that turkey's head just to do it. Oh, gosh. It was so good. I did not. Tim McKinney probably was the one who figured out how to get us the turkey, too. I'm sure. But there's a line, I think it's Millie.

Somebody says, how's my bird? And she says, just how I like it, dead and cooked. Yep. Was that her line? I can't remember who said it. It was so funny. Yes. She really was great in this episode and had a lot to do.

You know, it's interesting in, in an episode. episodes where there's so many cast members and there's so much going on to be able to keep track of your particular thread and keep it consistent. Lisa had a tricky job because she's kind of playing a lot of different angles. Like she's got to be, she's friendly with Alex and she's trying to figure out where she's at with Brooke and trying to, she doesn't want to be mean to Mia, who she doesn't really know, but Alex clearly doesn't like her, but also like she's not a fan of her friend being a jerk. Yeah.

And she's trying to be girlfriend and helpful. And there was a lot for her to do that if you pulled her out of the scenes, I think things would have frayed a bit. I think things would have kind of fallen apart a bit. Like she was really a stable source that probably got underrated. We didn't really notice how important she was to this. To have her have that capability to say when Alex is like, she looks like a turkey. And she looks at Mia, who looks gorgeous and is like, she really, she really doesn't.

Like, I'm sorry, I can't agree. She didn't judge her and she didn't make a big deal of it. She played it so perfectly that she enhanced the humor. And when you see her in that set of discomfort or that moment of discomfort, and then you see her, you know, come up to me wondering, are we okay? And I'm like, yeah, we're fine. I don't want to kill you. I want to kill my mom.

She gives the device for Brooke to essentially jinx herself, which is another one of those moments where the audience knows the secret and the character doesn't that feels so fun to watch because you're like, ooh, doom is impending. And then you realize it's because of Sylvia, who when I'm venting goes, ah, and walks away, like, uh-oh. Yeah. But we don't remember how upset Brooke is with Victoria without Millie. Is it just another, like, key device? And that's what I'm saying. She gives us the ability to do the things and to set up the drama. And in every scene, she plays it perfectly.

It's like she saw the shape of the roller coaster and was in the right spot every time. And arguably the best button on any of the scenes, well, there's a lot of good buttons. But still, one of my favorites was when Victoria shows up, there's a very quick moment that happens where it's like a two shot of Brooke. and Millie and Brooke clocks Victoria and everyone stays looking in the same direction but Brooke's hand just reaches over to the cutting board and grabs the knife and Millie doesn't look down. She also just reaches over and grabs her hand. Yeah. Perfect. There's like no action. No one's reaching for the joke. You see it real quick and then we're out and it's such a good way to end

the scene. Yeah. Yeah. Blinking you missed it but it was so, so good. And that was you guys. That's you just being free and feeling comfortable with each other, knowing each other. And she knows, she knows you so well. So I love that she just knew to reach for it at the same time. Well, and that we got to have those buttons again, loving props. The props are the communication because you think the joke is Brooke grabbing Millie's wine glass and starting to drink. And then it's, it's glass, knife, knife. And it's a perfect triplet. And, You, again, you just think you know what's funny and then it gets funnier. And it's such a nice thing when you're working with people that you have such good chemistry with because you just get to keep going.

It's improv. It's yes and. Yeah, absolutely. I love it. How do the girls feel about the fight? Oh, gosh, right. I remember with the stunt doubles, the two girls fighting. Oh, when she gets clotheslined?

Oh, God. I mean, I'm so, like, I'm over watching women fight each other over a boy, like, objectively. That's just, it's super irritating to watch. But. Times have changed. Outside of that, I enjoyed how much they committed to the material. And I like that Chase was like, I want to be alone. It's like, yeah, okay.

Yeah. Maybe we don't need to be wasting our time fighting over a guy that's not actually, interested in us. You know what actually helped me with that? Because of course, we're like, oh, okay, he's going to make the two hot girls fight over the guy. Yeah. I actually thought what saved us, and again, kudos to Austin being perfect in the episode, much like Lisa is. Yeah. When it cuts to Julian, and he is laughing in their faces, that they're, he's like, you're fighting over Chase. And he just laughs at them. It's such good diffusion for how silly it is. And it feels like a little wink to the rest of us.

And I think he does so much of the same kind of service for those storylines as Lisa's doing with so many of the others. Yeah, because he could have delivered that, like, more interested, like he was playing into it. And the fact that he didn't, the fact that he just was like, this is absurd. And I'm going to play it absurd. Yes. Austin, come through. Yeah. And in a way, him opening it up like that.

is part of, I think, what sets the tone for them to sit there and be like, oh, what are we doing? I didn't see this coming at all. And they play it so almost flat that it makes it funnier. And speaking of Austin, the whole bit about him being chosen last for football. It's so stupid. It just doesn't work in a visual medium. He is obviously a physical specimen. And people are choosing, like, people half his size who are unathletic. And Nathan, look into you and being like, hey, Julian's the last choice. But I was like, this one, we've, like, it's, it's, no, it doesn't work. But there was a line.

I was so curious if any of you bumped on it. Because I heard it and was like, when Alex sees me, or excuse me, sees Millie. And they're like, hey, bitch, hey bitch. And Millie goes, tell me some Hollywood stories so I can live vicariously through you. And Alex's response is, you mean boring stories? Work, diet, work, diet. Think about Chase. Think about Chase some more.

And I was like, there it is. That's what women do. They diet and they think about men. Like it was this stupid, like oversimplification. Anyways, I just saw it and was, I don't mean like, you know, I heard that line and was like, mm-hmm. You know what, Rob, I would like to hand you one of those little blue ribbon buttons right through the computer.

you are an excellent man I agree that thank you for noticing that but yeah but it's just it was right though did I'm sure you all heard that and we're like okay yeah yeah I think it was a different time I just feel the the world has changed and you all help make it change you did help make all okay sharing we tell stories and the way we think about not what we represent so yeah well just to just to build out a little more human detail and i think i think it's why thankfully we we have some of those moments in this episode because the episode is so full and it is so colorful for all of the characters and and there is so much that's going on and And even that moment, you know, Quinn comes home, surprises you.

It's this reunion for our couple. You're so happy to see them. The light is so insanely beautiful when you have that two shot of the two of you kissing. I was like, what postcard is this? Like, it's so gorgeous. And then there's color on, she goes in to say, I really just want to go home. You know, she's jet lagged. She's apparently just flown all the way back from Africa.

and Haley already has the food packed up. And it's like, here you go, you're the best worst sister ever. And it's just, that's the kind of detail you want in everybody's scenes. But I'm thankful that if we got the basic thing in that moment with, you know, Alex and Millie, at least we got so much detail and so many other moments to counter it. Yeah. And the only reason that I think, I can't imagine any of us saying that line or seeing that line in the script and being like, yeah, I'll say that.

But I think that because Alex's character is always trying to put on airs of some kind, like there's always some element of like performative, I want this person to think this about me, that I could kind of buy that she was saying that to Millie for some reason, like insecurity reason. But it's still, yeah. I also think to Sharon's point about how times have changed. changed and all the work everybody's had to slog through behind the scenes. You have to take into consideration that Jana was still recurring. Yeah. She wasn't a series regular. When your job is less secure, you can't, it was hard enough for us to fight. And they couldn't get rid of us

if they tried to. If you're not guaranteed to come back next week, you really do have to pick your battles. And I think as a testament to her, you know, and really to so many people, people committed to all of it in our show. And they made, they made some things that shouldn't have worked, work really well. And they made some material that was, you know, special, exceptional. And I think that's like just a testament to our whole rag tag gang, you know. Yeah, it was all lightning in a bottle. Mm-hmm. Jana and Julian are like Teflon.

Like there was so much sticky, crummy stuff thrown at them that just didn't stick. Yeah, yeah. They're so good. And you're right. It's because they're good at what they do. And they commit. They weren't worried about looking a certain way. They just went for the material.

And as a result, like, these end up being characters you really like. Yeah. It's a testament to how smart they both are, too. Yeah. Did anyone, this is so random. But was anyone else very surprised to find out you need a college degree to be a sports agent? Is that true? I googled it and it is true.

Wow. Because as soon as that happened, I paused the show and I was like, oops, think we made a mistake here. Nope. Not only do you need to have a bachelor's degree, they recommend you have some law school training as well, if not a full on JD. Wow. Sharon, you know about this? Yes. And it's because of the antitrust law.

because you're negotiating contracts. If you're an agent, you are licensed to negotiate a contract. So that means you must be licensed within a type of framework that may include law, but certainly would include bachelors or... Why do you know about that? Because I have friends who are sports agents. Oh. And if you think about it, a lot of people that go into any kind of agent position,

they come they started back in the 80s 70s or 80s coming from law schools a lot of people wanted to go into the entertainment business yeah because they have to negotiate still even though the lawyers are doing some negotiations I mean they do the final negotiations but the agents have to jump in early for sure yeah that paper you know that paper makes you to your clients more credible more more valuable so it's a it's an enticement as much as it is a requirement. It may look different, but native culture is very alive. My name is Nicole Garcia, and on Burn Sage, Burn Bridges, we aim to explore that culture.

It was a huge honor to become a television writer because it does feel oddly, like, very traditional. It feels like Bob Dylan going electric, that this is something we've been doing for a kind of a year. you carry with you a sense of purpose and confidence. That's Sierra Teller Ornelis, who with Rutherford Falls became the first native showrunner in television history. On the podcast, Burn Sage, Burn Bridges, we explore her story, along with other Native stories,

such as the creation of the first Native Comic-Con or the importance of reservation basketball. Every day, Native people are striving to keep traditions alive while navigating the modern world, influencing and bringing our culture into the mainstream. Listen to Burn Sage Burn Bridges on the IHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Sharon, you had one of my favorite lines of the episode.

It's when Victoria gets to the house, and of course Brooke is like, get her out of here. And, you know, Sylvia is just like unrelentingly, welcoming. And you go, I think it's when like Brooke is kind of trying to hoard the wine or something. And Sylvia grabs a bottle. And your line is, don't be silly. A lady gets out of the big house. She deserves a nice big glass of Riesling. And like that you would even have a quote for that scenario is so funny to me. And it just comes out so naturally. So like so effortlessly. As if it's a common thing, you know. Well, and then you see Daphne kind of do this.

She looks at you and says, finally, someone with manners. And I'm like, oh, no, they're best friends. Yeah, the allyship that happened there was smart because they could have easily written them as, you know, editors. And I like that they, that Nikki thought, no, let's make these two grown-ass women want to be together. It's so much more interesting. Well, and I love that then you wind up outside on the Adirondacks.

I love that when we go inside and Victoria's like, I'm not sitting at the kids' table. You're like, no, no. And you've commandeered the two biggest, most beautiful chairs in the living room. There's this thing of these two on their little thrones. And it really plays well. Did you just say you and Daphne worked together before or you just knew each other before? Both. We were in class together.

We studied with the Famed acting teacher back in the last century in the 90s. And then we did a mini-series together. and we were in in Toronto for a while and our love of the environment has brought us together. Yeah, you've been with Healda Bay for so long. Wait, what was the name of the miniseries, Sharon? Guilt, degree of guilt. I played a murderer and she was at a turn.

Spoiler alert, Sharon. Gosh. She's the attorney. She was the attorney. She was the prosecutor, I think. Oh, I need to see this. They examine me on the witness stand. Oh, yes.

I'm going to have my own glass of reeling and watch this. I feel like every time I see you on camera, I just feel the need to go back and watch more of your work because you're so good. To that end, can I ask a wildly off-topic question? Will you all allow it? Okay. Sharon, I did not realize that you showed your bum

on NYPD Blue. I think Joy or Sof mentioned this in a previous episode. And I was curious because was that the first time that had happened on like proper broadcast television? On television. Yes, this is interesting. Just last night, I was with my dear friend who's a great acting coach. You all may know Lee Kilton Smith. And we've known each other forever and waded tables together.

And she has been with me, you know, by my side for 40 years. So she remembers things that I don't. She said that last shit. And it was the first one. One, bare buttock show. And I said, no, it wasn't. It was David Caruso and Amy Brennaman that were, they did the first love scene nude on NYPD Blue, which was nude scene on network television. It was a 10 p.m. slot.

There was a lot of controversy around it. The, the, a religious organization led by a guy named Reverend Wildman wanted to, they were going to sue ABC. ABC really had to stand up to the censorship. people were going to pull their ads or advertisers, but all it did is create a controversy that made more people interested in watching it. And it made too much higher ratings on the local 11 p.m. news show. So all of the affiliates were delighted. Oh, yes. But what Lee reminded me of was that was a silhouette. They were silhouetted. Mine was a full, being a straight on shot

and I was in the shower with Dennis Franz and frankly you saw his first his buttocks first good team player yeah team player team player and what I can say is while it was something I never expected would happen I remember seeing NYPD Blue

advertised not advertised but we all as actors learned about it through what were called breakdowns, and that was a big sheet of paper that had all of the details about the characters and the show. And that was typed in it, but written in Sharpie was nudity required. And when I saw that, I went, well, that's not me. I won't be doing that. Oh, that's what I was going to ask you. And they didn't hire me for that. I had a day player role that became a series regular because the chemistry with Dennis was and it was an unexpected love story that they created when they saw what was happening with the two of us.

I mean, it was, talk about lightning in a bottle. Yeah, yeah, yeah. So my character was originally written for a man, but everything just unfolded because it was so authentic and time with 32 episodes of season allowed for that. Anyway, when this, this happened, it was. we were the couple that was not about just hotness. We were about realness again to the gloves. So our love was awkward and real and tender and very well lit.

Did they come to you with this like, hey, here's what we want to do. How do you feel about this? Was it just in the script? Because I remember seeing all of the media blow up about this. I remember like, I was, I don't know what age. I was, but I wasn't watching in my PD Blue, but I became aware of the show because of all of this hullabaloo around your beautiful rear end. And I'm just like curious how you felt about it all. And I mean, can we talk about it? I'm sorry.

Dennis has got much more attention because people are like, oh my God. Really? It was funny. Our scene was tender and funny. And it ended with a joke rather than an attempt. to be seductive. Sexual, yeah. It wasn't fan, yeah. And the realness of it comforted me. Yeah. We did.

Once I became a series regular, I had to sign a writer that nudity was required. Yeah. And believe me, it was not comfortable. I'm glad it's the only time that I've ever really had to do that. I've had love scenes since then. But never with that kind of exposure, so to speak. but now we have so many more things in place our union has worked to make sure that their intimacy coordinators on set that no monitors are allowed to be on set people can't

have you can't they're very restricted limited crew members yeah that wasn't even the case when we were shooting stuff i mean poor tori de veto getting in the shower with james and there were monitors like everywhere everywhere and just terrible Shots. Things had changed. What we did, that Me Too movement, all of that was because of the experiences that all of us had had. We had to sign that after that show, harassment writers were required to be signed. Harassment was training.

Harassment comes in forms, and it came in the form of taking screenshots of using those, those new devices called cell phones that had cameras. in the mid-90s, late 90s, making sure that that footage did not get released outside. I mean, I think that's what a lot of people don't realize is how far we've had to fight for protections

that you would assume would just be decent. Yeah. But people aren't. There are such dynamics of power and control. And, I mean, you know, even to have to make it a violation, for your boss to keep photos of you in your underwear in their office

because they could do that taking still images of an actress on a television show if she happened to be an underwear for a scene and you would just think, well, who would do that? And plenty of people would do that. Yeah. And so, you know, this idea that you have to say, no, you're not allowed to take a screenshot

of someone in a show. shower. No, you are not allowed to take and keep images from women's fittings. No, you are not allowed to invite your friends to set on the day someone has to shoot a love scene. Like, it seems basic, but we had to fight these crazy uphill battles, you know, to do those things. I was on, frankly, there were crew members that made. me in particular, but I wasn't alone. Their comments got back to us. Sometimes we overheard them, but their comments got back.

And we actually spoke to the Bocco company about it. And their concern with lawsuits and their understanding that they needed to recognize how unprofessional it was. That's what motivated these writers, these harassment. That's great. And I believe it was the women in that production company that were not going to look the other way. Well, it's another reason why you're a trailblazer. Sharon, you've walked through so much, such a varied, so many varied experiences in your career.

And all the times I've been on set with you, I've always been amazed at how you're able to set boundaries for yourself while also being totally free on camera and so comfortable in your ability to improvise and have ideas. And I never see you ever make anyone feel uncomfortable or feel like you're being bossy or I feel like it's a, you know, you have this incredible, I just watch you with wonder. Like I want to learn how to do that. And I'm sure it's something that you've, I'm assuming it's something you learned over time in your career. career, but being young and coming up in that environment and then having to learn how to transition through it, do you have any, like, what are your, what are the tricks? Like, what, what do

you have to say for young actors or for even for us, like, as we continue to learn and, um, grow in this industry as well? How do you manage all that? Well, I appreciate your, um, the, a manner or a quality or a tone. And I want to acknowledge that my theater training, I think, is what has grounded me in a confidence and a freedom, but also a cultural understanding that we are all, that this is team work. Film and television sets are different because we are a bit more. what's the word I'm looking for?

We are a little more sequestered. You know, we're not always watching everybody throughout the whole day. When you're working on a play or working on a Broadway musical, you're in the same room. And when in Hamilton, they talk about the room where it happens. And stage, that is a given. So you feel everybody all the time. Yeah. You're holding all that energy.

And you learn from what's gracious and what is not. On a film set, we are often sent away to our trailers and we don't get a chance to observe how everybody affects everybody else. And I think as people that are beginning in this business, to make sure that they invest their time in some stage production somewhere. So they learn what, it means to create together to be part of that process and then to deliver for the run of the play and I think it will set you up for an understanding of shared challenges, shared

rewards, breathing the same air all the time, listening in a different way. Show creativity. And that everybody that you're in front of is an audience, whether they're a crew member or somebody that's paid to sit in the house. We are a big ecosystem and you can be asset or a liability. Yeah. I will say Sharon did make me cry a few times during the movies. made together, but in her defense, in her defense, it was not only deserved but necessary.

Wonderful. Maybe it was written in script, and maybe it was us just sitting around, listen to Treat, enjoy his fart app on his phone. Oh, my God. So much. You know. So much. And thank you, Bob, reducing those movies for making sure that we all got to be together

with a special person in our industry who, made us cry with laughter. Yeah. Oh, and just to get to, like I said, to experience you because we cross paths for all of four hours on the set of this episode. And I immediately liked you, but it wasn't until we got to work together

that I got to fully appreciate just, like what Joy's saying, like you are a gift. Like, you're such a great collaborative partner and a teammate, and you make the water warm and safe, which makes it easy for everyone just to jump in and play. Well, managing to really care about and defend your characters, sometimes feels like you have to choose one or the other and you somehow manage to never make it

that way. It's really lovely. But I think it's such a beautiful thing that you're saying and the root of that care is if you care about everybody on your set and you defend your people on your set and you make sure that every crew member on your set feels as, you know, important as visitors might think the actors are supposed to be, you know, I think realizing that the circus doesn't work without every member of it is really important. And it's one of the things that I really value was so important on our set, certainly. You know, I've worked on other sets where I've seen people be real shitty to crew. Like, you know, I've, I've witnessed some things where I'm like, damn, that is just not how we're supposed to do things. And so I think, I think the more of us that, you know, check in on our department heads every day and make sure people have what they need and feel respected. And if they don't, we can stand up and say something because we might have a little more protection in certain areas than they do. Like, that's also how things change. You know, sometimes it requires a movement and sometimes it requires like a smaller movement that's local and just on your soundstage. But it's,

it can really be powerful. To your credit, so if you are the one, first person I ever heard say that when you are asked by the producers to do a forced call that you actually talk with the department heads

before you agree. Because as actors, if you're like, you know, like one or two or you're higher up or you're in the majority of the next day,

they'll be like, hey, can we force your call, which means can we bring you in in less time than is required? I've always just thought, like, I'll be a team player and just say yes.

And it wasn't until Sophia said, uh, I actually asked it. apartment heads. It's like, oh, I had never occurred to me. Yeah, that everyone else is also being asked. And so kudos to you for also, you know, for doing the same thing because that sort of opened my eyes to like, oh, yeah, that's another way I can be, you know, a teammate to everyone else. That's really sweet. I appreciate that, Rob. You know, I think one of the things that I really cherish, like, I didn't grow up in like the industry, right? Like, I don't come

from an acting family. But my dad was a photographer for his career. And I think, from the outside that seemed sort of fancy to some people. Like, oh, your dad takes pictures for a living and like, yeah, it's cool. He's an artist. But to be clear, on set, he's the help. Like, he's the crew. You know, I grew up working crew. And I know who comes into a studio and is nice to the crew and who comes into a studio and isn't. And I'm really grateful for those lessons I learned before I could even articulate that they were lessons because it's exactly what you're talking about, Sharon. It's what you learn in the theater. It's being on the crew side on a film set or being part of the crew in a theater. Like it is. It's why we use this term circus affectionately.

It's why you hear me say it all the time because it takes all of us. And yeah, it's always really cool to watch people who navigate it well. And you certainly taught me, Sharon, to Joy's point. Like, I can, when something's wrong on set, I'll be the first person to stand up and be like, do not speak to the crew that way. And, you know, like, I get into ferociousness and you manage to do it. But like, in a way that makes people go, oh, she's so funny. She's so cool. And I'm like, oh, I'm going to try to learn from Sharon. I don't, I don't have to let my, like, sharp little ADHD brain drive the car all the time. Greece is definitely one of your superpowers, 100%.

Because even before you came onto this, as soon as your kid, as soon as Sylvia came on the screen, I think we all were saying, like, she just floats into the room. You float in every scene. Well, that's the dance background for sure. And for those kind of character, it did make sense. And there are characters that I play who don't, who should. And I'm, I'm grateful for that training. It may look different, but native culture is very alive.

My name is Nicole Garcia, and on Burn Sage, Burn Bridges, we aim to explore that culture. It was a huge honor to become a television writer because it does feel oddly, like, very traditional. It feels like Bob Dylan going electric, that this is something we've been doing for a hundred of years. you carry with you a sense of purpose and confidence. That's Sierra Taylor Ornellis, who with Rutherford Falls became the first native showrunner in television history. On the podcast, Burn Sage, Burn Bridges, we explore her story, along with other Native stories, such as the creation of the first Native Comic-Con or the importance of reservation basketball.

Every day, Native people are striving to keep traditions alive while navigating the modern world, Influencing and bringing our culture into the mainstream. Listen to Burn Sage Burn Bridges on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Do we want to do some honorable mentions gang? Yeah. The honorable mentions are just sort of the, whatever was sort of a highlight for us in the episode. It can be something we've already discussed. It can be something we haven't, but just something you want to shout out as something you particularly like.

I particularly liked being out there on the water on that intercoastal that is so special to us North Carolinians, especially those of us who love Wilmington. Yeah. I'd also like to shout out this. Yes. Listeners, Sharon just put on her One Tree Hill Season 8 rap hat. Wow. It's so good. Right?

And I found it recently, and it really means so much to me to have to have this. Keep saying. And when I went back to Wilmington last year as the Azalea Queen for the 77th annual Azalea Festival. Sharon. Yes. Yes. Yes. The love for One Tree Hill just is still so vibrant and vital.

And you guys have made it so because you go back to do the fan, the reunions. And you have left an indelible print on that city. Wait, Sharon, being the Azalea Festival Queen, does that mean you did the ride in the convertible and the whole. Oh, yes. The motorcade. The oldest is Aalya Queen by 30 years, definitely. And, and, and, um, that feels fabulous. It was fabulous. They dressed me beautifully, fantastic, um, uh, bridal, uh, shop that, that just made it all so easy with the little fried stuff that just really worked and, and a gorgeous gown. And, um, I have the, the distinct pleasure, because I'm sure now it will be public,

but to hand the throne over to none other than joy. Oh, my God, we know her. Oh, my God. And of course, that's the moment she had to go. Oh, my God, no. That's so fun. Perfect. Well, she's very excited.

They're very excited. I'm very... How cute. Listen, that's a big tiara to fill coming in after you, but I think if anyone can do it, it's joy. Rob, you'll get your chance. Do they have Azalea, whatever, festival, kings or princes? We're going to have to figure it out because you'll need to do it at some point.

Let's be progressive about this, guys. I'd like to be an Azalea king. There we go. We'll speak it into existence. My honorable mention, oh my gosh, hold on. I have so many notes. You scour your notes. I have two.

The first one's obvious. It's to Joy, because she directed the heck out of this episode. before we even started directing, she sent an email to all of us. It was just very sweet and thoughtful. It was like, hey, it's going to be a madness. I just want everyone to stay alive, which means, like, if you're in the background, have a conversation with someone, here's how the room's going to be blocked. Maybe think about where you'd like to be.

Like, she was so on top of it. But in watching this episode now, it's just so good from start to finish. And she did an amazing job. But my second honorable mention goes to my daughter, who for the second episode in a row, was awake for the entire thing, fussing, playing, and then fell asleep as we're wrapping up the episode. Wow. She needs to work on her timing.

Listen, or she's perfect because she was a sweet baby angel. We got a little bit of headphone grabbing, which we love to see. And now we're going to wrap up for the day, and you have a sleeping baby. And you can have some rob time. You're right. She's perfect. She's perfect. She's perfect.

She's perfect. Honestly, my, there's so many. I just thought everybody was so good in the episode. But the bonding of you, Sharon and Daphne, for me, was so much fun to watch and gave me all the fun I got to have in the episode. To have the moms be the foils and love each other and to get my moment to, you know, pull you aside and say, why are you bonding? Like, it was fun for me. And I don't know. I think there's something, there's just something I love about getting to focus on you both.

And I like watching you both as a viewer. So it's you and Daphne for me. Listen, if I can throw out a third real quick, it would be the exchange between Brooke and Sylvia. When Sylvia is like, you should call your mom. It's Thanksgiving. And Brooke is like, absolutely not. If anyone wants to go back and watch that scene, because it's great. Right, from both Sof and Sharon.

But watch the final moment of Sylvia processing what Joy has just said, because I went back and watched again because what's so good about it is there's so much happening behind your eyes that it gave me as an audience member, like so much room to go, was it this, was it that? Because the first time I watched it, I went, ooh, that's a controlling mom who realizes she might have a hard time controlling this person. And then I went back and watched it again. I'm like, or is she trying to understand her? It's that great thing actors do where it's like they muddy the water. You know, they don't make it easy to decide on a character.

But that moment that you give at the end of it, I was like, oh, take that to therapy. There you go. Yeah. Should we do a listener question? Yes, we should. What do we got, Rob? Chloe asks, if you could have any person dead or alive narrate a movie or documentary about your life, who would it be? Oh, I have one. I have one. And I think you'll like it, Sharon. Years ago, actually, when we were doing our show, I got to be part of this really cool thing. And it was a story, you know, about a bunch of young women, actors, whatever. And we got, the whole thing was, you know, they always do those silly, like, next generation, whatever that means lists. But what they did was they photographed each of us in the style of like an old Hollywood actress. And I got to,

with this voice of mine, be Lauren Bacall for the day. So the hair and the clothes and the whole thing and, you know, we did little video clips and I delivered that just put your lips together and blow and the whole whatever. And I don't know why in my brain as I was trying to think of, you know, whose voice would I want to hear? I would love if I could bring her back and listen to her talk. That would be cool for me. It took me a minute, but I know. Because she played my mother in two different sitcoms, Dixie Carter. Oh. Now, as she was one of the leads in designing women.

Yes. She could turn a phrase and turn your opinion upside down because she was so laser smart and so elegant. And she's also from Tennessee like my mom is. And we had such a great time. And you'll find clips for now on YouTube or social media. with her doing these long monologues. And she played Maria Callas in Terrence McNally's beautiful play called Masterclass. And she was not known as a theater actress,

but she was Terrence's favorite because she had a grace about her and a steel magnolia. That's indeed. And I miss her all the time. And to hear her voice, talk about me would make me feel very, very good. That would be so cool. I think I would go Jerry Seinfeld because I just think it would be funny to hear him being like, what's the deal with talking about food?

It's all he ever does. I think he could sell it. Yes. I love it. I love it. I'm so proud of you both. We love you, Sharon. Oh, it is so mutual.

Thank you for making a life while you are making art. You sweet soul. We are just, we're the luckiest to have you. Yeah. Is Sylvia in season nine? No, no. Not season nine. I was just season eight.

But it was a full season because we had, you know, the Bachelorette party. Yeah. riding a bronc being at a bar ending up in the bathtub. Yeah. It's, yeah, it was a very full season. And I spent a lot of good time with my family in the house I rented at the intercoaster. My dog came with me. Oh, your house was the best. It was a great house.

My dad helped me drive out there with the dog. It just met, it was a big important time in my life. It really was. I love that. Well, you're the best. Thank you for taking time out of your day to come hang out with us. Thank you, Sharon.

We love you. And I can't believe it, guys. We're motoring through this season. Next week, we're on to season 8, episode 10, lists, plans. Ooh. Hey, thanks for listening. Don't forget to leave us a review. You can also follow us on Instagram at Drama Queen's OTH.

Or email us at Dramaquins at iHeartRadio.com. See you next time. We're all about that high school, drama girl, drama girl, all about them high school queens. We'll take you for a ride and our comic girl, cheering for the right team. Drama queens, drama queens, smart girl, rough girl, fashion but you're tough girl. You could sit with us, girl. Drama queens, drama queens, drama queens, drama queens, drama queens, drama queens. It may look different, but native culture is alive.

My name is Nicole Garcia and on Burn Sage, Burn Bridges. explore that culture. Somewhere along the way, it turned into this full-fledged award-winning comic shop. That's Dr. Lee Francis IV, who opened the first native comic bookshop. Explore his story along with many other native stories on the show, Burn Sage Burn Bridges. Listen to Burn Sage Burn Bridges on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. This is an IHeart podcast.