Miranda’s ‘And Just Like That…’ Ending Scrapped & Other Ending Secrets

Warning: This story contains plot details from And just like that…The tenth episode of .

The biggest scare of And just like that…The end of Miranda was Miranda (Cynthia Nixon) deciding to get rid of Brooklyn, Brady (Niall Cunningham) and his friends to follow Che’s love interest (Sarah Ramirez) to California. It’s a decision Miranda would never have made in any previous iteration of sex and the city because it defies all the virtues of Miranda.

The writers of the episode are fully aware of the dissonance between Miranda and the story not looking like Miranda in the finale. Because, up until about a week before the episode was shot, they had Miranda making the sensible decision for Miranda to stay in New York.

“It was such a late decision,” he says. Julie Rottenberg in his last interview with Vanity Fair. “From January to June of the 21st, we were all very sure that Miranda would not go to Los Angeles. It wasn’t a problem.”

But then Sarah Jessica Parker, Kristina Davis, and Nixon began filming, reliving their sex and the city characters for the first time in 11 years.

“You’re seeing the actors inhabit the characters, and it starts to feel strangely real. The math problem of ‘of course he wouldn’t go’ suddenly became ‘why wouldn’t he go,’” says Rottenberg.

But when the cast and crew gathered for the final table reading, Miranda’s romantic history was still different.

“We had, like, two or three more hits in the Che-Miranda story,” says Rottenberg. “Che was going to appear at ‘they mitzvah’ on his way to Los Angeles. They were going to have a conversation about dating other people. There was another whole sequence of his story, and it was going to end with Miranda staying.”

“At the table I read, it sounded artificial,” he says Elisa Zuritsky. Rottenberg adds that the team knew immediately that something with that script “was wrong. What did we not believe? We all knew something was wrong.”

The team ended by pointing out that it was necessary to change Miranda’s argument, for several reasons.

“We had a very lively conversation and debate about what Miranda should do and what she would do,” says Zuritsky. “Those are not always the same. So we went around and around about it a lot, even in the draft. At the end of the day, it would have been reassuring, even for us as writers, for Miranda to do the Miranda thing and stay for the internship and not leave New York. That would assure us that the Miranda we always trusted to be this level-headed, down-to-earth person was still there. But there was also something really exciting about letting that character come out of what we all expected her to do.

“At a certain point in our internal conversations, it became very clear that we were all the critical voices in his head.

“And on the show, what will make Carrie feel good and Charlotte feel grounded? Perhaps she has a right at this stage of her life to follow a different voice in her head. So it was very exciting to find out as a group.”

There were also other factors:

“It would have felt disingenuous to drive a wedge between people who are just starting to take off as a couple,” says Rottenberg. “It is a testament to both Sara Ramírez and Cynthia that we believed them as a couple. They have a chemistry as actors that felt alive.” Making such a dishonest decision for Miranda, says Rottenberg, “was terrifying and liberating at the same time.”

The writers had determined early on that Che would be “seduced by Los Angeles,” says Rottenberg. “It is the aspiration to a stand-up that he will call LA. So we knew very quickly that we liked it as a destination for Che. And we felt like it was the perfect conflict for Miranda.” (However, in both versions of the draft, Che got the musical number. Says Rottenberg: “As soon as we found out we had Sara, how can you not give them that?”).

Rottenberg and Zuritsky—fellow writers, friends since the age of nine, and sex and the city Veterans: They compare the show’s writers room to a jury deliberation when they’re determining the outline of each character.

“We all have opinions, and if someone really hates something or has a problem with it, we massage it or address it. [in the script] until everyone is happy,” says Rottenberg. If they were going to make Miranda go to Los Angeles, for example, they would need a scene where Miranda can explain to Carrie (and the viewers) why she does it herself. So in the final “nail-biting” twist, the writers also created a scene in the bathroom at Charlotte’s they mitzvah so the characters could discuss their differences.

Leave a Comment

Your email address will not be published.