And Just Like That: Cynthia Nixon Responds to Premiere Rosie O'Donnell Nun Plotline
[Spoilers ahead for the first episode of And Just Like That... season 3.]
And Just Like That... is finally back! It's been, in my opinion, too many months since Carrie, Miranda, and Charlotte have been on our screens. And thankfully, the premiere episode gives us a dose of the old "date of the week" formula. Miranda meets a woman named Mary, played by none other than Rosie O'Donnell. They meet in a bar and go home together, only for Miranda to find out Mary is a literal nun who has never hooked up with a woman (or anyone) before. She proceeds to cling to Miranda, and Miranda has to dodge her earnest attempts to hang out. It's the classic dating cringe the show is known for.
In an interview with Cosmopolitan, Cynthia Nixon said that she thought the nun plotline was great. "I thought it was a throwback to the old show when people would go on these dates that they were hopeful about and they would turn out pretty disastrously. Michael Patrick King, the show's creator, has been trying to find a role for Rosie, and he keeps writing roles that don't work out, but this was a great one to come to the fore. And I think she does it so beautifully. She is, of course, hilarious in it, but she's also so touching."
For a character that has gone on her own sexual journey, it's nice for Miranda to be able to help someone else along their own. Mary is clearly coming to New York to experience something she couldn't get back home in Winnipeg.
Explaining And Just Like That's answer to the hot priest phenomenon, King said, "Whenever you're gonna date Miranda, you have to think of something comic because we put her through so much hell in the last two years that we wanted to put her through, instead, a comedy hell. So we started to think, like, what would be amazing? And it just popped into my mind, Miranda dates a nun who's a virgin."
"And then who's gonna play that? Oh, Rosie O'Donnell. And she doesn't play a like, savvy, politically current nun. She plays a sweet, heartbroken heart-on-her-sleeve tourist. It's really just a pie we throw right at Miranda."
Here's hoping we get at least one of these ridiculous plotlines per week.
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I have a confession to make: I just watched the season premiere of the third season of HBO's 'And Just Like That,' the hit sequel to the cult late '90s-mid-'00s 'Sex and the City.' Wait, there's more. I watched every single episode of the first two seasons, too. Although I was not a fan of Carrie Bradshaw and her coven's original run from 1998 to 2004, I am low-key obsessed with the sequel series. 'Sex and the City' was an iconic show that defined gender norms — for better or worse — for a generation. The women in my life in early aughts New York City were all ambitious and stylish. I was neither ambitious nor stylish. They had dating horror stories, and I spent many Saturday nights alone. During those years, women frequently asked each other which of the show's four sexy, successful characters they resembled. Meanwhile, most dudes I knew wanted to be Neo from 'The Matrix' or Adam Sandler in almost any of his movies. I liked to think of myself as a 'The Wedding Singer' with a 'Happy Gilmore' rising. I don't think I've ever even been able to finish an episode of 'Sex and the City,' although I've tried. My wife, on the other hand, can quote entire episodes. It's not that I didn't find Sarah Jessica Parker, Cynthia Nixon, Kristin Davis and sassy demi-goddess Kim Cattrall funny or attractive or charismatic. They remain one of television's most fabulous foursomes. But turn-of-the-century me was more interested in the popular markers of masculinity at that time, like David Fincher's grimy look at male impotence, 'Fight Club,' or TV's '24,' which was about Kiefer Sutherland's Jack Bauer doing whatever he has to do to save America — or, God forgive, the intense but sensitive rock music of Creed. 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I am hustling for work and showing up for friends and family, and there are days when I feel more adrift and frustrated about where I am, and where I want to go, than when I was 25. In fact, things seemed simpler then, even if they didn't feel that way. I was expecting a show about white women eating lunch and talking about men and jobs and having it all. And it is that, but it's also about middle age and disappointment and death, which was surprisingly goth. In that first season, Carrie loses her husband, Mr. Big, a smooth-talking alpha dog who is unlike any man I've ever met. It was heavy stuff to just off him like that, and I was hooked. The ladies in 'And Just Like That' are full of life. They're parenting and running businesses and getting it on. It is never too late to do what you want or love who you want. As cliché as that sounds, it's a message not often offered to people past a certain age in this society. 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A voice returns Season 3 marks the return of Carrie Bradshaw's iconic internal monologue that once defined 'Sex and the City.' The series has always followed Carrie's rhythm, but now it brings back something deeper: her voice. Literally. 'We've always loved the voiceover,' Parker said. 'It's a rhythm — it's part of the DNA.' The decision to restore it, producers say, was deliberate. The voiceovers return just as Carrie rediscovers her direction — offering viewers a renewed sense of intimacy and connection. That growth is echoed in her rekindled relationship with Aidan and her acceptance to step back for him to focus on his troubled son. The character who in 1998 first stopped a cab in Manolo Blahniks — and once floated through Manhattan chasing shoes and column deadlines — is now grounded in reinvention, the wounds of loss and cautious hope. The word is: grown up. 'She doesn't burst into tears or stomp out of the room anymore,' Parker said. 'She asks smart, patient questions. That's not effort — that's just her nature now.' 'People seem surprised that she is mature,' Parker added. 'But that's just basic developmental stuff — hopefully, simply by living, we get better at things. It's not surprising. It's just real.' Warts and all If Carrie is the compass, Miranda is the seismic shift. Miranda's arc — which now includes a late-in-life queer awakening — may be the show's most radical contribution to television. And for Nixon, who publicly came out as queer while still playing straight in the original 'Sex and the City,' that evolution is deeply personal. 'There's never a 'too late' moment. Miranda comes to queerness at 55,' Nixon said. 'That doesn't mean everything that came before was wrong. It just means this is her now. And it's messy. It can be messy. But it's real.' That embrace of imperfection lies at the core of Nixon's philosophy — and the show's power. On television, where characters linger in our lives for years, there's a unique intimacy and empathy that develops. 'Television puts someone in your living room, week after week. They're imperfect, they make you laugh, and eventually you say, 'I know that person. They're my friend.'' she said. 'That's more powerful than one mythic, perfect film. That's where the change happens.' That change includes how queerness is portrayed. Nixon recalled how earlier generations of LGBTQ+ characters were forced to be flawless, or two-dimensional, to justify their screen time. 'There was a time when gay people on screen had to be saints or martyrs,' she said. 'Now, we can be characters like Miranda — who've had rich, fulfilling heterosexual lives and now stumble upon queerness, and not in a tidy way. There's collateral damage. That's important.' That depth, Nixon said, comes not just from character, but from the format. Unlike film, which requires resolution in two hours, television lets people grow — and falter — in real time. 'The writers are smart' And Miranda's transformation isn't just personal. It's political. In Season 3, she's seen retraining in human rights law, joining protest movements, and wrestling with systemic questions — mirroring Nixon's own off-screen life. In 2018, the actor ran for governor of New York on a progressive platform, bringing her activism directly into the public arena. That convergence isn't accidental, she says. 'On long-running shows, if the writers are smart, they start to weave in the actor,' Nixon said. 'When I started, Miranda and I were very different. But now we've grown closer. We're almost the same person — in temperament, in values.' Season 3 narrows its scope, pulling focus back to the emotional cores of Carrie, Miranda and Charlotte. Several side characters are gone, including Che Diaz, and what remains is a cleaner, more character-driven story. 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