Cynthia Nixon In The Gilded Age, And Just Like That

Summary

All Of It Podcast Summary: Episode Featuring Cynthia Nixon

Release Date: August 12, 2025

Introduction

In this engaging episode of All Of It, hosted by Alison Stewart from WNYC, actress Cynthia Nixon joins to discuss the finale of two significant series she stars in: "The Gilded Age" and "And Just Like That." The conversation delves into the cultural impact of these shows, character development, and broader societal themes.

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Farewell to "The Gilded Age" and "And Just Like That"

Alison Stewart opens the episode by highlighting the convergence of finales for two major shows set in New York City, separated by nearly 140 years. Cynthia Nixon portrays Ada Moore in "The Gilded Age," a 19th-century narrative exploring old money and societal power dynamics, and Miranda in "And Just Like That," a contemporary series about friendships and personal growth.

Key Points:

• "The Gilded Age" Finale: The season concludes with pivotal life shifts triggered by grand Newport balls, signaling significant changes for the characters without major fatalities. (00:09 - 01:07)
• "And Just Like That" Finale: The series about close-knit friends wraps up, providing a true ending to the beloved story. (00:09 - 01:07)

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Ada Moore’s Journey and Reflections on Wealth

Cynthia Nixon delves into her character Ada Moore's evolution, particularly focusing on her sudden inheritance after her husband’s death and its implications.

Notable Insights:

• Ada’s Financial Transformation: Ada transitions from financial insecurity to becoming the mistress of the household, grappling with newfound wealth and its responsibilities. (03:14 - 05:24)

  "Ada has spent her entire life as a poor relation... for the first time, she became the mistress of the household." (03:24)

• Gratitude vs. Power: Initially overwhelmed by the ability to fund charitable works, Ada later recognizes the social status that money can confer, contrasting her sister Agnes's concern over social standing. (03:24 - 05:24)

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Handling Grief Through Ada’s Character

The discussion shifts to how "The Gilded Age" portrays grief through Ada’s experiences.

Key Points:

• Personal Loss: Ada faces profound grief after her husband's death, which challenges her typically optimistic demeanor. (05:24 - 07:48)

  "Ada speaks about feeling suicidal... she grabs by both hands and sets off on a quest." (05:41 - 07:48)

• Activism as Healing: Ada channels her grief into activism, first through the temperance movement and later suffrage, reflecting her desire to honor her husband's legacy. (05:41 - 07:48)

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Character Development: Ada and Agnes

Cynthia elaborates on the character arcs of Ada and her sister Agnes, highlighting their growth and complexities.

Notable Highlights:

• Agnes’s Evolution: Agnes transforms from a shy, deferential sister to a determined individual who subtly manipulates situations to achieve her goals. (07:58 - 10:23)

  "She is good at going around the back and getting what she wants." (08:08)

• Power Dynamics: Ada’s newfound authority leads her to adopt more assertive, and at times manipulative, behaviors, revealing the complexities of wielding power. (09:20 - 10:23)

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Transition to "And Just Like That" and Miranda’s Story

Cynthia discusses her role as Miranda in "And Just Like That," exploring why she chose to revisit the character and the show's focus on women in their 50s.

Key Insights:

• Representation: The show addresses the scarcity of narratives centered on women in their 50s, offering depth and diversity in their experiences. (14:10 - 14:18)

  "There are not a lot of shows about women in their 50s... we actually have a chance to change that." (14:18)

• Character Continuity: Miranda remains devoted to her friends and retains her strong opinions, depicted as both determined and occasionally needing to reassess her actions. (16:03 - 17:49)

  "Miranda is somebody who always charged in guns blazing and then had to sort of backtrack a little bit." (16:11 - 17:49)

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Iconic Moments: The Silver Jumpsuit

A memorable scene involving Miranda’s choice of attire—a sparkly, one-shouldered silver jumpsuit—is discussed, symbolizing her vibrant personality and commitment to making unforgettable moments.

Discussion Highlights:

• Costume Significance: The jumpsuit represents Miranda's desire to bring joy and excitement to a friend's farewell party, contrasting her usually conservative fashion sense. (17:52 - 19:20)

  "It was the antithesis of how we think Miranda being... more masculine." (18:11)

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Emotional Reflections on the Series Ending

Cynthia expresses her sadness over the conclusion of "And Just Like That," acknowledging the show's potential to continue in the future despite the current ending.

Key Points:

• Emotional Attachment: Cynthia reveals her deep connection to the characters and disappointment over the abrupt ending, hoping for future continuations. (19:20 - 20:12)

  "I am very sad. Miranda had such fun things that were being teed up for the future." (19:22)

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Political Engagement and Civic Responsibility

The conversation shifts to Miranda's political inclinations, specifically her support for Zoran Mamdani, and the broader implications for New Yorkers.

Notable Quotes:

• Policy Impact: Cynthia emphasizes the significance of policies like free childcare and improved public transportation in enhancing urban livability. (20:14 - 22:19)

  "Zoran's free childcare from ages 6 months to 5 years is such a game changer..." (20:43)

• Voter Reflection: She encourages voters to consider the city's affordability and governance integrity when casting their votes. (22:29 - 22:48)

  "Do you want the city to be more affordable and more available for people, or do you want to have the city run by a person who is kowtowing to Trump..." (22:29 - 22:48)

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Closing Remarks

The episode concludes with Cynthia expressing her admiration for Alison Stewart and WNYC, highlighting the personal connections and enduring relationships within the entertainment community.

"I'm just keeping it in my heart right now." (23:03)

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Conclusion

This episode of All Of It offers a profound exploration of Cynthia Nixon's roles in two culturally significant series, reflecting on character development, societal themes, and personal growth. Through insightful dialogue and compelling anecdotes, listeners gain a deeper understanding of the intersection between entertainment and cultural discourse.

Transcript

[Alison Stewart]

This is all of it from wnyc. I'm Alison Stewart. Two big series are coming to a close this week, Both set in New York city, but about 140 years apart. And just like that. And the Gilded Age. And one actor stars in both. Our next guest, Cynthia Nixon. The Gilded Age, the 19th century story of old new money seeking power in the elite circles of New York, had its season finale on Sunday. Spoiler alert. No major characters died, but everyone's life shifted after two big Newport balls. We'll have to wait for season four to find out what happens next. And the finale happens for. And just like that, on Thursday, it'll be a true ending. The series about friends who are thick as thieves is coming to a close. Cynthia plays a widowed woman in search of a purpose, Ada in the Gilded Age. And Smars whip Miranda. And then just like that. And she joins us now. Hey, Cynthia.

[Cynthia Nixon]

Hey, Alison. How are you?

[Alison Stewart]

I'm well. Thank you. Thank you for joining us. We really appreciate it.

[Cynthia Nixon]

Thank you. It's such a pleasure to be here.

[Alison Stewart]

You know, it's interesting. We don't have a lot of uniculture anymore, so these finales of shows that people really like are exciting. Everybody gets to watch it at the same time and have the same reaction. And I know you went to a viewing party for.

[Cynthia Nixon]

I did.

[Alison Stewart]

What surprised you about the way people were watching the show and the way they were reacting to the series.

[Cynthia Nixon]

So I went to a viewing party with one of our directors and executive producers, Michael Engler and Kasia, who's last Polish name I will not try to pronounce, who does our incredible costume. So the three of us were there at the Rams Head Inn on Shelter island and we had wonderful cocktails. And then we sat and all watched together with all the, the guests who had bought tickets. And then we had a long Q and A afterward. And it was, I mean, it was so delightful. People dressed up, you know, in, yes. I mean, in their closest possible approximations of the period. And you. It was, it was so wonderful. It was a huge turnout. And one of the people asked me whether people on the street call out to me as Miranda or Ada Moore. And I said, oh, well, certainly Miranda. No one has ever called out to me as Ada on the street. And the very next day, driving home from this event, I was in Sag Harbor. And sure enough, someone said, hey, Ada. So, you know, maybe it's starting. Maybe it's starting.

[Alison Stewart]

Hey, listeners, if you have a question about the Gilded Age or in Just like that, Cynthia Nixon can answer your questions. Our numbers 2124-3396-9221-2433. WNYC. Or you can just tell her that you like her. Ada's dear husband Luke passed away and he left her with all this money.

[Cynthia Nixon]

Yes.

[Alison Stewart]

Making her the mistress of the house. What do you think Ada came to realize about money?

[Cynthia Nixon]

Well, I think that Ada has spent her entire life as a poor relation with a lot of financial insecurity, and she has had to stay on her older sister's good graces. She has always been, I think, even though her sister is loving and devoted, I think her sister is also frequently reminding her that she is living on Ada's charity. So I think when Ada, all of a sudden, it coincided, not only did Ada come into all this money, but the fortune of her sister and her nephew was simultaneously lost. So for the first time, she became the mistress of the household. And I think it was very exciting and it was very daunting. And I. In terms of what she learned, I think at first she was overwhelmed by, I have all this money and I could send it out into the world doing good things and good works, and what exactly am I going to do? But I think what we see in the very end of the. Of the season is that there is money and what actually money can physically buy. And then there is also the status that money can lend a person. And I think her sister is so bereft of her fortune. But in the end, I think she comes to see that as sad as her sister Agnes is to have lost her fortune, what she is most concerned about is her loss of face and her loss of place in society, which, you know, don't want to spoil it. But there are things that happen that convince Christine Baranski's character that actually not everything is money based in the world.

[Alison Stewart]

One thing the show did really beautifully is its job in handling grief, and Ada was a big part of that. What did Ada's character show us about grief and the way we handle grief?

[Cynthia Nixon]

So it's interesting because Ada is a person who, prior to meeting and falling in love with the man who would become her husband, had a lot of sadness in her life and spent her life without a lot of power. And many things that Ada would have loved to have done when she was a younger woman, like marry or have children or have a home of her own, didn't happen. And I think that Ada, who was again living on her sister's charity for so long, learned to not dwell on the sadness. The sad parts of her life, but to be good company and to be chipper and to be optimistic. And I think the loss of her beloved husband meant that she had just such a. An enormous chasm of grief, to the point of she speaks about feeling suicidal. And it was. For a person who is so generally jolly and optimistic, I think it was very hard for her to show that deep sadness. And I guess one of the things that Ada comes to about grief is, of course, there is no way really around it. You have to go through it. But that what. What Ada chose to do was to live her life in a way that she thought would have made her husband proud. That the things that he would have done in the world to make the world a better place, she sort of grabbed by both hands and set off on a quest for. She first goes to temperance, which then she doesn't have a lot of takers. She ends up at suffrage, which is a cause that so many of the main female characters can sort of join together in this season and become a part of.

[Alison Stewart]

It's funny, in the first season of the show, Ada is described as kind, but not clever. But she's evolved over those years, right?

[Cynthia Nixon]

Yes.

[Alison Stewart]

And Agnes has had to adjust as well. How would you describe her arc on the Gilded Age?

[Cynthia Nixon]

I would. You know, she is a classic younger sister. She has always had to defer and. But she has also. She's not. Even though she is sort of shy and a little bit of a wallflower, she is not. She's not undetermined. And even in the very first episode of the first season where we see that she is determined to have her niece, who is now orphaned, come and be part of the household, kind of against her sister's wishes. So even though she doesn't operate from a base of power, she is good at going. Going around the back and getting what she wants. And then the evolution, it's really interesting. One of the things that I love about what they did with her this season is when. When she's first the mistress of the household and is really pushing her belief in temperance and wanting not only all the people upstairs, but also the people downstairs to sign on to the temperance pledge, which means that they don't drink any alcohol ever again. And I think that Ada saw. Thought that she was she. When. When she was not the boss, that she was more friendly and warm with the servants than her. But then you saw that she actually sort of. Maybe this is too strong a word, but kind of tried to emotionally blackmail her employees. And, you know, you're my friend. And this matters to me so much. Don't you want to do this for me? And they didn't. And it was very interesting because on the one hand, you know, you think of Ada being kindler and gentler, but this was nothing that her sister, who is more comfortable with her power, ever would have done, thought of exploiting her employees emotionally. So it was really interesting to see that sometimes when a person who thinks of themselves as quote, unquote, nice gets a little power, they're not always the most benevolent boss.

[Alison Stewart]

Our guest is actor Cynthia Nixon. She's featured on two big shows, both with finales this week and Just like that and the Gilded Age with. We'll have more with Cynthia after a quick break. This is all of it this week.

[Ruth Marcus]

On the New Yorker Radio Hour. We've been collecting your questions about Donald Trump and the courts. And many of you wrote in with the same question. Can he really do that?

[Cynthia Nixon]

They never taught you these things in law school because he's pushing on areas of the law that are not normally pushed on.

[Ruth Marcus]

The New Yorker's legal correspondents, Ruth Marcus and Jeannie Suk Gerson join us on the New Yorker Radio Hour from WNYC Studios. Listen wherever you get your podcasts.

[Alison Stewart]

You'Re listening to all of it on wnyc. I'm Alison Stewart. Our guest is actor Cynthia Nixon. She's featured in two big shows, both with finales this week, the Gilded Age. And and just like that, we got a call online, too, from the West Village. This is Jono calling. Hey, Jono, thank you for all of it. You're on with Cynthia Nixon.

[Jono]

Thank you so much. I'm a big fan of Ms. Nixon, of your work, your technique. May I take you back to your earlier career and ask how it informed your recent huge parts? For example, you were in the movie Amadeus and I think you stole it. You were on the screen. You were on the screen for five or six minutes. It was a brilliant, edgy performance and people will remember it. I saw you then do a monologue for the drama department where you had to set up four fake martinis as this woman did this monologue and became very deep and it was very edgy. This is your early New York stage work. I'm just wondering if you brought that technique or those ideas or your through line of your work when you got into these epic, mainstream, huge, famous cultural parts today.

[Cynthia Nixon]

Well, thank you. I remember the monologue you're talking about. It's actually a Dorothy Parker monologue. And yes, when I filmed Amadeus, I was in high school. I was 16, I turned 17. And I've worked with so many great directors in my career, but Milos Forman, who directed that film, remains my absolute favorite. Yes, I would say that, you know, the, the Gilded Age is filled with so many stage actors and stage actors of note, many Tony nominees and winners. And I think that we, particularly in doing a period piece with dialogue that is epigrammatic and you have speeches and stuff, I think it. All of us really benefit from having stage backgrounds. And also, when I was again, the year after I did Amadeus, I did a Broadway show called the Real Thing. And Christine Baranski, who plays my sister in the Gilded Age, played my mother. So we have a very loving and long standing, decades long relationship. And Christine says that we're very lucky to have that because the hardest thing to fake as an actor is intimacy. And Christine and I had that built in. So we were, we were. When I first was offered this, this role and I heard that she was being offered Agnes, you can bet that the absolute first thing I did was to text her and say, can it be true? Are you, are you considering taking this part?

[Alison Stewart]

Let's talk about. And just like that, why did you want to revisit Miranda in her 50s?

[Cynthia Nixon]

Well, you know, there are not a lot of shows about women in their 50s, and there are particularly not a lot of shows about a group of female friends in their 50s. And I think we were able to do that by virtue of the fact that people already knew the original characters and loved them and missed them. So I, you know, I've always loved playing Miranda. I love the people involved on screen and off stage, off screen. So all of those things really appealed to me. And I felt like also it was always something that I thought was really a mistake, how incredibly white the show was the very first time. And that if we went back and revisited these women and picked up with them where they are now, that we would actually have a chance to change that. And we did. And I think that that is some of the strongest parts of the show. Nicolari Parker and Sarita Choudhary and the characters that they have created.

[Alison Stewart]

Your character, she went through a lot in three seasons. Well, actually, she did also. You know what? It's through her life. That's the other part about it. We meet them in their 50s, but they've lived a lot of life up until that point. Alcoholism, expressing her sexual. Finding a place to live, changing careers.

[Cynthia Nixon]

Changing careers late in life in a very, very right. Going from being a corporate lawyer to being someone who is using her, her skills as an attorney to actually, as she puts it, you know, do some good in the world, not be part of the corporate problem.

[Alison Stewart]

What do you think stays the same about Miranda, even though she went through all of these changes? What stays the same?

[Cynthia Nixon]

Well, I think certainly her devotion to her friends. Absolutely. And I think that Miranda's opinions and the strength of Miranda's opinions and how strongly she fights for them. And I have to say that I've always felt that Miranda, from the first, the first days of her till now is a person who has always been a bit of a bull in a china shop. That she is very determined and she sometimes gets ahead of herself and has to sort of backtrack and apologize or, you know, reconfigure her thinking or make apologies. And I think that's true of this Miranda, this latest incarnation of Miranda too. So, you know, people, I think, who looked back on old Miranda and thought, oh, she had all the answers and what happened to this Miranda that she's sort of confused and lost in trying to find herself? I think Miranda is somebody who always charged in guns blazing and then had to sort of, you know, backtrack a little bit. And I think she's very, she's very smart. She thinks she's very smart. She knows she's very smart, she's very strong, but that she's, she's got a really big bark. And I think that that does come from a place of some fragility and insecurity about the degree to which she is trumpeting her thoughts.

[Alison Stewart]

I have to ask about the silver jumpsuit.

[Cynthia Nixon]

Yes.

[Alison Stewart]

If you haven't seen it, it's this great story where Miranda wants to put on this party. She just wants it to be fantastic. She buys a karaoke machine and she shows up in this w. Jumpsuit. Tell us about that costume. I have to ask you about it.

[Cynthia Nixon]

You know, we tried a lot of things because we didn't know exactly what direction we wanted to go in. And when we, when we hit upon that one, it was so ludicrous and so kind of 70s disco with one, you know, it's one shouldered and it's sparkly. And it was so the antithesis of how we think Miranda being, you know, she's never been the most fashion forward one. She's a little more conservative or stayed in her clothes. Sometimes her clothes are sort of more. More masculine, particularly in the recent seasons. But this was just, we thought she's going to go for it. She is determined. She thinks that Charlotte's dog is dying and that Charlotte needs to have the evening of her life. And Miranda, the party planner, is going to bring the fun and how, how, you know, and that it's going to be reflected in every inch of her, including what she's wearing.

[Alison Stewart]

How are you feeling now the show is ending?

[Cynthia Nixon]

Oh, so sad. So sad. And I, and I see why Michael Patrick King, you know, is choosing to end it now. I mean, it does seem in some ways when you see the final episode, it does seem a place where we could stop or. But, you know, this show in all its incarnations, the universe of this show has ended so many times before. And so, you know, who knows what will happen in the future? We know we're ending for now. And speaking for me, of course, I am very sad. Miranda had such fun things that were being teed up for the future and we won't get to see them for now and maybe we'll get to see them sometime, but who knows?

[Alison Stewart]

Who's Miranda voting for?

[Cynthia Nixon]

Mayor Miranda's voting for Zoran Mamdani. Like anybody else with a brain in.

[Alison Stewart]

Their head, obviously you have been a big supporter and Miranda has been a big supporter of Mom. Donnie. What is one thing you think that he is proposing that could have a really big impact on the average New Yorker? Just one of the things that you think that's a reason to pay attention to him?

[Cynthia Nixon]

I mean, I think, you know, de Blasio made such an impact with the pre k for all and people were so skeptical and they thought, how is this possible? How is he going to pull it off? And he did. And it made such a difference in people's lives. And I think it was one of the big reasons that people voted for de Blasio. And I think Zoran's free childcare from ages 6 months to 5 years is such a game changer for so many New Yorkers who really struggle to pay for child care, who struggle to even stay in the city because child care is such a huge expense. And I think not only would it make a difference in families lives and individuals lives, but also it is really good for companies who have a hard time recruiting people to live in New York for this reason and for how unaffordable rents are and so many of the other things, including of course, you know, buses being fast and free. All of these are things that will not only make a difference in individuals lives, but make such a difference in the livability of the city that New York is a great, a great, great city. And we have to make sure as, as, as, as days pass, that it is not just a city for the super rich, but it is a city for a much broader swath of people.

[Alison Stewart]

What do you hope New Yorkers should ask them questions? Ask themselves one question. If they could ask themselves one question when they're casting their vote, what would it be? We've got one minute.

[Cynthia Nixon]

Do you want the city to be more affordable and more available for people, or do you want to have the city run by a person who is kowtowing to Trump and has a record of corruption and ineffectiveness?

[Alison Stewart]

My guest has been Cynthia Nixon. She's featured on two big shows. The finales were this week. We saw one the Gilded Age. We'll see. And just like that, in just a few days. Cynthia, thanks for being with us. We really always enjoy talking to you.

[Cynthia Nixon]

Thank you. Thank you so much, Alison. And I just, I love your show. I love NPR so much. Anytime you walk into my home, it is always playing. And I'm just keeping it in my heart right now.

[Jono]

Morning. One sausage McMuffin with egg, please.

[Unknown]

Okay, your total is.

[Jono]

Wait. Let's negotiate. How's about you throw in hash browns for a dollar?

[Unknown]

Well, yes, sir, that price is already a dollar.

[Jono]

Take it or leave it.

[Cynthia Nixon]

Take it, I guess.

[Unknown]

Buy one, add one for a dollar. And Sussex message McMuffin with egg, hash browns and more with McValue. Most locations open 5am or earlier. Price and participation may vary. Limited time only. Valid for item of equal or lesser value.

[Cynthia Nixon]

Ba da ba ba Ba.

[Unknown]

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