After 9 Years, Maia Mitchell Says Goodbye to Callie Foster: How and Why Did She Leave ‘Good Trouble’

callie leaving good trouble

This article contains spoilers about Wednesday’s episode of Good Trouble.

The Coterie’s turmoil has only just begun, but Callie has already found her happily ever after, thanks to the exit of Good Trouble star Maia Mitchell.

“…I was hideous crying It’s a big deal “Her final episode of the Freeform show was shot, Mitchell tells EW. “However, I’m proud of the episode and the decision to leave the show. It’s a fitting tribute to Callie and the Coterie and her journey, so I’m pleased.”

During season 4’s second episode, it was revealed that Callie (Beau Mirchoff) had accepted a job at the ACLU and would be moving from Los Angeles to Washington, D.C. – where her ex Jamie (Beau Mirchoff) is moving as well, as he obtained a job in D.C. On the aircraft out of Los Angeles, they bumped against one other and smiled as they flew together into the sunset.

As Callie moved out with only two days’ notice, Mariana (Cierra Ramirez) and the rest of the Coterie family had to say their goodbyes, but it was the perfect ending (or fresh beginning?) for this will-they-won’t-they couple, full of hope for a promising future. Callie’s mother, Teri Polo, was in attendance, along with their mother, Sherri Saum, and their brother, Hayden Byerly. Mariana was first saddened by the news, but she gradually came around and prepared a last-minute departure party for Callie.

Even though Mitchell (along with Mirchoff) is no longer a series regular on Good Trouble, will she return to the Coterie as a guest star in future episodes like every other Adams Fosters family member loves to do? If so, when will we see her? To find out why she left the programme, if she’ll return, and what her future plans are, EW caught up with Mitchell via Zoom from Australia.

How did you go about breaking the news to everyone on Good Trouble?

MAIA MITCHELL: I was in a panic. [Laughs] They, on the other hand, had no doubts. Because we are all so tight, they already knew where I had been and what I had been going through. How did they look? “We’ll handle the narrative for you. We’ll do everything in our power to ensure a smooth departure.” There was nothing except support. Right now, everyone’s priorities revolve on their loved ones. Because of this, I was apprehensive, but I didn’t need to be.

I couldn’t do it since my character is supposed to keep everything together on camera. It was as if Constance Zimmer was saying, “Any of these farewell sequences won’t make you cry. Finally, you let her go with Mariana on the roof at the end of her speech so that she might shed a few tears.” And I said to myself, “Wait, what?” “The problem here isn’t letting loose and letting your hair down. Keeping it all together is the problem.” Emma [Hunton], who is one of my greatest friends, and we’re not supposed to be buddies on the show, but she’s screaming her eyes out. I thought to myself, “Wow.” “Put an end to this. That’s really impolite. Sabotaging the system is clearly a crime against humanity!” It was a huge challenge. When it came to Cierra, she just couldn’t stop weeping throughout the entire film. “You can’t do this to me!” I yelled at the universe. No matter how hard they tried, they couldn’t make things simple for me. All of them.

What were the conversations like when it came to figuring out how to end Callie’s story? Did you have any input on how she left?

MAIA MITCHELL: There were a lot of discussions about that, yes. Of course, I was intrigued, but I put my faith in the authors so I didn’t interfere. I was adamant about Callie and Jamie mending their differences. And they were on board as well; this was a no-brainer on everyone’s part. I adore the creative approach they took. Last scene flying out into sunset was so dramatic and amazing. Everything I wanted from it, they were already on the same page with it. They were very open.

With all of Callie’s many, many emotional goodbye scenes, which one was the most difficult for you to film?

MAIA MITCHELL: For the past decade or more, Cierra and I have worked together. When we filmed the pilot for The Fosters, she was 17 years old, and since then, we’ve grown to be quite close. As it was my final day, I had to videotape Cierra’s departure in a cab, which was just plain nasty. Keeping our composure on camera was a major challenge for both of us. We’d taken a picture of us with the Palace Theatre sign behind us on my last day of filming, and we’d done the same thing on our first day of filming the pilot. We were both outside the Palace Theatre. When she put it online, some of her admirers expressed their displeasure “What a shocker: Maia’s going. What the heck is going on?” I was devastated. However, it was a difficult day on my final day. The Malika section came next, and that was probably the second most difficult part of the play. Those were the two hardest scenes I had to shoot, and they were both on my final day, which made it much more difficult but also ideal.
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Alex Hoffman-Ellis

Alex joined The Current in 2019 and now works as one of the site’s main writers. Alex covers all Netflix movies and TV shows, but he specialises on anime and K-dramas. Currently resides in Great Britain.