THE STORY – A young chef from the fine dining world returns to Chicago to run his family’s sandwich shop.
THE CAST – Jeremy Allen White, Ayo Edebiri, Ebon Moss-Bachrach, Liza Colón-Zayas, Lionel Boyce, Abby Elliot, Matty Matheson, Edwin Lee-Gibson, Corey Hendrix & Oliver Platt
THE TEAM – Christopher Storer (Showrunner/Writer/Director) & Joanna Calo (Showrunner/Writer)
“Every Second Counts”
It’s the mantra that series showrunners Christopher Storer and Joanna Calo have adhered to since the start of “The Bear,” a series that, over the past four years, has gone on to cement itself as a staple of the best that television currently has to offer. From the intense shouting matches between characters, the blasting of Refused’s “New Noise” as an anxiety anthem, and the unmatchable sense of warmth this ensemble exudes from their dysfunctionally formed found family, it’s clear how this series became beloved by many.
That’s what made Storer and Calo’s divisive third season so fascinating, not only as an experiment in pushing the series beyond its comfort zone but also by how many fans just straight up refuted what was served up to them. “The Bear,” as mentioned earlier, is a series bound by a sense of immediacy. One that ebbs and flows with the ever-evolving momentum of real-life restaurants. It makes it far more noticeable that the previous season was set on a far more languid pace, one that intentionally conflicted with the show at its peak of mainstream appeal.
If the second season revolved around finding purpose, the third season pivoted towards the idea of whether purpose alone is enough to sustain oneself. Carmy and others were stuck in the daily grind of it all, a monotonous masking of one’s placement in life and how the additional stunting of one’s ability to move forward keeps oneself from the best life can offer. Plot took a back seat during last season; this time around, it serves the purpose of having a far more internalized introspection into how these characters are anchored by their baggage. Fans were left wondering if season four would answer any of the questions Storer left dangling in front of us for the past ten episodes. Will Ayo Edebiri’s Chef Sydney leave the restaurant to work with Shapiro at his new restaurant? Was the review of The Bear good or bad? Will the restaurant even have enough funds to keep going? Storer has heard everyone loud and clear, and while it doesn’t reach those unobtainable highs from the first two seasons, “The Bear” fourth season is still a worthwhile addition to a series that very much knows what it is, even if it becomes more apparent that there’s not as much on its mind.
This season finds Chef Carmen “Carmy” Berzatto ready to push himself in a direction that is not only necessary to keep the restaurant alive but also to find clarity. His final conversation with Olivia Colman’s Chef Terry, during the season three finale, resonates more than ever for Carmy as he tries to fight his ego-centric hypocrisies. He’s still not smoking, doing his best not to be verbally abusive towards those around him, and most of all, establishing consistency, something that has never been the norm in the Berzatto household. This puts White in a fascinating position this season, as audiences are used to watching him yell to the point of veins protruding from his neck while his face flushes with redness. White, this time around, is far more measured, allowing the actor to deliver a refreshingly internalized performance that is not only devastating but also reveals a new side to Carmy, making him far more vulnerable. This doesn’t subside any of the season’s ability to create tension for audiences as Storer’s frenetic pacing only continues to raise the stakes, even if it means reverting to a more timeline-oriented way of plotting. Nothing at all akin to anything in season three, let alone its premiere, “Tomorrow,” which ushered in a tone that was far more ethereal in a sense, as Nine Inch Nails ambiently tied it all together.
Carmy’s ever-evolving apology tour is amidst the highest period of uncertainty at The Bear. Following the reveal of the reaction from the review, Uncle Jimmy and Computer (played by Oliver Platt & Brian Koppelman) put their feet down, or in this case, a clock. One that ticks away until they pull funding for the restaurant and is only stopped unless the team turns things around. One could call “The Bear” this season a reactionary response to season three, although that comes off as a blatant disregard of the intentionality that is more than present for what transpires in season four. Storer and Calo compromise somewhat of that unhurried pacing (which very much worked) in exchange for more humor, less of the Faks, and cameos that are far more restrained and attuned to this world. Look, I love John Cena, but that moment was one of the series’ rare missteps. The compromise of creative ambitions behind the scenes is also what transpires narratively. A set menu, fewer components in the dishes, and the ability to achieve quicker turnaround times. All are throwing the team for a loop, as they are the aspirations they wish to accomplish in order to improve the restaurant. This also allows “The Bear” to rope back in often-ignored members of this massive ensemble who now finally get their time in the spotlight. Whether it’s Edwin Lee Gibson’s Ebraheim working on a business plan in an attempt to increase income through the beef sandwich stand, which is more than profitable on its right, or Corey Hendrix Gary’s quest to become a confident sommelier. While audiences from last season will be left with questions, there’s plenty that transpires for these characters, both in their lives and internally.
This recipe for this season, while not a “course correction,” feels like a natural landing point for characters that are filled with liveliness by a cast that is unmatched in television. When everything gels, it leads to magic, whether it’s director Janicza Bravo’s episode “Worms” that has Sydney playing babysitter while waiting for her hair to be finished, or the season’s seventh episode “Bears” which features a slew of heavy hitters bringing all the tears and feels in the reception of Tiff’s (played by Gillian Jacobs) wedding. It’s an episode that feels like the perfect antithesis to the soul-crushing episode “Fishes.” The lack of laughs that people constantly use as a form of thinly veiled criticism is more apparent this season than it’s been in a while (which, to be fair, “The Bear” has always been funny). The final stretch of episodes this season is some of the best of the entire series. All of which builds into that powerful season four finale, which features some of the best work of White, Ayo Edebiri, and Ebon-Moss Bachrach’s careers.
This season has Edebiri in top form, propelling her to another level as a writer, comedic presence, and dramatic performer. It’s hard not to argue that sight unseen in the upcoming Luca Guadagnino film “After the Hunt,” Edebiri has never been better than what she’s doing here. Syd’s rollercoaster of a season is ultimately confronted with an ending that finds her somehow at her lowest. Moss-Bachrach is also phenomenal as Richie throughout this season, taking him to new depths, mainly in the finale, “Goodbye,” which has these three stars going toe to toe with one another in what is “The Bear” at its most stripped away. Without revealing too much, it’s interesting to see the showrunners find an end this season in what is a pure acting showcase centered around an uncomfortable discussion filled with revelations that have been brewing since the beginning of the series. It’s one of many episodes this season that remind audiences why “The Bear” is still worth tuning in.
It is clear that what Storer and Calo have set inevitably marks what only feels like the beginning of the end. This season’s gradual start to get into motion pays off dividends, but the central story around these characters, and most importantly, Carmy’s journey, only cements that, at this point, there may be little left to be said. It doesn’t help that the cast of this series has skyrocketed to the stratosphere of Hollywood, keeping them preoccupied with other projects. There’s always that feeling that comes around this point in a series run of whether it needs to keep going. It’s not that Season Four ends in a manner that would be satisfying for these characters we have grown to love, more so as all audiences will be left with a simple question. So what happens now? Whatever the crew of “The Bear” has in store, if it may be the last few courses they serve up if it’s anything like this season, then why shouldn’t audiences want to come back around one more time (or more)?
THE GOOD – “The Bear” remains in top form, anchored by excellent work from a terrific ensemble and the writing and direction that only gives them what they need to bring audiences to tears.
THE BAD – The season does take a minute to find itself back in shape, even if by the end it only leaves audiences wondering how much is left in store for the series.
THE EMMY PROSPECTS – Outstanding Comedy Series, Outstanding Lead Actress in a Comedy Series, Outstanding Lead Actor in a Comedy Series, Outstanding Supporting Actress in a Comedy Series, Outstanding Supporting Actor in a Comedy Series, Outstanding Guest Actor in a Comedy Series, Outstanding Guest Actress in a Comedy Series, Outstanding Directing for a Comedy Series & Outstanding Writing for a Comedy Series
THE FINAL SCORE – 8/10
