THE STORY – With no money, the threat of a sale, and a torrential storm in their way, Carmy, Richie, and Sydney must band together with the rest of the team to achieve one last service, hoping they’ll finally earn a Michelin star.
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)
After four years of grinding out seasons on television like a line cook firing off at their station, the finale of “The Bear” last season all but confirmed the series was on borrowed time. It was inevitable, given that the revelation that Jeremy Allen White’s Carmen “Carmy” Berzatto wanted to step away from being a chef felt like an irreversible turning point for these characters, altering the series’ DNA. In a way, it signified that series creator Christopher Storer might have said his piece, especially as his ensemble comprised a slew of Emmy winners from this series, who have since become major stars, with their attention drawn to Broadway productions or major studio tentpole films. So when the series fifth and final season was announced, not only was it not a surprise, but frankly, a sigh of relief that a show as beloved as “The Bear” wouldn’t slip down the path of many before running on an empty tank only to be lost without a way to get to its intended destination.
The final season finds Storer once again creatively retooling the series, shaping the narrative to not only confine the entire ensemble to the restaurant itself but also to do so over the course of a single shift. The clock has struck zero, and with Oliver Platt’s Cicero trying to find ways to recoup the money he’s lost (and is still losing), the staff at The Bear are fighting against all odds to ensure the restaurant runs as is despite the torrential downpour of a thunderstorm from hell. There’s barely enough food, the reservations are slammed, they are understaffed, and the restaurant is falling apart. Storer is quite literally throwing everything their way, creating the most contentious environment the kitchen has seen since its inception.
For a series that has preached urgency with the slogan “Every Second Counts” to hammer home to the audience that they’re dialing up the pressure, this is the first time since the series’ second season that they have truly meant it. Characters find themselves at the height of their powers, drawing on lessons from seasons past and channeling them into this very moment, making this swan song not only a far more focused display of storytelling but also a rewarding culmination of everything that has happened so far. The more meandering pacing that has irked many viewers for the past few seasons has given way to a taut one-night-only structure, with Storer and the writers never taking their foot off the brake. It’s a bit of going back to the basics, even with how restrained the implementation is of guest actors coming into the fold this time around to add to the hilarity of the chaos.
The biggest change is how much of a back seat White takes this season, as Storer and company drive the narrative mostly through Ayo Edebiri’s Sydney and Ebon Moss-Bachrach’s Richie. It’s an unstable dynamic still finding its footing as the immediacy of Carmy’s decision to forgo his life as a chef looms large in Sydney and Richie’s minds. Although this season takes place in the immediate aftermath of this decision, Carmy’s passivity speaks volumes about a space he, too, is trying to navigate without resorting to the toxic traits that have held him for his entire life. It’s almost as if he’s an entirely different character, muted as if White showed up to play him after downing a couple tabs of zoloft. It’s in the minute expressions that he speaks volumes, perfectly playing off his castmates, mainly a frantically fueled Edebiri, who finds herself driving Syd for the first time. The frustrations within everyone find their way to the surface this time, even from characters we’d never expect to see it from.
While the first few episodes establish the tone Storer is setting for this tumultuous send-off, its sluggish start is ultimately shaken off as it progresses, building to an amazing final stretch, mainly the penultimate episode of the series “Caramel,” which is not only a masterclass display of everything we love about the series, but one of the best episodes of television this year. The taut editing, confident direction, the synth motif by Hans Zimmer that is blasted in every episode, and the lovable moments of reflection from these characters make for a mostly satisfying send-off. It’s hard to gauge whether Storer can navigate the controlled messiness this season has propped up into a worthwhile finale in the series-closing episode, not yet released. “The Bear,” since it started, has had an inescapable shadow that has, more often than not, haunted the series, much like how Mikey’s death has impacted everyone who was a part of his Fan theories, ships, and people constantly writing about how they wanted the series to be the same as the first few seasons have all but been prescient for Storer and company focusing on just making a great show at the end of the day. The final season, if anything, is Storer accepting that (even teetering on self-referential humor in commentary on the series) and, like Carmy, finally ready to move on. If it’s for the better, who knows, but there’s hope that it is. When it’s time, you just know.
THE GOOD – Delivers a mostly satisfying finale filled with amazing direction, editing, and reliable performances from a fantastic ensemble.
THE BAD – The changes might be a bit too late for some, even if the show finds itself in a more restrained mode that prioritizes what people used to love about earlier seasons.
THE EMMY PROSPECTS – Outstanding Comedy Series, Outstanding Lead Actress in a Comedy Series, Outstanding Lead Actor in a Comedy Series, Outstanding Supporting 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
