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‘The Bear’: Apologies and reconciliations lift the mood in Season 4

BBG News

Before diving into the latest season 4 of ‘The Bear’ on Hulu, it’s crucial to note that FX has requested a spoiler alert for in-depth reviews. However, this review may not be overly detailed. Still, everyone perceives what could potentially spoil the show differently. So, feel free to continue reading if you’re willing to take the risk.

Many television shows, not just the top-rated ones, are dynamic and evolve over time. While you might have some initial ideas, the true development happens during production – discovering an actor’s abilities, realizing which characters need more focus, seizing unanticipated opportunities, and even understanding the show’s own narrative direction. This process can sometimes lead to inconsistencies across episodes, but it often results in a richer, more satisfying series in the long run, despite initial frustration from viewers who appreciated the early setup.

In the fourth season of “The Bear,” debuting on Wednesday across FX and Hulu, the characters at the heart of the series’ titular restaurant receive a long-awaited Chicago Tribune review. The critique is not flattering, with terms like “perplexing,” “arrogant,” and “discordant.” (It’s a nice touch to see the review printed in a physical newspaper.) Critics and some fans have leveled similar criticisms at Season 3, but regardless of creator Christopher Storer’s intentions, it’s clear that “The Bear” doesn’t follow the usual series format. Shows like “Atlanta,” “Reservation Dogs” (both from FX), and “Treme” (HBO) share similarities with “The Bear,” as they all prioritize character development, setting, and mood over plot lines.

Despite its intricate plotlines and authentic production, the titular restaurant, “Bear,” is more akin to a magical fairy tale, where employees who were once rushing sandwiches out the door, miraculously display unique talents under the guidance of Jeremy Allen White’s exceptional character, Carmen. For instance, when Carmy asks Marcus, the dessert prodigy portrayed by Lionel Boyce, about a new dessert’s effect, he replies with “Legerdemain.” If you’re seeking authentic restaurant depictions, there are numerous alternatives, such as Netflix’s “Chef’s Table” or Frederick Wiseman’s “Menus-Plaisirs — Les Troisgros,” a four-hour film about a Michelin three-star French restaurant. (It’s available on PBS.org until March 2027.) However, this fictional establishment serves not just as a dining spot but primarily as a platform for human ambition, setbacks, and triumphs – along with love. The food may draw you in, but it’s the people that will keep you hooked.

Television

‘The Bear’ is back for another season, and each episode resembles a track on an album, offering distinct stories within the larger narrative.

Following the initial two seasons where Carmy reworked his late brother Mikey’s beef sandwich shop, introduced the Bear, and set up recurring themes for Season 4, the third season delved into past events, expanded on these themes, and even foreshadowed developments in Season 4. Filmed consecutively, the three seasons could almost be considered as one continuous narrative. The turmoil and financial strain caused by Carmy’s firm commitment to alter the menu daily; the anticipation of a Tribune review; and Sydney’s (Ayo Edebiri) partnership agreement are ongoing elements in the storyline. This season starts off less poetically, particularly compared to the entire opening episode last season that was an impressionistic montage. The only exception is an initial flashback where Carmy shares his restaurant vision with Mikey (Jon Bernthal), and after this, the narrative primarily unfolds in the present, moving forward.

Once more, there’s a time limit set by the character known as Computer (Brian Koppelman). Unlike before, this deadline isn’t linked to the restaurant opening but rather when Uncle Jimmy (Oliver Platt) will withdraw his backing and the Bear will shut down operations permanently. This timer is set for 1,440 hours or 60 days. However, in this series, deadlines often pass without causing much palpable tension. Despite frequent glimpses of the countdown clock, other pressing matters, whether in the kitchen or elsewhere, tend to overshadow it.

Despite constantly tweaking the menu in hopes of earning a Michelin star, Carmy finds himself stuck in a repetitive cycle – reminiscent of the film “Groundhog Day” – and has grown increasingly difficult to understand, barely able to express himself verbally. Most of what White accomplishes this year revolves around listening and responding, making subtle expressions with his face and hands, occasionally uttering a simple “Yeah,” while friends or coworkers pour out their feelings or criticize him. Richie questions Carmy’s actions, asking, “Is this an act?” and inquiring, “Are you okay?

In simpler terms, some of Carmy’s self-criticism seems unwarranted, as it often does with self-flagellation (Syd says, “You could be just as good… without this constant need for chaos”). Despite his challenging personality, Carmy has guided the team to a prosperous place, albeit one that is troubled, as the Bear continues to serve food, bring joy, and pay its employees. This season, however, is all about making amends – even Uncle Jimmy is apologizing to his son through a closed door. And guess who’s back in the picture? Claire, Carmy’s romantic interest, played by Molly Gordon, whom you might have thought you’d seen the last of.

Changes can occur swiftly in some narratives, perhaps due to characters struggling with effective communication or concealing their true emotions, claiming all is well when it isn’t. Yet, looking at the broader picture – even beyond the final episode – everything ultimately will be alright. Critics may debate its classification, but make no mistake, “The Bear” is undoubtedly a comedy; challenges lie ahead, yet everyone is on a journey towards joy. A significant episode, taking place at Richie’s ex-wife Tiffany’s (Gillian Jacobs) wedding, echoes the disastrous Christmas dinner episode from Season 2 (“Fishes”), as many familiar faces reappear. However, in this installment, there is dancing to be found.

Television

In a discussion, Christopher Storer, the mastermind behind “The Bear,” shares insights into directing the chaotic and tense Christmas episode titled “Fishes.

Richie, managing the front of the house, persists in his personal growth journey, delivering motivational speeches to the staff, contemplating a picture of a Japanese Zen garden, and handling maturely his ex-wife’s upcoming remarriage and their daughter; The Bear serves as his support system. Gary (portrayed by Corey Hendrix, getting more screen time) is learning the art of sommelier; Tina (Liza Colón-Zayas) is striving to serve pasta in less than three minutes; Ebraheim (Edwin Lee Gibson) excels at the sandwich counter and aims to expand opportunities with a new delivery app, a robot named Chuckie, and a business mentor, Rob Reiner. The restaurant offers delicious food, but it’s the people that make it worthwhile.

This year undeniably belongs to me, Syd, or more accurately, Edebiri. I’ve found myself at the heart of many challenging situations, sharing deep, lengthy, two-person exchanges not just with Carmy, but also Jimmy, Claire, and an unexpected 11-year-old companion who I find myself caring for. We spend a significant amount of time together, almost as if we were in a movie scene where the roles are reversed, and I find myself explaining my predicament in terms a child might understand, receiving advice that only a child could provide.

In simpler terms, Carmy seems confident that he can solve problems, although he hasn’t shared his solutions yet. Is it effective? Will it succeed? Time will tell, and perhaps it doesn’t matter either way. But is this the last season? That remains uncertain. The story concludes with an ending that feels fitting for the series, as things aren’t wrapped up neatly – a reflection of real life’s unpredictability. A soft hint towards Richie and Chef Jessica’s future might be found in the quiet playing of R.E.M.’s “Strange Currencies,” also known as “The Love Theme From ‘The Bear.'” This could be seen as a subtle nod to their untold story.

It might seem cheesy or predictable at times. It goes to great, sometimes implausible lengths, like making snowflakes for a visitor, or simply cutting a sandwich in a more welcoming, elegant way. Yet, both instances can be quite touching.

As a passionate film and TV aficionado, I’ve come to appreciate the distinction between good and great productions. A decent show serves up familiar stories that are easy to like, much like a reliable restaurant offering comforting favorites.

However, the truly exceptional ones dare to be different, presenting unique narratives that might not resonate with everyone or even seem nonsensical at first glance. Yet, they have the power to spark an emotional connection and inspire genuine love in those who embrace their peculiarities.

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2025-06-26 09:31

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