With an unexplained delay of several months, as is often the case with the series of FX, a subsidiary of Disney in Europe, The acclaimed ‘Bear’ is coming (Disney +, Wednesday, day 5) about dramatic comedy (or better yet, drama with a smile) the splendor and anxiety of working in a restaurant kitchen. This is before. Because if we hesitate to classify this show as a comedy, it’s because of the shadow that hangs over almost all of its characters: loss of a loved one suicide.
Christopher Storer, creator of stand-up comedy specials (Jerrod Carmichael, Chris Rock, etc.) and director of most of ‘Ramy’, had to deal with the suicide of a friend shortly before he started developing Serie. . This experience overshadows every frame of it violent journey, dynamic but painful, chaotic, into the bowels of the stove. ‘Bear’ could have been subtitled ‘How to modernize a restaurant’, but also ‘How to (try) be reunited and move on after an irrecoverable loss’.
Pay for the loss with others
Storer and his team action without preamble, without explanation. We fall from the sky into the original Beef of Chicagoland cuisine, and along the way we learn what the place is or the people who live there. At the center of the action seems to be Carmen ‘Carmy’ Berzatto (Jeremy Allen White, ‘Shameless’ Wonderful Lips), a young chef who shouldn’t be working in this Chicago diner dedicated to the greasy ‘Italian’. beef ‘sandwiches.’ But her older brother passed away, and Carmy had to return home to face serious bills and loans, an upgradeable kitchen, or a foul-mouthed crew.
Namely: mutable director Richard ‘Richie’ Jerimovic (Ebon Moss-Bachrach), the deceased’s best friend; baker, pastry chef candidate Marcus (Lionel Boyce); Two veteran and irreverent cooks like Tina (Liza Colón-Zayas) and Ebraheim (Edwin Lee Gibson) or mechanic Neil (Matthy Matheson, not a chef in this show). In search of order and talent, Carmy hires ambitious Sydney (Ayo Edebiri) as her sous chef, as this restaurant, her father’s old favorite, is something personal.
we are like this drifted and released in a smoky field in more than one sense, the nerves on the surface and the fights that hide the pain. It’s a pressure cooker of grief, trauma, addiction, toxic masculinity, and the perfectionism that sets you apart. Bad things happen, but no one is bad, although Neil claims that Richie is “not a good guy” because he is “sad inside”.
Chief actor Matheson, according to its creator on ‘Esquire’, compares the scenery of the series to a submarine: “Everybody gets stuck in a sub all day and every person has their own moves and people don’t like to let them touch their stuff.”
sense of urgency
What was originally going to be a movie will eventually become a movie. eight highly intense half-hour episodesLoaded with an anxiety similar to that felt in ‘Diamonds in the brute’: maximum anxiety. It’s easier to compare ‘The Bear’ to Safdies’ classic of gambling and apocalypse than almost any new TV show or movie with a restaurant setting. Too good to do this to him. Anyone remember ‘A good recipe’ starring Bradley Cooper? Or is it ‘Sweetbitter’, an adaptation of the ‘Sweet Sour’ novel by Ella Purnell in her midwestern twenties, where she struggles to work as a busboy in a stylish New York restaurant? rhetorical questions.
There might be an exception, though: ‘Bear’ is reminiscent of the predicted 2021 movie ‘Hierve’, shot by Philip Barantini in a single shot between the stove and Jones’ tables, especially for its gripping aspect. & Sons is from Dalton, London. The link is reinforced in the seventh chapter, ‘Review’. impossible movie shoot. But if the stress on that film stems from the possibility of negative criticism (a famous chef brought in the food critic as a foodie partner), the problem here is a laudatory commentary that threatens to die from success.
frozen in another time
As Storer has explained many times, the actual Chicago restaurant that inspired ‘The Bear’ (Mr. Beef On Orleans for the curious) hangs a sign that reads, “Although it’s 2022 there, it’s still 1988 here.” That kind of spirit prompted creator and producer Josh Senior to seek a musical repertoire that wasn’t too avant-garde or none at all: more like dad rock of chefs who insisted on continuing to listen to CDs and spin them slowly.
That’s why we see Richie in his car listening to Counting Crows (‘Have you seen me lately?, live). That’s why Genesis’ ‘In so deep’ serves as the music of fatigue. At its most avant-garde, the eleven minutes (live) of Wilco’s ‘Spiders (Kidsmoke)’ would have been better as well used in episode seven. Or Radiohead’s ‘Let down’ bridge, definite emotional push in the final episode.
Source: Informacion
