«Storer's kitchen drama settles into a quieter register — fewer bottle-episodes, more tender confrontations.»
The Bear has its Michelin star. It also has a kitchen of people too tired to celebrate it.
Season 4 picks up nine months after the star arrives. The restaurant runs four nights a week, books out at midnight on release day, and the staff have settled into a rhythm that feels less like art and more like work. Carmy (Jeremy Allen White) has stopped sleeping. Sydney (Ayo Edebiri) is being courted by every restaurant group in the country. Cousin Richie (Ebon Moss-Bachrach) is dating, badly. Tina (Liza Colón-Zayas) is running the line as confidently as anyone has ever run the line at The Bear, but a routine doctor's visit reveals something that reshapes her season.
Storer's writers' room has called Season 4 "the post-success season." There's less yelling. The kitchen still ruptures into chaos but the chaos has different colours — exhaustion, complacency, romantic entanglement, family pressure. The standout episode is "Berlin," in which Sydney attends a guest residency at Tim Raue's restaurant and faces what her own restaurant could become if she leaves.
The cooking is, as ever, real. The dialogue overlaps. The handheld cameras stay in the heat. And in the season's quietest moment, Carmy sits in the dining room at 2 a.m. eating a piece of bread and weeping for the first time on screen since Season 1.
A quieter Bear, a wiser Bear. Storer trusts the audience to sit with exhaustion and grief in the same scene.Lorraine Ali · Los Angeles Times
Jeremy Allen White finally lets Carmy break. The crying scene at the end of episode seven is the year's rawest moment of television.Daniel D'Addario · Variety
Ayo Edebiri's Berlin episode is the centerpiece. A whole career in 42 minutes.Inkoo Kang · The New Yorker
Liza Colón-Zayas gets the storyline she's deserved since Season 1. She does not waste a second of it.Daniel Fienberg · The Hollywood Reporter
The Bear post-success is a different kind of show. It is also, somehow, the same show.Emily Nussbaum · The New Yorker