Season three of “The Bear” released for FX on Hulu after a yearlong cliffhanger. Known for bringing intensity inside and out of the kitchen, the show follows successful chef Carmen Berzatto, or Carmy (Jeremy Allen White), transforming his family’s Italian beef sandwich shop from a grimy but beloved local into a fine dining experience titled The Bear.
Though often praised for the changing rhythm between episodes, the third season’s slower pace and in-depth character analysis may leave some fans wanting more with respect to the plot. This choice sets the season as a stepping stone for an inevitable fourth season, however it does not divert from the revered quality of “The Bear.”
As much as “The Bear” wants to convince the viewer otherwise, the series is not a story of a restaurant. Rather, “The Bear” explores love and hate, addiction and abandonment, family and isolation, grief and depression.
The first to arrive and the last to leave, Carmy has devoted his life to bear the brunt of the restaurant’s emotional and physical burdens despite carrying his own baggage. Carmy has dealt with panic attacks while contending with post-traumatic stress disorder (PTSD).
The writers navigate the fallout of his destructive outlash during season two’s climax beautifully in the newest season to complement White’s depressive yet graceful portrayal of Carmy experiencing regret and shame from his actions. By simultaneously refusing to excuse the impact of his behavior and respecting Carmy’s trauma, “The Bear” continues to demonstrate a careful approach to topics such as PTSD, anxiety and depression.
The third season extensively develops the theme of familial relationships as Natalie Berzatto (Abby Elliott), Carmy’s sister, prepares herself for motherhood. Last season explored the strained relationship between the siblings and their mother Donna Berzatto (Jamie Lee Curtis), revealing the Berzatto family dynamic as a significant source of trauma for Carmy and Natalie. Elliott and Curtis’ combined execution yields one of the best episodes in the series to date.
In her directorial debut, Ayo Edebiri astounds the viewer in the emotional episode six, titled “Napkins,” exploring the backstory of sous chef Tina Marrero (Liza Colón-Zayas). Edebiri’s directorial style sets the foundation for Colón-Zayas to capture the audience’s heart and expound on the meaning of The Bear to Tina.
The characters of “The Bear” have always been loveable and seemed like real people. This is no different in the third season. However, the show is beginning to suffer from having too many characters. With a full cast the audience truly cares about, “The Bear” is simply unable to give each character a deserving amount of screentime.
Many have voiced their outrage following the show’s success in the Comedy Series category of the Emmy Awards, citing the intense drama aspects which drive “The Bear.” The noncommittal method of storytelling aims to blur the line between tragedy and comedy, yet the third
season leans heavy into humor.
Though this attempt falls flat at times, such a spirited show ultimately benefits from the comedic relief of the Fak family, friends of the Berzattos including Neil (Matty Matheson) and Theodore Fak (Ricky Staffieri). Some scenes including the Faks last longer than necessary and often distract the audience from the episode.
The soundtrack continues to be an underappreciated aspect of “The Bear.” An incorporation of Taylor Swift, Radiohead, The Beastie Boys and more alongside establishing shots of Chicago are some simple ways “The Bear” wins the viewer’s heart.
This critical acclaim raised expectations for the third season while challenging the method of storytelling “The Bear” wants to take. The response may be a detour from the audience’s expectations, however, this season of “The Bear” is still a must-watch, and it clearly sows the seeds for a fourth season.