Someone told me they were disappointed with the second season of FX’s The Bear. Specifically the whole plot being about the planning of the restaurant. I was gobsmacked. Of course everything doesn’t have to be for everybody. But this conjecture felt like missing the forest for the trees.
The show has never been about the restaurant. Yes, it clearly centers the dining industry, a love letter to a craft that fears extinction daily – even before COVID. But the excellence required to excel in this business is just a facade, an allegory, for the surmountable pressure needed to get up and do anything daily.
Season one captured us with the chaotic Uncut Gems-style pacing, relatable laughs and mountainous dollops of grief. Exercising the similar panic-inducing style the second time would be expected, but redundant. It also focused heavily on Carmy and the things in his immediate orbit: his crushing imposter syndrome that brought him back to Chicago and evading the shadow of his deceased brother, Michael. This season opted to elevate with calmer frames of life. And in-between the rush of the seven-week deadline to open, introduced the planets circling Carmen’s universe – the supporting characters – with cosmic brilliance.
The opening scene featuring Marcus’ morning routine immediately announces the show’s intent on showcasing our background players. Prior, we only knew Marcus as the lovable novice pastry chef who wanted nothing more than to perfect the donut. Now, we see he’s not only balancing this new career, but managing his ailing mother’s care. Tina emerges from her hardened exterior as Sydney introduces her to the culinary arts. The smile that lights up her face to the news is instantaneously heartwarming. This is a stark difference to Ebro’s reaction to the same opportunity: a man of a certain age and culture, fears the structured institution, distancing himself from the restaurant altogether.
We finally meet the other person in Sydney’s life, her dutiful father. A widower since Sydney was four, he’s watched her lose too many times to count in pursuit of her dream. Although he doesn’t quite understand her vision, he’s there to support her regardless. We also see her come into her own as Carmy’s equal, being his mirror when he’s wrong, and his support when he stumbles. Their relationship vacant of any romantic attraction whatsoever is excellent to witness.
No other arc impresses more than cousin Richie, who comes to realize he pushed people away in fear of being left out. He was going to hurt you before you could eventually hurt him. Once he finally paused long enough to know he is worthy of greatness, he soars and reaffirms he belongs.
We can’t talk about the supporting characters without discussing the tour de force of cameos in the pivotal “Fishes” episode. While there were surprise guests all season long – Will Poulter, Robert Townsend, Olivia Coleman – episode six fires on all cylinders for a slew of Guest Star in a Drama Series Emmy nominations. Jamie Lee Curtis, Bob Odenkrik, John Mulaney, Sarah Paulson, and Jon Bernthal help deliver one of the best episodes of television this year, only rivaling the familial tension of HBO’s Succession. Unlike the Roys and their frenemies, you’re rooting for the Berzattos and friends to win.
To watch this show and be disappointed is an opinion you’re welcome to have. But it lacks taste, chef.
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