This clever, dense and hugely stressful chef drama was a perfectly prepped televisual feast. Packed full of genius, it was that rarest of things: a TV show that lived up to the hype
do not care what you do up in Napa with your fucking tweezers and your foie gras! You’ve got no fucking idea what we do here.” Ah, The Bear. The eight-episode tale of award-winning chef Carmy , who returns to take care of the family sandwich shop in Chicago after his older brother Michael kills himself, reached our shores on Disney+ three months after it dropped in the US on Hulu and came garlanded with the kind of praise that makes you automatically suspicious.
But occasionally, just occasionally, things live up to the hype. And The Bear is one of them. It’s as frenetic, kinetic, immersive an experience as the lifestyle it depicts.
The second greatest stroke of genius among the many demonstrated by The Bear’s makers is probably the decision to keep all episodes to 30 minutes or so . It’s so clever, dense and hugely stressful that you simply could not take an hour of it at a time. It would be like having foie gras forced down you by the pound.
The first greatest stroke of genius is to make Carmy a quietly driven genius – racked by grief instead of tortured by his own brilliance – rather than the monstrous narcissist that was there for the playing as soon as the words “award-winning chef” were mentioned. When he does finally lose his temper, he is not automatically forgiven or excused – he has to work his way back.
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