Lifestyle
‘The Bear’ is back in the kitchen
Sydney (Ayo Edebiri) and Carmy (Jeremy Allen White).
FX
hide caption
toggle caption
FX
There has always been a metaphorical parallel between The Bear, the television show, and The Bear, the fictional restaurant on the television show. Even as Carmy (Jeremy Allen White) and Sydney (Ayo Edebiri) transformed the Italian beef joint into the fancy restaurant of their dreams and wished for a Michelin star, there were undoubtedly locals who thought, “This is great and all, and I’m sure the food is good, but … I liked the beef sandwiches.” There’s still a window at The Bear to get them, but the focus is certainly elsewhere.
When it started, The Bear was mostly about the work that took place in the kitchen. The stresses of too many orders, territoriality from Richie (Ebon Moss-Bachrach), the arrival of Sydney, and the tightly wound but undeniably talented Carmy, making everybody both extremely stressed and significantly better. Over time, it shifted and grew, putting together beloved departure episodes like “Fishes” in Season 2, which introduced a boatload of guest stars for a flashback story of a disastrous family dinner before Mikey (Jon Bernthal) died. It spent time with Sydney’s family, it explored the way Tina (Liza Colón-Zayas) and Mikey originally met, it followed Marcus (Lionel Boyce) to Copenhagen, and it went with Richie to work for Andrea (Olivia Colman). All these episodes were excellent. And there was still a kitchen. But the focus seemed to be elsewhere.

At times, the show seemed to have disappeared up its own nose, to the point where you weren’t watching the show The Bear as much as you were watching the phenomenon The Bear. There were too many real-life chef cameos, until it seemed like those chefs were checking a box on a list of “things all the cool kids do.” There were too many other cameos, culminating in a rare miss from the reliably charismatic John Cena. The show placed a lot of narrative weight on Carmy’s love interest, Claire (Molly Gordon) — weight that the underwritten character couldn’t support. But even if every experiment and every diversion had worked, viewers couldn’t be blamed for missing the close focus on the kitchen and the camaraderie — for thinking, “This is all really special, but I do miss the beef sandwiches.”
The fifth and final season dispenses with the departure episodes, and it mostly dispenses with cameos. It all takes place on one day, just after Carmy tells Richie and Sydney that he wants to step back from the restaurant and give it to them and Sugar (Abby Elliott) to run, and it mostly takes place right there at The Bear. Now that the clock set by Jimmy (Oliver Platt) has run out, his money has run out as well, and a series of cascading disasters puts Sydney, Carmy and Richie behind the 8-ball from very early in the day, not least because of the tension hanging over all three of them as they prepare to tell the staff about Carmy’s decision to leave.
Tina (Liza Colón-Zayas).
FX
hide caption
toggle caption
FX
We spend this day mostly with the people we know best: our three leads, along with Sugar, Tina, Marcus, and the rest of the staff — including Luca (Will Poulter), who has stayed around to keep working with Marcus. Jimmy is running around with Computer (Brian Koppelman) and a young apprentice of his named Cheese (Elsie Fisher of Eighth Grade), trying to figure out what to do about his finances since it is Jimmy, and not just the restaurant, who’s out of money.
This day takes a while to get cooking, so to speak. The first three episodes of the season are slow, the first two in particular. It’s pouring rain outside, the lighting is dim, and the score maintains the same contemplative melancholy for a long, long time. For about two and a half episodes, it feels like one extended, low-energy scene.
But after that, there’s a shift in tone as the staff looks to get through service, and through seven episodes (FX did not make the finale available in advance for critics), the rest of the season is terrific. What you see is the core story of The Bear, which is people trying to serve food and overcome problems, but through the lens of everything that has happened over the show’s run: Carmy’s retreat from his obsessiveness, Richie’s expansive (and inspiring) discovery of his gift for hospitality; Sydney’s stepping forward from second-in-command to leader; Tina’s complex relationship with the restaurant and her grief over Mikey; Sugar and Carmy’s relationship with Donna (Jamie Lee Curtis); the arrival of Marcus as a high-end pastry chef.
The question the show asks over the last four episodes is: Given all those digressions and flashbacks, given all those visits with families and others, given everything we know about where all these people have been and what they’ve experienced, how does a high-pressure service — of the same kind we used to see in that first season — look now? How do they behave differently, and how does their behavior read differently? How are they the same people we have always known, but at a different juncture, in a different context? How do their wins mean more to them, and to the audience?
On the one hand, making a season this way, there are fewer surprising grace notes, like “Napkins,” the Tina/Mikey flashback episode in Season 3, or “Worms,” the episode in Season 4 where Sydney hung out with her cousin (Danielle Deadwyler) and her cousin’s kid. The Bear feels less daring and more conventional.
But oh, when they have victories under pressure? Victories, large or small? It is immensely, richly satisfying. There’s also more comedy other than just the goofy Faks family than we’ve had in a few seasons; Richie is perhaps the MVP of the season, and that’s partly because of how often he gets to be really funny. Ayo Edebiri continues to be the show’s best reactor, showing Syd eternally a little bit surprised (dismayed?) that she’s chosen to throw in her lot with these people.
There are a couple of questions yet to answer in the finale, both little plot items and broader character resolutions. Over these seven episodes, though, there is much to cheer.


Lifestyle
John Cena wanted to step away from the WWE ring before he became ‘too slow for the show’ : Wild Card with Rachel Martin
A note from Wild Card host Rachel Martin: First a confession: I have never watched a WWE match in its entirety. Don’t get me wrong, I appreciate the athleticism and the performance, it’s just not my thing. But there is something about John Cena I’ve never been able to shake.
Yes, he is a wrestling legend, but he has built a career as an entertainer that transcends the ring. The first time I saw him lead a cast was the 2019 family movie “Playing with Fire” and his rapport with kids in that film didn’t seem like acting at all. The man contains multitudes!
He co-stars with Eric Andre in his newest film, “Little Brother.”
Lifestyle
Great movies you may have missed : Pop Culture Happy Hour
Xie Miao and Yang Enyou in The Furious.
Norachai Kajchapanont/Lionsgate
hide caption
toggle caption
Norachai Kajchapanont/Lionsgate
There have been some fantastic movies released this year, and we know you can’t see them all. So we’re recommending four recent movies we missed that you should add to your watchlist: The Furious, Tuner, She’s The He, and Heresy.
If you need a few more fun film recommendations, check out these episodes:
Fun movies you may have missed
Our favorite movies on Tubi
We debate the best movies to watch on an airplane
Connect with Pop Culture Happy Hour:
Letterboxd / Facebook
Our weekly newsletter
Support Pop Culture Happy Hour+
Lifestyle
A judge says the Kennedy Center must update him on its plans — and address that tarp
A tarp covers the facade of the John F. Kennedy Memorial Center for the Performing Arts in Washington, D.C., on June 13. A federal judge has asked the arts complex’s leadership to explain the purpose of the tarp and the surrounding scaffolding.
Alex Wroblewski/AFP via Getty Images
hide caption
toggle caption
Alex Wroblewski/AFP via Getty Images
On Wednesday, the federal judge overseeing the Kennedy Center lawsuit ordered the center to give him a status report on the center’s operation and programming within the next few weeks. Judge Christopher R. Cooper also said that the Kennedy Center must explain the purpose and status of the tarp and scaffolding that have been placed over the front of the arts complex, where until recently both President Trump and President John F. Kennedy’s names were both displayed.
In a directive issued last Tuesday, Judge Cooper had given Kennedy Center administrators three days to update him on the arts complex’s immediate plans regarding construction, programming and public access. Trump, who now serves as the center’s chairman, had announced July 5 as the date the venue would close for major renovations.

Last Friday, on Cooper’s due date, lawyers for the Kennedy Center filed a request asking for an extension. In that filing, Matt Floca, who was promoted as the center’s president and CEO in March, said that the Kennedy Center’s current management intends to present its board with “an array of options” for trustees to vote on at their next meeting on an unspecified date in mid-July.
According to Floca, the options are a complete closure for extensive renovations; a partial closure “enabling some continued public access and limited programming” while some renovations are undertaken; and “a highly limited series of phased closures to address only the center’s most serious infrastructure needs while scheduling and maintaining a full slate of programming.”
In his newest order, Cooper denied Floca’s request for an extension. And he mandated that the center file a status report within seven days of the center’s July board meeting or by July 31, whichever date is earliest. He also ruled that the report must “indicate the purpose for and status of the tarp and scaffolding,” which were erected by workers over the center’s front signage in the early morning hours of June 13.
When asked for comment Wednesday, the Kennedy Center pointed back to the documents its legal team submitted to the court.
The tarp and scaffolding on the center’s front portico went up after the Kennedy Center’s administration slow-walked the court-mandated removal of President Trump’s name from the front of the center and from all digital materials, which was supposed to happen no later than June 12. Workers removed the lettering overnight into the following morning, hours after the federal court’s original deadline, and covered the center’s sign with a tarpaulin.
As of Monday, the sign remains hidden from the public.

Trump’s name was scrubbed from all of the Kennedy Center’s digital content on June 4, the same day an email order to do so was issued by the complex’s legal team; NPR obtained this memo the day it was sent out to Kennedy Center staff.
These court orders are part of the ongoing lawsuit filed by Rep. Joyce Beatty, D-Ohio, against President Trump and the board of the Kennedy Center. Earlier this year, Cooper ruled that Beatty, an ex-officio member of the Kennedy Center board, must be allowed to participate in board meetings. NPR has asked Beatty if she plans to vote at the July board meeting, but did not receive an immediate response.
It would be very difficult for the Kennedy Center to revive a thriving programming lineup for the months ahead. Over the past year, many prominent artists canceled their planned appearances, citing the politicization of the venue. Most of the center’s programming staff have departed, either via layoffs or resignations. Unlike top administrators at other major performing arts venues around the country, Matt Floca has no experience in artistic direction, fundraising or arts administration; formerly, he was the center’s head of facilities, and he holds a bachelor’s degree in construction management.
Established artists who typically perform at the Kennedy Center generally have their touring schedules set at least a year in advance, if not multiple years ahead. In years past, the center has publicly announced its upcoming season in mid-spring for performances beginning in September and running through the following summer.

Currently, only a handful of outdoor free movie screenings of nostalgic favorites like The Princess Diaries and Clue appear on the center’s calendar of events, along with some participatory workshops for kids. In the past, the Kennedy Center presented over 2,000 arts and education events each year.
The center also recently became ensnarled in litigation with one of its longtime tenants and artistic partners. On June 12, the Washington National Opera, a company formerly in residence at the Kennedy Center, sued the complex for $17 million. It claims that the Kennedy Center had withheld “years’ worth of donor gifts, bequests and endowment funds” that had been intended specifically for the WNO.
-
Fitness3 minutes agoExercise Tips From Dr. Schwartz for Summer Fitness – MyRye.com
-
Movie Reviews15 minutes ago‘Camp’ Review: Friendship Is Magic, and Tragic, in the Eerie World of Avalon Fast
-
World23 minutes agoA glowing red room in southern Lebanon shows life after the fighting
-
News30 minutes ago
The Maine Town That Actually Wants a Data Center
-
Technology1 hour agoAndroid 17’s new foldable gaming mode could make flippy phones more fun
-
World1 hour agoShark attack survivor wakes from 10-day coma and shares first words with family at her hospital bedside
-
Politics1 hour agoTrump administration pledges $150M in aid, deploys Navy warships after deadly Venezuela earthquakes
-
Sports2 hours agoSecond Lady Usha Vance joins celebrity-filled crowd for Team USA’s group-stage finale in LA