Entertainment

In true fashion of The Bear’s fourth season finale, “Goodbye,” the narrative centers around a pair of heated confrontations unfolding within a cramped setting. The initial spat ignites between Carmy and Sydney, who reacts angrily upon learning that not only is he departing from the restaurant but also bestows a substantial share of the struggling establishment upon her – without prior consultation, mind you, as Carmy’s still got a bit of jackass in him. The second altercation ensues between Carmy and Richie, who storms into the fray, explodes at the revelation, and the ensuing argument escalates to a fever pitch. As the verbal battle reaches its climax, the narrative pivots towards the simmering animosity between the two men, stemming from their complex ties to Mikey, who persists in haunting the restaurant and their lives. When Carmy discloses that he indeed attended his brother’s funeral, a truth he’d carried with him in shame, Richie’s rage spikes even further.

In the movie titled “F1®: The Movie“, Sonny’s predictions tend to be accurate, even if it’s almost comical within the broader context of the film directed by Joseph Kosinski and written by Ehren Kruger. The title is technically F1®: The Movie, a trademarked nod to both the influence of the brand associated with the movie and the fact that this $200-300 million Hollywood production is insignificant in comparison. Every aspect of its on-screen world, which resembles a sleek, futuristic setting, is adorned with logos and advertisements from companies aiming to capture viewer attention and gain some reflected prestige. Despite the fact that Sonny could be discussing film production instead of car racing, this detail remains significant. Similarly to Top Gun: Maverick, another project by Kosinski and Kruger, F1 is essentially a commentary on its lead character through a drama revolving around extreme speed. The main difference lies in the fact that Brad Pitt isn’t as self-mythologizing or enigmatic as Tom Cruise, who has cultivated an image of either dying or finding a way to live forever while pursuing increasingly daring stunts.

In the vast universe of Lilo & Stitch, there’s an abundance of characters and tales waiting to be explored, especially since the upcoming sequel might delve into any character from the original series that ran from 2003 to 2006. One of these additional experiments was Angel, often referred to as Stitch’s love interest or “boojiboo.” With that in mind, many fans are hoping to see her in the live-action remake. As for another intriguing scenario, imagine if Stitch were a pink girl! The potential for this franchise is truly limitless with countless opportunities for profit. However, our main request here is for Billy Magnussen’s character, Pleakley, to make a return – perhaps even in a dress this time around. Let’s hope we get more of Pleakley in the sequel!

This doesn’t make the outcome for The Bear any more predictable. As the series concludes with the restaurant’s time seemingly running out, I remain hopeful that things will work out for the actual establishment. Despite the title “Goodbye” from the finale, there are numerous indicators such as the beef-window franchising, Marcus’s recognition in Food & Wine magazine, and the possibility of a Michelin star that hint at the Bear managing to carry on.

It could be that Carmy gives Donna the chance to prove herself when she invites him inside. Initially hesitant — as he often is — Carmy eventually steps into the well-kept suburban house, feeling uneasy in the haunting dining room reminiscent of “Fishes”. His eyes momentarily linger on Mikey’s chair before settling down with his mother in the kitchen. They sift through a collection of family photographs, including Laura Linney who starred alongside Oliver Platt in “Big C”, and then Donna becomes emotional over a picture of Mikey. There’s a palpable sadness within her, and Carmy understands enough to allow her to retrieve a crumpled note from a desk drawer. On the paper, she expresses remorse for her past mistakes, acknowledging that she has hurt her children and family, and that she feels unworthy of their success. She’s been sober for nearly a year, which is progress, although not enough in her eyes.

As a movie critic, I’ve been following “The Bear” closely, and I must admit, the suspense is killing me! While Food & Wine has certainly dined at the Bear, we’re yet to hear their verdict. I’m keeping my fingers crossed that the enigmatic solo diner from a previous episode, Mr. Clark, turns out to be the elusive Michelin-starred chef.

The intrigue doesn’t end there! The possibility of Ebra and renowned angel investor Rob Reiner pouring in some much-needed funds to keep the iconic restaurant afloat is a tantalizing thought. If everything falls into place, we could witness the Bear thriving for eternity, with celestial beings serenading us with their harmonious tunes.

However, this is “The Bear” we’re dealing with, and it wouldn’t be a show without a fair share of drama. So, let’s see how the story unfolds in the remaining two episodes of this season. Fortunately, patience isn’t required for too long!

Indeed, everyone harbors fears, not excluding the formidable Berzatto clan, who intrude upon Tiffany and Frank’s wedding in what appears to be a pivotal episode for the fourth season, aptly named “The Bear” event. Although the vows remained unseen, the gathering was filled with excitement, as Sarah Paulson’s cousin Michelle and her spouse, Stevie, portrayed by John Mulaney, made their return. Uncle Lee, played by Bob Odenkirk, was accompanied by Jamie Lee Curtis’s Donna, while Josh Hartnett reprised his role as Frank. Brie Larson donned a sharp yellow peasant dress and headband to embody Francie Fak, whose deeds remain a mystery.

It seems like Syd is grappling with her predicament this season, especially with her conflicts with Carmy and her indecision about departing from the Bear. At first, working at the Original Beef was just a job for her, but she didn’t anticipate the daily doses of Berzatto drama or love that would come with it. I’m not sure if she fully understands yet that she’s become an integral part of their family, whether she wants to be or not. If she decides to leave, it won’t just be a professional move; it will feel like a personal rejection, and while she may sense this on some level, I don’t think she fully grasps the significant role she plays in everyone’s lives.

The clown, true to her moniker, swipes Parker’s cloak from its secure storage and struts about their hideout with it until it becomes excessively hot. Riri cautions that they need to discover what’s powering this artifact to prevent an accidental cooking. John intervenes, subduing the clown by restraining her arm, but Parker interjects and diffuses the situation. I can’t quite figure out Parker’s intentions. He aims to project a positive image for his team, appearing kind-hearted, relaxed, and superior. However, he only manages to create an impression of being overly detached. He presents their next objective, Hunter Mason, a tech mogul planning to bankrupt local farmers. The team then disperses to ready themselves for the evening’s vigilante antics.

The story unfolds as the initial scene shows Carmy attending an Al-Anon meeting. Here, a woman named Georgie (portrayed by Kate Berlant) shares a troubling tale about her disorganized family, which appears to strike a chord with Carmy. Georgie’s problematic brother is alluring yet unpredictable; when she left him to take care of her plants, she came back home to find the plants still thriving but also four naked strangers on her couch, her living room littered with pieces of burned-up foil, and a bed filled with ketchup packets. It’s evident that she holds affection for him as she sings a familiar Doris Day tune they both know, yet it’s equally clear that offering love and assistance to someone who can’t always be relied upon is challenging. Upon concluding her narrative, Carmy seems to find recognition in her words, illuminating something within himself. This understanding brings validation, a feeling he encounters infrequently.