Is The Bear a Comedy? And Should I Care?

As a long-time comedy enthusiast and TV critic with a particular penchant for quirky, offbeat shows, I cannot help but feel deeply frustrated by the ongoing category fraud perpetrated by the Emmys in regards to comedies like “What We Do in the Shadows” and others. You see, I’ve spent countless hours poring over scripts, watching episodes, and analyzing every nuance of comedic storytelling. My life has been filled with laughter, tears, and the occasional head-scratching moment that leaves me questioning the very fabric of humanity.

One morning, as you open your eyes and prepare for another day filled with social media indulgence – specifically brat memes – you’re met with an unexpected surprise. Your timelines are abuzz with conversations about “The Bear” and its comedic value. Some express enthusiasm, while others voice frustration. The line between comedy and non-comedy seems blurred, leaving you questioning: Is this show a comedy? Does it even bring laughter to the table? Can we universally define humor? Let’s delve deeper into this intriguing debate!

Obviously I have seen all of The Bear so this isn’t even for me, but just in case someone’s reading this who hasn’t had a chance to watch it yet, what, uh, is The Bear?

As a movie buff, I’d describe FX’s “The Bear” like this: In this half-hour TV series, I step into the world of a Chicago restaurant ruled by Carmy, played brilliantly by Jeremy Allen White. He’s an accomplished Michelin-starred chef who inherits his deceased brother’s sandwich joint, The Beef. To my surprise, I discover that it’s barely holding together with some solidified grease and a thread of hope.

Carmy’s approach to food is quite grave – he puts a lot of thought and pressure into it. He carries the weight of his troubled family background and work experiences. In contrast, some secondary characters inject lighter elements into the show. Notable among them are Carmy’s friend Richie (Ebon Moss-Bachrach) and the unconventional Fak brothers, who bring mischief and chaos while attempting to help out. By season two, Carmy and Sydney have reinvented The Bear as a new restaurant concept. In season three, Carmy’s obsession with making The Bear exceptional pushes him to the brink, causing frustration for everyone involved.

So … is it a comedy?

What an interesting question! Here’s the short answer: not really.

As a movie reviewer, I’ve come to realize that genres are simply convenient labels we use to help organize and categorize stories. However, these labels can be quite subjective and may not fully capture the essence of a particular work. Take “The Bear,” for instance. In its early seasons, it was often labeled as a comedy due to its quirky characters and humorous situations. But as the story progressed, the drama elements became more prominent. By the third season, the comedic aspects seemed to fade away, leaving us with a compelling and emotionally resonant drama. It’s not always clear-cut when a show shifts from one genre to another, but in the case of “The Bear,” I believe it has evolved into something much deeper and more impactful than its initial label suggested.

The show “The Bear” isn’t your typical comedy with lots of jokes or awkward situations leading to laughter. Instead, it has a unique comedic style that Jesse David Fox from Vulture calls “post-comedy.” It may not be laugh-out-loud funny at first, but there’s still a sense of playfulness throughout the series. In season one, the characters are dealing with the stress and sadness of a failing restaurant, but they’re all in this situation together, creating a comedic dynamic similar to a sitcom. For example, remember the episode where they accidentally turned on the to-go orders and were overwhelmed by tickets? Although it was tense, it was based on the absurd predicament they found themselves in as a team. If Sydney had reacted with a classic “Oh, brother!” and a trombone slide, the situation would have been instantly funny. While “The Bear” may not provide that immediate relief with laughter, its structure follows the same comedic pattern.

In the second season, despite being a chaotic and dysfunctional family, they remain united in their efforts to bring about something new. The show explores themes of creation, exploration, playfulness, love, and development. There’s a delicate blend of tones, with lighter moments provided by supporting characters like Richie and the Faks, as well as Tina calling Carmy “Jeff.” Even in heavy episodes, such as “Fishes,” there are bursts of humor. Additionally, there are several instances where Carmy is reminded to check his excessive ambitions and maintain perspective.

In contrast to earlier seasons where Carmy’s intense nature was balanced with humor from other characters, season three portrays everyone being weighed down by his high standards. Even the usually light-hearted Faks are relegated to the sidelines, looking around nervously for signs of trouble. The drama has been present since the first season, but season three is particularly gloomy. While “The Bear” has occasionally shown elements of love and comedy, its primary focus has always been on pain, trauma, repeating cycles, motherhood, birth (literal and metaphorical), the struggle between artistic genius and collaboration, and the harsh realities of capitalism. Though some may view season three as a departure from the previous comedic seasons, others see it as a clearer representation of the show’s underlying themes. “The Bear” has always viewed the restaurant as a noble but futile endeavor rather than a place of joy and celebration. Its concern lies more in the existential sadness than in alleviating it.

I basically just skimmed all of that. Let me try again. Is it funny?

At first, you may find yourself laughing frequently during the performance. However, as it progresses, your laughter will decrease, and the laughter that does emerge might be more like a pained groan than a genuine expression of amusement.

All right, this seems like a fun little debate for people who watch this show, but why am I hearing so much complaining about it?

In the past, distinguishing between TV comedies and dramas was more straightforward. However, for over a decade now, the landscape of television production has significantly changed. The majority of half-hour shows are no longer filmed in front of a live audience using multiple cameras, as was common in traditional sitcoms. Additionally, many critically acclaimed and popular shows don’t fit neatly into genres like “Bob Hearts Abishola” or “Young Sheldon,” which are clear examples of comedies. Shows such as “Only Murders in the Building” combine elements of crime dramas with humor, featuring running gags about one character’s quirky habit of consuming various dips.

For several years now, we’ve seen a trend of half-hour shows like “Transparent,” “Louie,” “Atlanta,” “Fleabag,” “Barry,” and “Russian Doll” exploring deeper, more serious themes. Simultaneously, our culture has held a longstanding belief that serious content is more valuable, significant, challenging, and artistic than comedic content. However, anyone who’s attempted to make an audience laugh knows this notion is false. Creating comedy is incredibly difficult. Despite the immense acclaim and awards recognition for shows like “Barry” and “The Bear,” there are those who argue that comedic shows such as “What We Do in the Shadows” are being overlooked.

Are they?

As a longtime television critic with a deep appreciation for the nuances of comedy and drama, I can’t help but feel strongly about the ongoing debate surrounding the categorization of shows like “The Bear.” Having spent years analyzing the intricacies of various genres, I’ve come to believe that this issue is indeed subjective – a “beholder” thing, as some might say.

Wait, this whole thing is about the Emmys?!

Kind of, yeah!

Last week, the Emmy Award nominations for the 76th edition were revealed, and once again, “The Bear” has dominated the major comedy categories. The series received nods for best comedy series, writing, directing, supporting actors in a comedy, guest actors in a comedy, and lead performances from Ayo Edebiri and Jeremy Allen White. However, this recognition came with some criticism. An article in “The Guardian” and a post from a writer on “Abbott Elementary” celebrated their own series’ nominations while poking fun at how the TV Academy classifies at least six episodes of their show as primarily comedic.

The Emmy Awards strictly separate prime-time programs into distinct comedy and drama categories, making it challenging for shows that don’t fit neatly into these boxes. Shows like “Fleabag” and “Atlanta,” which blend elements of both genres, are a testament to the evolving nature of television, but the Emmy Awards have yet to adjust their labels accordingly. In the past, half-hour shows were predominantly multi-camera comedies filmed in front of live audiences with clear comedy elements, while hour-long shows were typically single-camera dramas focusing on murder mysteries, legal issues, or soap operas. However, as television continues to evolve and challenge these traditional definitions, the Emmy Awards have remained static, limiting the recognition of innovative programming that doesn’t fit neatly into their binary categories.

Is there a solution?

I’m really captivated by “The Bear” and believe it could make a strong contender in the drama category for its third season at the Emmys. Frankly, with the current offerings being rather lackluster, it’s not an unreasonable suggestion. The Emmys could even consider expanding their prime-time categories, following the lead of the Creative Arts Emmys. For instance, they might separate fantasy and non-fantasy makeup series or divide reality shows into competition and unstructured genres. And perhaps, half-hour single-cam and multi-cam productions as well? These changes could potentially alleviate some pressure on the Emmys, but shows like “The Bear” will continue to spark passionate debates among us television enthusiasts.

Alternatively, let’s join forces for a nationwide effort to enlighten Emmys voters about the exceptional skill and creativity required in comedy. By doing so, Matt Berry might justly receive the Emmy award, bringing healing to our country.

2024-07-22 21:54