Is The Bear A Comedy?
Written by Andreas Babiolakis
With the release of the third season of FX’s hit show, The Bear, around the corner, it’s time to get down to brass tacks and figure out this conundrum once and for all: is The Bear actually a comedy series? The question arises from the awards seasons in which this chaotic culinary show dominates ceremonies like the Emmys and the Golden Globes (amongst many others), particularly in the comedy categories it is nominated in. This has caused a bit of a stir with television fans. No one is questioning the worth of the show as it is beloved and one of the very few series on television that feels like a remnant of the Golden Age which is sadly fading away. The bigger problem people have is that it feels a bit like cheating: to have this prestigious series decimating other comedy nominees when the show itself, to many, is anything but a comedy. The Bear is known for its anxious tone, its battles of tempers and patience, and so many heavy, anguished feelings that feel all but funny.
Although, I’m going to have to play devil’s advocate just a little bit and go on record to proclaim that The Bear is very much a comedy series. Or, at least, it was once a comedy series.
When the series first kicked off, it was prepared to be a short lived run that would likely go under the radar, hence the finality of the final episode of this preliminary season. Of course, those involved with The Bear were prepared for the best as well, as can be seen with how wonderfully the series continues after it got renewed for a second season (which was even better in quality); The Bear is now signed for at least four seasons. Back to the topic at hand. If we focus just on this first season, I’ll go to the ends of the Earth to defend its comedy status. Comedy is misinterpreted as a genre that insists that we must laugh at a majority of what we see (either that, or that comedies must be lighthearted enough). With the myriad of dramedy and even tragicomedy series that have come and gone by this point (not to mention dark or black comedies), it should go without saying that The Bear is clearly a blended series: a bit of comedy with a bit of drama (okay, heavy amounts of drama). I think people are willing to accept that, but maybe they view the series as a drama with comedic moments.
To me, what makes the first season one that can be labeled a comedy are the antics. As we follow chef Carmy and the struggle to keep the sandwich shop, The Beef (later The Bear) alive, we see oh so many things that hit the fan in a way that is so tragic and unlucky that we cannot help but laugh. At least this may be what was intended on paper (but is clearly the case when you scrutinize these episodes enough). Perhaps the actors took their lines to a knew level when they reached that set: an echelon that transcends being the butt-end of the joke and underneath society’s heel. Truly listen to their lines and hear the savage one liners, the perfect responses to awful situations that can only feel like they demand comedic timing, and the back-and-forth banter that turns any dicey circumstance into one full of uncomfortable laughter. Furthermore, all of this heightened hysteria builds towards a happy ending: a breakthrough that will save the restaurant in the final hour. We made it through the madness together, and we can only help but laugh.
Consider the original cast as well. Series lead Jeremy Allen White was known for another comedy-drama, albeit one that is a little more clear cut: Shameless. He was clearly cast for his ability to balance funny moments with those of pure calamity. Then there’s the then-rising actor who is now a contemporary superstar, Ayo Edeberi, known for her acting and writing work attached to numerous comedy projects and outfits like Big Mouth; you’re looking at nearly a dozen comedy based credits before The Bear. Ebon Moss-Bachrach has a bit of a more varied career before this point, but his usage in The Bear is clearly one of being the punchline and/or instigator (at least in this first season). Lionel Boyce was associated with hip hop outfit Odd Future; need I say more? I could keep going, but the point has been made. There was a clear emphasis on bringing on people who know how to be comedic when The Bear first started.
With these elements in mind, The Bear appears to be a cathartic analysis of the bullshit we all endure in our workplaces: the miseries and mishaps that we can only laugh off because of their persistence and inevitability. With each episode being roughly around half an hour (bite sized enough that you can walk away from for a day and revisit whenever you see fit; who told you to binge watch the show and endure all of its misery at once?), The Bear follows enough of the comedy genre’s notes; from the set up of each episode to the culmination of plot points that come to a head with one final punchline (of sorts). Sure, The Bear is a nerve wracking watch that leaves every viewer tense, but you must admit that it is fun with its thrills as you sit with your mouth agape and pondering how the day can be saved. I feel like Carmy is almost like a Mr. Bean or Basil Fawlty: a person caught in the insanity of it all, leaving us to wonder how he’ll get out of this situation. The main difference is that there’s no laugh track. There’s also a much larger sense of seriousness and pathos here, to be fair. The misfortune is most certainly comparable in a tragic way. See the seventh episode, “Review,” which is handled in one take and feels like a tightrope act what teeters between triumph and failure in almost a circus-like way.
So, yes. I believe the first season of The Bear is a comedy and it deserves to be considered as such. The even stronger second season debuted last year and it, too, warrants all of the awards it received. The main difference is that I no longer consider The Bear to be a clear-cut comedy by any stretch. Now that the scope of the show has widened, characters and their back stories are more invested in, there is a narrative build that takes its time, and the stakes feel even higher (not to mention that there are a few episodes that break the half-hour-ish runtime, compared to the finale of season 1 being the lone exception), The Bear feels far less rooted in comedy. Each episode isn’t just about getting through the next string of nonsense. We’re truly getting to know these characters, their histories and personal lives (many, of which, are afflicted with sadness or worry), and we fully know what the success of The Bear means to each person; the upped motivations and risks suddenly feel far less comedic. The stress is even stronger now.
While you can still pick and choose funny moments, the precision of comedic timing, and the hilarity of desperation — where all we can do is laugh in the face of devastation — The Bear is a larger and more ambitious show this second season to the point that it transforms into an even darker show, and not necessarily one with enough hilarity to balance out its weight. This isn’t a slight on its excellence, as season 2 is a brilliant watch and even better than the first season, but the show is a different animal than what was once intended and anyone can see this now. If The Bear is a comedy, then what’s stopping a hilarious satire like Succession from being one? I’d argue the latter has all the more reason to share this label, considering how much of the series is us watching greedy, elite family members try to destroy one another via the most pathetic means. At least The Bear has enough warmth to console the people (who aren’t rich by any means, and are working to lower class citizens who need this restaurant to work); maybe you can see this as a lighter approach than a concrete drama. That doesn’t alleviate the gravity enough to make The Bear a comedy again, though.
I cannot fault The Bear for remaining in the comedy categories of last awards season because it feels like a sudden switch that needs time for people to warm up to; not that people don’t trust that The Bear is a drama, but time may be needed for people to warm up to the show amongst its awards season peers (they still want the show to win awards, right?). However, they’ve had enough time now. If the folks behind The Bear were scared of competition like Succession, most of its peers of the same caliber are done now. The Bear remaining in the comedy category is going to be more glaring than ever: an obvious settlement to try and ride the same wave that’s worked in the past. If anything, The Bear may face the backlash of other comedy series usurping it with wins, so keeping it in the same category may weaken its chances to actually win (although this is unlikely, given the power The Bear has). We shall see what The Bear is considered by its creators when it drops this year.
There’s nothing wrong with change. Hell, The Bear is all about change; a prestigious chef having to face a different environment while trying to fix himself as a person; various walks of life learning to team up together to make this workplace succeed; the elevation of The Beef to The Bear; the shifting times that circle these characters, from the destruction of the middle class to the pandemic further tearing down the restaurant industry. Edeberi and Moss-Bachrach were considered supporting actors but are now as important as Allen White in this project. The second season toys with runtime even more. Rules can be broken, and The Bear knows this. If you intended on making a casual spinach dip and somehow would up with a fancy beef wellington dish, no one will mind as long as it still tastes delicious (don’t read into this metaphor too deeply). My point is that we all love The Bear. If anything, we’ll welcome it dominating the drama categories now. We can say that The Bear is truly the best of both worlds on television right now.
I think people just want the creators to admit what we all know now. If a series like Orange is the New Black can change designations during its awards season runs, The Bear can easily do the same. I won’t feel any differently about the show should it still be considered a comedy at these ceremonies, because I only care so much about these awards anyway (my priority is whether or not The Bear remains a good series). I also think it’s great that a series or film can be so blended to the point of not having an obvious genre or label; I encourage genre bending and singularity as frequently as possible. I love that The Bear is this amalgamation of tones and styles into one concrete end result (even though I think the first two seasons differ in genre, they’re both the same show and feel similar enough that they work well together). As long as the show remains great, I don’t truly care what The Bear gets called. Unless you really love the Emmys or the shows that The Bear is beating in its category, maybe it isn’t worth you caring all that much either. The Bear, ultimately, should be how you receive it. If it makes you laugh enough to consider it as such, it is a comedy. If it is too intense to feel this way, then it is a drama. Caring about labels only inhibits art and taste, I find. The Bear is still The Bear, and that’s what matters the most.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.