![]() ![]() The Beef’s kitchen is a constant cacophony of shouting, several of the characters are ticking time bombs of grief, and Carmy is an exacting boss over several perfectionists. The Bear, created by Christopher Storer (an executive producer of Ramy and internet verité film par excellence Eighth Grade) has several of those staple ingredients. See: AMC’s bland Feed the Beast in 2016 or, in 2018, Starz’s disappointing Sweetbitter (whose star, Ella Purnell, has found much meatier material on Showtime’s breakout hit Yellowjackets), both limp dramas about the cutthroat New York food scene that struggled to establish stakes beyond the plate or to grip without overdone cliches of anger, sexual tension or neurotic perfectionism. But that intensity has rarely translated well to scripted television. Series such as Masterchef, Chef’s Table, Top Chef, The Great British Bake-off, and Netflix’s recently rebooted Iron Chef have accustomed viewers to the pressure of the kitchen, the heat of the stove and a timer breathing down one’s neck. It’s a high-cortisol view of cooking that is very familiar to audiences, given the plethora of cooking competition shows on every platform.
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