Page 108 - Metropolis Megazine No.120 International

the bear

Since its debut, Disney+'s «The Bear»
has stood out as one of the most
intense and emotionally unsettling
series of the last decade. What
began as a portrait of chaos in a small
Chicago kitchen has become a raw
dissection of human relationships,
family heritage, and how trauma
shapes—and greatly limits—
what we aspire to be. Its greatest
strength lies in the way it translates
the characters' internal tension
into a narrative and visual rhythm
that leaves no room to breathe.

And it has already won 21 Emmys.

SARA QUELHAS

THE BEAR
STORY

Carmy (Jeremy Allen White) returns THE DISORDERED ORDER
to Chicago marked by persistent
grief and a perfectionism that, like a
shield, hides more than it reveals. His
goal: to keep his brother's restaurant No one truly understands how that of the past, of memory, and
alive. Around him, a dysfunctional to mature in a place that is in of others.
but resilient team becomes his only ruins. In «The Bear», there are no
“safe haven,” where rebuilding, great epiphanies, no clear mo- The answer, almost always, lies
though precarious, seems possible. ment when everything changes. in control: lists, schedules, rules,
Throughout the series, the Time moves forward, but emotion and precision. Repetition is the
restaurant changes shape: from seems suspended, as if each cha- key to achieving perfection. But
sandwiches to fine dining, from racter were trapped in the same in «The Bear», obsession with or-
urgency to high standards, but internal day, where pain is dis- der rarely solves what hurts. On
the foundation remains fragile. No guised as routine and demands the contrary, it often amplifies
matter how far it goes, the space replace affection. Growing up here discomfort—both internal and
never frees itself from what it carries: is not a narrative arc—it is a tired relational—as if each attempt to
grief, guilt, and the desperate need repetition, an attempt at survival organise the outside world makes
to turn pain into order. disguised as ambition. The struc- what is out of alignment inside
ture of adult life—organised, more evident. The characters cling
planned, with space for functional to routine, not because they belie-
relationships—is absent or has ve in it, but because the emptiness
long since been destroyed. And in that replaces it seems even more
what remains, there is only noise: unbearable.

108 METROPOLIS JULY 2025