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AUG. 24�31, 2022
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Lisa Britton
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hursday
THE OPENING ACT
RAISING THE CURTAIN
ON THIS WEEK’S ISSUE
What We’re Into ‘The Bear’ on FX
New releases
I blew through FX’s latest hit show
“The Bear” on Hulu in just a few days. This
chaotic, yet deeply feeling show set in the
albeit dingy Original Beef of Chicagoland
restaurant is — to me — a gleaming suc-
cess. If the words “behind,” “eighty-six,”
“hands” and “all day” mean anything to
you, give this show a try.
While the series captures the over-
whelming aspect of restaurant work, it
also beautifully depicts the artistic vision
and drive of those behind the line. In the
chaos of the kitchen, the show’s char-
acters grapple with their own, very real
challenges.
Jeremy Allen White — best known for
his long-running role on the showtime
hit, “Shameless” — plays a chef named
Carmy, who has come home to save his
family’s restaurant after the death by
suicide of his brother Michael (played in
fl ashbacks by Jon Bernthal).
Carmy and his ambitious new sous-
chef Sydney (Ayo Edebiri) scramble to
bring order to the kitchen. The Beef’s
seemingly disparate kitchen staff can’t
catch a break, from exploding toilets to
piling debt.
The pacing, cinematography and
sound design of the show coalesce to
create a cacophonous yet simultaneously
melodic viewing experience — from quiet,
calculated shots of a chocolate cake
being prepared to the chaotic, fl ashing
moments of kitchen mayhem. You feel
as if you too should be getting to work,
chopping onions or scrubbing down.
Having worked in the service industry,
“The Bear” brought a very familiar stress
bubbling to the surface. Still, dynamism
In theory this should work. With her
massive TikTok following, Bella Poarch
needed to strike while the
iron is hot and release a
studio EP. “Dolls” is it .
Now comes the tricky
part. Will enough of
Poarch’s 91 million TikTok followers and
pop music fans appreciate her six-track
eff ort, or merely see it as a fame grab
piggybacking on her curious ascent to
the top of the social media heap?
“Dolls” is heavy on production,
with Poarch off ering little more than
breathy coos above a mundane pop
backdrop. Songs like “Build A Bitch”
and “Dolls” have a decent message
about self-identity, but they are de-
livered in fl eeting and furtive fashion,
with Poarch rushing clutches of lyrics
past us instead of, well, singing.
— The Associated Press
Frank Ockenfels/FX
and vulnerability of the show’s characters
kept the show refreshingly grounded and
earnest. If nothing else, this show will
make your mouth water, so don’t watch
on an empty stomach.
— Shannon Golden, reporter,
The Observer
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