The Bear is officially coming back for another meal
The show's network, FX, confirmed the news today, less than a week after its fourth season premiere, which FX president John Landgraf claimed had 'incredibly high viewership'.
The next season will return in 2026. Its first four seasons always dropped in late June, so it's possible it could keep to a similar schedule.
The show was created by Christopher Storer, who also writes and directs many of the episodes, and is set in Chicago, centred on the character of Carmy, a prodigiously talented young chef who returns home after the unexpected death of his brother.
He inherits the family's casual eatery with ambitions to turn it into a fine dining establishment, drawing on his experience working in some of the world's most famous restaurants, including Noma and French Laundry.
As the series progressed, it expanded its focus to give equal time to the ensemble cast of characters, such as Sydney, the up-and-comer chef, Richie, a tempestuous server who discovers his real skills, and Sugar, Carmy's sister, who runs the admin side. The Bear season four. Credit: FX Networks and Hulu
The series' first two seasons were widely lauded for their writing, directing and performances, and while reception for the third was more tepid, the fourth appeared to have won back fans.
It's won a slew of awards and supercharged the careers of Jeremy Allen White, Ayo Edebiri and Ebon Moss-Bachrach.
While the fourth season had been confirmed ahead of time, the network and the filmmakers were less forthcoming about the possibility of a fifth season, and the season four finale left the story at a point that could have served as a series end.
The show also stars Liza Colon-Zayas, Lionel Boyce, Abby Elliot, Matty Matheson and Edwin Lee Gibson, and have featured high profile recurring and guest stars including Jon Bernthal, Jamie Lee Curtis, Oliver Platt, Bob Odenkirk, Gillian Jacobs, John Mulaney, Brie Larson, John Cena, Oliver Colman, Will Poulter and Danielle Deadwyler.
Real-life chefs who have cameo-ed as themselves include Daniel Boulud, René Redzepi and Thomas Keller.
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Sydney Morning Herald
3 days ago
- Sydney Morning Herald
Olivia Colman and Benedict Cumberbatch went to war. Then the fun started
From the start, this interview is in grave danger of running completely out of control. Olivia Colman and Benedict Cumberbatch are here to talk about their roles as a disintegrating couple in Jay Roach's The Roses which – just to put this right up front – is a comic tour-de-force for the both of them. Our slot is short (although, since nobody is prepared to stop talking, we run over time) and supposed to be strictly 'film-focused', but somehow we jump from what Colman is seeing tonight at the theatre (Fiddler on the Roof) to TV shows they're both watching, with some insider tips from Colman on the best episodes of The Bear. They interrupt and talk over each other. 'I'm sorry,' says Colman, genuinely apologetic. 'We haven't seen each other today.' They were friends, but had never worked together before making this film. Of course, they are two of the brightest stars in the British film firmament: Colman won the Oscar as best actress in 2019 for playing a fabulously vulgar Queen Anne in The Favourite, while Cumberbatch is Sherlock, Dr Strange and a good many other dramatic characters. They are also, unusually for any kind of star, middle-aged: Colman is 51, while Cumberbatch is 49. 'Luckily, we've managed to stay friends,' Colman said in a similarly freewheeling interview in Vanity Fair. 'That's the fear: that you like each other, and what if you don't get on when you're actually on set? But it was lovely.' The Roses is ostensibly a remake of the 1989 critical and commercial hit The War of the Roses. It was directed by Danny DeVito and starred Michael Douglas and Kathleen Turner. It was not lovely; watching it now, it barely feels like a comedy at all. At its centre was a wealthy couple whose marriage was rapidly souring into a permanent state of rage. Nobody in it was remotely likeable. Douglas plays Oliver, an ambitious lawyer with more than a whiff of Gordon Gekko about him. His trophy wife Barbara – a former gymnast – expends far too much creative energy on constructing the perfect home, learning to hate him along the way. Worst of all – spoiler alert – their dog is a casualty of their fighting. Once you kill off a canine character, you're on different turf. The source material for both films was a 1981 novel by prolific popular fiction writer Warren Adler. Cumberbatch read that too. 'It's really bleak,' he says. 'It's really a diminishing thing from what the story was named after, which was obviously a bloody civil war, to the book which was brilliant but incredibly dark.' He thinks he first saw the Douglas-Turner film in his teens; he watched it again before they started making The Roses. 'I remembered it as much funnier,' he says. 'But then I was young and I hadn't had a relationship. I look at it now and go wow, that's pretty … tough and awful.' The Roses strikes such a different note that they don't see it as a remake. Theo and Ivy are equal partners – he is an architect, she is a chef – whose equality is sundered when she opens a restaurant that becomes the buzziest of the year. As Ivy makes the leap into TV stardom, Theo's career nosedives after an unfortunate accident with a misjudged roofing feature. With nothing to do, he sets about building his dream home on a clifftop block Ivy has been able to buy. Ivy, meanwhile, becomes the family provider and outsider, forlorn when she sees how marginal her parenting role has become but too over-committed to do anything about it. Loading The script is the work of Australian writer Tony McNamara, who wrote The Favourite along with the television series The Great and Greek director Yorgos Lanthimos' wild follow-up to The Favourite, Poor Things. 'What Tony has done is take it somewhere else,' says Colman. 'There is more love in it.' The central relationship is full of wit, fun and warmth; when it morphs into hostility, the smart dialogue gives way to a crazed mayhem that could have been devised by Buster Keaton. 'When you're watching it, you're rooting for them,' she says. 'I think people are thinking 'ooh, I hope they get back together'. I hope they think that. Did you think that?' I did. Several sideways shifts help make that happen. Given the opportunity, McNamara will always steer towards the edge of absurdity. The initial meet-cute between Theo and Ivy, for example, turns into a burlesque romp when, about two minutes after meeting in the kitchen of a restaurant where he is trying to escape a boring dinner, they briskly agree to have sex in the fridge. It is clear, both to them and us, that this is the start of the rest of their lives. You gasp, then laugh, at the impossible speed of these proceedings. Not so impossible, says Colman. 'I fell in love with my husband the second I saw him. Proper thunderbolts,' she says. She met Ed Sinclair when she was 20 and they were in the same play; they have been together ever since. Cumberbatch is married to Sophie Hunter, a director and playwright. 'And I did with mine, but I took 17½ years to get round to doing something about it,' he says. 'Awwww,' sighs Colman, sentimentally. Wasn't that a long wait? 'I was a tongue-tied public schoolboy, I didn't know what that was. What they were. You know. What is a woman? But I figured it out and put it to her that we could be more than friends and there we are.' One specific twist, which slants the whole relationship between the Roses, is the fact of their Englishness. Theo and Ivy live in Northern California (actually filmed in Devon, England: it was cheaper and closer to home). Their snappy banter sets them apart from American friends like Amy (Kate McKinnon) who calls herself 'an empath' without irony. 'I thought that was a brilliant stroke, for us to remain English, like fish out of water,' says Colman. 'And I'm eternally grateful, because my American accent is not that good. You haven't heard it,' she adds, turning to Cumberbatch. 'It's awful.' Barbed badinage is not an exclusively English commodity, as Cumberbatch points out. 'Think of Howard Hawks films like His Girl Friday or the films of Billy Wilder. But we do get pigeonholed that way. The invective here is very sharp and cruel, but disguised with wit. In America you get the 'roast', which is just kind of 'f--- you, you're horrible, you motherf---er'. It's unbelievable what they throw at each other. But it's the same with us; we just think we get away with it by being clever around it.' Englishness is inherently amusing; Englishness is charming. So he has found, indeed, in real life. 'You're feted for your accent and you're like 'come on, really? It's just an accent, you know.' But you can get away with speeding tickets and all sorts by just saying 'Ew, I'm so sorry, I'm English!'. Go a big Hugh Grant and they're 'oh, OK, don't do it again'. Well, you know, I say 'they'. That one cop. Better not write that. Don't try this at home, English people!' Colman is giggling. 'I do find myself going over-English when I'm there,' she admits. Underlying the Roses' verbal thrust and parry, however, is a relationship unravelling largely because nobody pays attention to it. However bizarre the battle becomes, their complacency is immediately recognisable and relatable. They think they will be fine because they always are. 'In any long relationship, you need to work on it,' says Cumberbatch. 'They are faced with huge challenges, but they bring the same fun-loving, let's-give-it-a-go attitude to this huge shift in their dynamic. 'I think this schism, not talking, losing the dialogue between you so that you're not able to find the funny and the glue and the sex and the sorries and the I-hear-you-and-understand-you, is where the separation and resentment comes in.' All that talk about having it all, he adds with feeling: that's not possible. 'You can't have it all without a cost. And the cost is that you have to keep working at it, making decisions, investing in it. So you can have it all – a career, children, a love life, a partnership that lasts – but you have to accept the cost and find a balance within that.' What The Roses is not about, as they both stress with fervour, is a home being wrecked because a wife is earning more than her husband; clearly, they both think Theo and Ivy are better than that. 'It pains me to think that people are still saying 'oh, it all goes wrong when the woman is successful'. I sort of want to punch people in the nose when I hear that,' says Colman. 'It's about the couple having pressures on them as a couple.' The two actors swap examples of how their characters let each other down, then hasten to make allowances for each other. 'He weaponises knowing more about the kids than she does,' Colman observes. 'Oh, grossly!' agrees Cumberbatch at once. Colman wondered in their Vanity Fair interview if they 'mucked about too much' on set. 'Poor Jay was probably saying 'it's like herding cats'.' On the contrary, said Roach; their energy fed the mood. 'There is a little bit of a joyful keeping the ball in the air,' he said. 'They trust each other so much that they're willing to go a little off the script or a little into dangerous territory.' Which is not so surprising from Colman, who first came into modest prominence in sketch comedy on The Peep Show, then brought her unerring comic timing to the Lanthimos films. By contrast, there aren't a lot of laughs in Cumberbatch's CV, which I now find surprising. 'That's so true!' exclaims Colman. 'How does that happen?' Cumberbatch thanks her, looking slightly abashed. It's true, he says, that he has done almost no comedy on screen, not that he's done a musical or a horror, either. He hopes all these things will come to him. 'But I've done stuff which has a lot of funny in it. Sherlock and Dr Strange are the two obvious big ones but even something like [Alan] Turing [in The Imitation Game ]: there is humour scattered through everything I do that hopefully shows I can be funny.' And he has done comedies on stage, where an audience soon tells you whether you're funny or not. 'But that can be bad,' he says, as Colman nods vigorously. 'Because if you start chasing the laugh you got last night, it goes dead. And then you're thinking 'what went wrong?'' Over to Colman. 'And then you start over-egging it.' He picks up the thread again. 'Because with that fourth wall, you know what's there. And it's quite fun not knowing – or pretending not to know, because this script is laugh-out-loud. You'd have to be really bad not to make this funny.'
The Age
3 days ago
- The Age
Olivia Colman and Benedict Cumberbatch went to war. Then the fun started
From the start, this interview is in grave danger of running completely out of control. Olivia Colman and Benedict Cumberbatch are here to talk about their roles as a disintegrating couple in Jay Roach's The Roses which – just to put this right up front – is a comic tour-de-force for the both of them. Our slot is short (although, since nobody is prepared to stop talking, we run over time) and supposed to be strictly 'film-focused', but somehow we jump from what Colman is seeing tonight at the theatre (Fiddler on the Roof) to TV shows they're both watching, with some insider tips from Colman on the best episodes of The Bear. They interrupt and talk over each other. 'I'm sorry,' says Colman, genuinely apologetic. 'We haven't seen each other today.' They were friends, but had never worked together before making this film. Of course, they are two of the brightest stars in the British film firmament: Colman won the Oscar as best actress in 2019 for playing a fabulously vulgar Queen Anne in The Favourite, while Cumberbatch is Sherlock, Dr Strange and a good many other dramatic characters. They are also, unusually for any kind of star, middle-aged: Colman is 51, while Cumberbatch is 49. 'Luckily, we've managed to stay friends,' Colman said in a similarly freewheeling interview in Vanity Fair. 'That's the fear: that you like each other, and what if you don't get on when you're actually on set? But it was lovely.' The Roses is ostensibly a remake of the 1989 critical and commercial hit The War of the Roses. It was directed by Danny DeVito and starred Michael Douglas and Kathleen Turner. It was not lovely; watching it now, it barely feels like a comedy at all. At its centre was a wealthy couple whose marriage was rapidly souring into a permanent state of rage. Nobody in it was remotely likeable. Douglas plays Oliver, an ambitious lawyer with more than a whiff of Gordon Gekko about him. His trophy wife Barbara – a former gymnast – expends far too much creative energy on constructing the perfect home, learning to hate him along the way. Worst of all – spoiler alert – their dog is a casualty of their fighting. Once you kill off a canine character, you're on different turf. The source material for both films was a 1981 novel by prolific popular fiction writer Warren Adler. Cumberbatch read that too. 'It's really bleak,' he says. 'It's really a diminishing thing from what the story was named after, which was obviously a bloody civil war, to the book which was brilliant but incredibly dark.' He thinks he first saw the Douglas-Turner film in his teens; he watched it again before they started making The Roses. 'I remembered it as much funnier,' he says. 'But then I was young and I hadn't had a relationship. I look at it now and go wow, that's pretty … tough and awful.' The Roses strikes such a different note that they don't see it as a remake. Theo and Ivy are equal partners – he is an architect, she is a chef – whose equality is sundered when she opens a restaurant that becomes the buzziest of the year. As Ivy makes the leap into TV stardom, Theo's career nosedives after an unfortunate accident with a misjudged roofing feature. With nothing to do, he sets about building his dream home on a clifftop block Ivy has been able to buy. Ivy, meanwhile, becomes the family provider and outsider, forlorn when she sees how marginal her parenting role has become but too over-committed to do anything about it. Loading The script is the work of Australian writer Tony McNamara, who wrote The Favourite along with the television series The Great and Greek director Yorgos Lanthimos' wild follow-up to The Favourite, Poor Things. 'What Tony has done is take it somewhere else,' says Colman. 'There is more love in it.' The central relationship is full of wit, fun and warmth; when it morphs into hostility, the smart dialogue gives way to a crazed mayhem that could have been devised by Buster Keaton. 'When you're watching it, you're rooting for them,' she says. 'I think people are thinking 'ooh, I hope they get back together'. I hope they think that. Did you think that?' I did. Several sideways shifts help make that happen. Given the opportunity, McNamara will always steer towards the edge of absurdity. The initial meet-cute between Theo and Ivy, for example, turns into a burlesque romp when, about two minutes after meeting in the kitchen of a restaurant where he is trying to escape a boring dinner, they briskly agree to have sex in the fridge. It is clear, both to them and us, that this is the start of the rest of their lives. You gasp, then laugh, at the impossible speed of these proceedings. Not so impossible, says Colman. 'I fell in love with my husband the second I saw him. Proper thunderbolts,' she says. She met Ed Sinclair when she was 20 and they were in the same play; they have been together ever since. Cumberbatch is married to Sophie Hunter, a director and playwright. 'And I did with mine, but I took 17½ years to get round to doing something about it,' he says. 'Awwww,' sighs Colman, sentimentally. Wasn't that a long wait? 'I was a tongue-tied public schoolboy, I didn't know what that was. What they were. You know. What is a woman? But I figured it out and put it to her that we could be more than friends and there we are.' One specific twist, which slants the whole relationship between the Roses, is the fact of their Englishness. Theo and Ivy live in Northern California (actually filmed in Devon, England: it was cheaper and closer to home). Their snappy banter sets them apart from American friends like Amy (Kate McKinnon) who calls herself 'an empath' without irony. 'I thought that was a brilliant stroke, for us to remain English, like fish out of water,' says Colman. 'And I'm eternally grateful, because my American accent is not that good. You haven't heard it,' she adds, turning to Cumberbatch. 'It's awful.' Barbed badinage is not an exclusively English commodity, as Cumberbatch points out. 'Think of Howard Hawks films like His Girl Friday or the films of Billy Wilder. But we do get pigeonholed that way. The invective here is very sharp and cruel, but disguised with wit. In America you get the 'roast', which is just kind of 'f--- you, you're horrible, you motherf---er'. It's unbelievable what they throw at each other. But it's the same with us; we just think we get away with it by being clever around it.' Englishness is inherently amusing; Englishness is charming. So he has found, indeed, in real life. 'You're feted for your accent and you're like 'come on, really? It's just an accent, you know.' But you can get away with speeding tickets and all sorts by just saying 'Ew, I'm so sorry, I'm English!'. Go a big Hugh Grant and they're 'oh, OK, don't do it again'. Well, you know, I say 'they'. That one cop. Better not write that. Don't try this at home, English people!' Colman is giggling. 'I do find myself going over-English when I'm there,' she admits. Underlying the Roses' verbal thrust and parry, however, is a relationship unravelling largely because nobody pays attention to it. However bizarre the battle becomes, their complacency is immediately recognisable and relatable. They think they will be fine because they always are. 'In any long relationship, you need to work on it,' says Cumberbatch. 'They are faced with huge challenges, but they bring the same fun-loving, let's-give-it-a-go attitude to this huge shift in their dynamic. 'I think this schism, not talking, losing the dialogue between you so that you're not able to find the funny and the glue and the sex and the sorries and the I-hear-you-and-understand-you, is where the separation and resentment comes in.' All that talk about having it all, he adds with feeling: that's not possible. 'You can't have it all without a cost. And the cost is that you have to keep working at it, making decisions, investing in it. So you can have it all – a career, children, a love life, a partnership that lasts – but you have to accept the cost and find a balance within that.' What The Roses is not about, as they both stress with fervour, is a home being wrecked because a wife is earning more than her husband; clearly, they both think Theo and Ivy are better than that. 'It pains me to think that people are still saying 'oh, it all goes wrong when the woman is successful'. I sort of want to punch people in the nose when I hear that,' says Colman. 'It's about the couple having pressures on them as a couple.' The two actors swap examples of how their characters let each other down, then hasten to make allowances for each other. 'He weaponises knowing more about the kids than she does,' Colman observes. 'Oh, grossly!' agrees Cumberbatch at once. Colman wondered in their Vanity Fair interview if they 'mucked about too much' on set. 'Poor Jay was probably saying 'it's like herding cats'.' On the contrary, said Roach; their energy fed the mood. 'There is a little bit of a joyful keeping the ball in the air,' he said. 'They trust each other so much that they're willing to go a little off the script or a little into dangerous territory.' Which is not so surprising from Colman, who first came into modest prominence in sketch comedy on The Peep Show, then brought her unerring comic timing to the Lanthimos films. By contrast, there aren't a lot of laughs in Cumberbatch's CV, which I now find surprising. 'That's so true!' exclaims Colman. 'How does that happen?' Cumberbatch thanks her, looking slightly abashed. It's true, he says, that he has done almost no comedy on screen, not that he's done a musical or a horror, either. He hopes all these things will come to him. 'But I've done stuff which has a lot of funny in it. Sherlock and Dr Strange are the two obvious big ones but even something like [Alan] Turing [in The Imitation Game ]: there is humour scattered through everything I do that hopefully shows I can be funny.' And he has done comedies on stage, where an audience soon tells you whether you're funny or not. 'But that can be bad,' he says, as Colman nods vigorously. 'Because if you start chasing the laugh you got last night, it goes dead. And then you're thinking 'what went wrong?'' Over to Colman. 'And then you start over-egging it.' He picks up the thread again. 'Because with that fourth wall, you know what's there. And it's quite fun not knowing – or pretending not to know, because this script is laugh-out-loud. You'd have to be really bad not to make this funny.'
Perth Now
05-08-2025
- Perth Now
Jamie Lee Curtis explains why making Freakier Friday was harder than Freaky Friday
Freakier Friday was harder to make than Freaky Friday because the sequel focused on two adults instead of an adult and a teenager, Jamie Lee Curtis has said. The 66-year-old actress has returned as Tess Coleman alongside Lindsay Lohan's Anna Coleman for the Disney comedy, and Curtis has now explained that the original 2003 movie - which saw her character swap bodies with her teenage daughter - was easier to make than Freakier Friday due to the 'black-and-white' differences between adults and teenagers. She explained to 'In Freaky Friday, it's really easy - adult, teenager. Adults stand up like this, teenagers slump. It was so black-and-white, so clear. 'In this, it's a much more subtle shift, and we had to find it with words, and language, and body behavior, and mannerisms and stuff. So, that's way more challenging because it's not as easy to think that you're getting it right.' Curtis added the dynamic she has with her step-granddaughter Lily Davies (Sophie Hammons) - with whom she swaps bodies with in Freakier Friday - wasn't something she was used to, and compared it to her experience playing Donna Berzatto in The Bear's second season. She said: 'With Donna, I knew I was getting it right because I know her. I don't know a Lily. I really don't, so it was harder for me to make sure I was actually getting it right.' In Freakier Friday, mother-daughter duo Tess (Curtis) and Anna Coleman (Lohan) find themselves swapping bodies once again - only this time, the chaos spreads to other family members. As Tess navigates life as a grandmother and Anna juggles motherhood, the family scrambles to reverse the mix-up before everything unravels. The movie - which hits cinemas on August 8, 2025 - also stars Chad Michael Murray, Julia Butters, Manny Jacinto and Mark Harmon. Lohan recently admitted she 'never thought' she would star in a Freaky Friday sequel. Reflecting on Freakier Friday, the 39-year-old actress told ELLE magazine: 'I'm excited. It feels surreal. I've never thought I would do a movie where there would be a sequel. 'It's something you don't really think about. And then when you get to do it, and bring a character that you knew so well back to life, in a sense, it's exciting. 'There's a comfort with it that you don't find in a new character. It's evolved. What are they like now? How can we shoot it? 'So it felt really special, and so did doing my first feature back with Disney again after not doing features for such a long time. It's a really nice thing.' The Parent Trap star added making Freakier Friday felt like coming home, and the actress loves the fact that she can 'share' the flick with her husband, Bader Shammas, and their two-year-old son Luai. Lohan - who was 15 when she starred in Freaky Friday - said: 'I weirdly felt like that when I got to the lot. It felt really special, because I was 10 [when I auditioned for The Parent Trap]; now I'm 38. 'And to be back there at this time and have a full life and be able to share it with my husband and my son, it definitely feels unique in a lot of ways, and it's nice.'
