Is The Bear season 4 releasing in May 2025? Everything we know so far
By Aman Shukla Published on May 1, 2025, 20:30 IST Last updated May 1, 2025, 16:47 IST
Fans of The Bear , the critically acclaimed FX on Hulu comedy-drama, are eagerly awaiting news about Season 4. With Season 3 leaving viewers on a gripping cliffhanger, questions about the release date, cast, and plot are swirling. Is The Bear Season 4 dropping in May 2025? Let's dive into the latest updates, speculation, and everything we know so far. The Bear Season 4 Release Date: Is May 2025 Possible?
As of May 2025, there's no official confirmation that The Bear Season 4 will premiere this month. However, based on reports, the show is expected to follow its traditional release pattern. Seasons 1, 2, and 3 all premiered in June (2022, 2023, and 2024, respectively), leading to strong speculation that Season 4 will likely debut in June 2025, with a specific date of June 15, 2025, reported by some outlets. The Bear Season 4 Cast: Who's Returning?
The heart of The Bear lies in its talented ensemble, and Season 4 is expected to bring back the core cast. Based on production reports and teasers, here's who we anticipate seeing: Jeremy Allen White as Carmen 'Carmy' Berzatto, the perfectionist chef navigating personal and professional chaos.
Ayo Edebiri as Sydney Adamu, Carmy's sous-chef facing a pivotal career decision.
Ebon Moss-Bachrach as Richie Jerimovich, the restaurant's passionate manager.
Liza Colón-Zayas as Tina Marrero, the resilient sous-chef.
Lionel Boyce as Marcus Brooks, the dedicated pastry chef.
Abby Elliott as Natalie 'Sugar' Berzatto, Carmy's sister and co-manager.
Matty Matheson as Neil Fak, the lovable handyman.
Oliver Platt as Uncle Jimmy, the restaurant's financial backer.
Jamie Lee Curtis as Donna Berzatto, the Berzatto family matriarch, confirmed to return via Disney's 2025 teaser. The Bear Season 4 Plot: What to Expect?
Season 3 ended on a tense note, with Carmy reading a Chicago Tribune review of The Bear that flashed mixed words like 'innovative,' 'sloppy,' and 'talent,' followed by his frustrated reaction. Four missed calls from Uncle Jimmy hinted at financial trouble, as he'd warned a bad review could shutter the restaurant. Meanwhile, Sydney faced a life-changing offer from Chef Adam Shapiro to join his new venture, promising better pay and creative control.
Season 4 is rumoured to focus on the present, with fewer flashbacks compared to Season 3's reflective tone, delivering intense, real-time kitchen drama.
Aman Shukla is a post-graduate in mass communication . A media enthusiast who has a strong hold on communication ,content writing and copy writing. Aman is currently working as journalist at BusinessUpturn.com
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Because you can't control how it's received, but what you can try and pay attention to is the experience of 120 people that are united for a finite period of time towards a common goal. You can try and have some safeguards in that experience. So in order to control my anxiety about how it's going to be received, I really just try and focus on how is this workplace for 120 people? Do they feel safe? Do they feel respected? Do they feel like their voices are heard? Do they feel included? Are they well-fed? Are they rested? Are they getting their needs met? So that's where I focus, and then when something like this happens, I just breathe a huge sigh of relief, and then just walk in gratitude. SEE'Dying for Sex' reviews: Michelle Williams limited series is 'raunchy,' 'horny' and ultimately 'heartbreaking,' say critics I know it's just acting, but it does feel like you're best friends in real life. How did you create your chemistry? Slate: It did bleed. It did roll over into real life. We luckily do enjoy each other very much, and became real friends. It's weird to say it, because of course, we had to learn about each other and learn our lines and prepare our scenes, but that crackle of connection was there, which is really exciting and wonderful. It's everything. Williams: When we first met and Jenny walked out of the room, there was no conversation. It really was love at first sight. There was chemistry and kismet and karma all rolled up into one, and that was it. We were going to be together forever in these roles and onscreen. Our children are going to go to school together next year. It all continues. Slate: Although when I left the room, I was like, 'Was that what I think it was?' I didn't know yet whether or not I would feel like when Anne of Green Gables is put on trial and she doesn't know if she'll get to stay, What did it mean to you to see that representation of female friendship on screen? 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It's such a lovely thing to put at the center of a story, and it felt so good to be in that pair in our scenes. SEE I would imagine you both listened to the podcast. What did you take away from it? Williams: I did. I listened to it a couple of times. At first, I just wasn't entirely sure why this thing was affecting me in the way that it was. I didn't know what kind of spell it had over me and why I could not even speak about the relationship between these two women without crying. And I was like, what has happened to me? What have they done to me? And that's really why I wanted to make the show. I was like, I have to figure out what this emotional core is that's affecting me, that's affecting Jenny, that's affecting Liz and Kim, and maybe it's just the four of us. But then when Rob [Delaney] signed on, I was like, "Well, it's affecting Rob." And then Jay [Duplass], and I was like, "Well, it's affecting Jay." I was like, "Well, maybe we're just a handful of weirdos that think this is right on." Turns out we're all a handful of weirdos, because the show is having this miraculous reach. What conversations did you have with the real Nikki? What did you want to ask her, and what did you take away from those conversations? Slate: Nikki really is very warm. She's giving. She's an open book. She doesn't appear to be scared to speak about her experiences. She's very respectful, like, "I don't want to say something sad to you, in case it will make you sad." I think she has a lot of respect for her own wide variety of experiences, but I asked her about how her grief felt when we started. It was the five-year anniversary of Molly's passing, but in the grand scheme of things, this is not a long time, and she shared what it feels like for her, and that it was kind of a wave form. Some days, she just feels Molly's spirit with her, and she feels they're always together, that they're always with each other. And some days, she said she does feel more of a sinking sadness, the weight of it. I asked her a lot about how she expresses anger. Because I do express anger in a more weird, repressed, withered way than in my life, than Nikki on our show does. Williams: It's so hard to get anything made ever, and so I think we were all kind of like warming our hands by the fire of this unlikely gathering. It was really a space of allowing trust, sharing, collaboration. It was not a, "Here's how it was, sit down and let me tell you a story, listen to me and do as I say." It was an honoring of these two women and their friendship, an honoring of how each of them took care of each other, supported each other, an honoring of this group of mostly women coming together, being given this opportunity to make something in a place, at a studio, in this moment in history. When you're on a set and you look around and you see this many women, you're like, it's hard to get here and to be given leadership. And so I think we were all in deep regard for this space that had opened up for all of us to collaborate and be our best selves at work. SEE Talk about working with Liz and Kim. How did you work with them to find the right tone for the show? Williams: You know, I kept asking them that, "What's the tone? What's the world I am inhabiting? How do I fit into this?" And then I realized, like, "Oh, the tone is Liz. It's Liz's tone." Slate: It's just watch her. It's watch her walk around and say stuff. It's such a funny combination. Williams: And that the tone is sometimes atonal, the tone is sometimes not harmonious. The tone is a clash. Don't be afraid of the clanging that sometimes life makes. It's possible for all these things to be happening at once. That's life. Slate: She and Kim both came from the theater, they're playwrights to start. When you get farther into Dying for Sex, and Molly is unlinking, it gets just so much more dreamy, theatrical. It has the comedy of people who really understand how to write hard, great, good jokes, and then also people who come from environments where it pays off to be experimental and admitting that we all have a psyche and that's really driving the rig. Flying penises! Williams: That was really a moment for me, when that script came in. You don't have all the scripts when you sign on, so it's a lot of surprise. Another script has landed — you're like, "Wow, I wonder what's gonna happen next." When I got flying penises, I was like, "This is the right show for me!" Slate: Wild, it really is wild. Michelle's dance — when Molly really finally feels her own forgiveness and power and everything else moving through her and that that becomes so physical. Michelle's dance is so incredible that is not, in my opinion, normal for TV. I have never seen that before, ever. 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It's one of my favorite performances I've been able to be a part of. But it did break my heart a bit. Williams: I don't know what I would say was the hardest. Everything that happens is coming from that place, from that story. And so all of the scenes feel like they carry the seed of that. There's not really an easy day. Slate: Lots of beautiful, fun, worth it, filled with energy days, but no easy ones, I'll give you a chance to compliment each other. Michelle, talk about a scene of Jenny's where she just nailed it, and then Jenny, talk about one of Michelle's scenes. Williams: It would be impossible. It's everything. It's not just everything that you see; it's everything that you don't see. It's every single take, and they only use one. But that doesn't mean that there was only one good one, or one crackling one. There's just a lot of different ones. And this is the one that they chose to service the flow of the entire piece. But when you're really in the ring with somebody, I don't think that we were ever in a place where we were watching each other. It was every moment of every take of every scene, full commitment, full absorption, full integrity, full brain, full wit, full heart. It is like an onslaught of talent and commitment and bravery, and that's unwavering, so I couldn't pick nor was I ever in a place observing like that. Slate: That's the nicest thing anyone has ever said to me, and I'm so glad it was filmed! (Laughs.) I didn't get to see it on the day, but watching the sequence of Molly's different orgasms and the surprise, exhaustion, shock, the physical comedy was just like, oh, it reminded me of why I first wanted to see comedy and do it like it. It was so refreshing and funny. I laughed so hard and loudly, and I just remember being like, whoa. I've never seen that before. I've never seen it from this performer. I've never seen it in general, these orgasms are crazy, They're so funny. And like to see a character react to her own expressions of pleasure, but like shock. It is like a master class in orgasms. SEE'I cried a lot': Rob Delaney on the heart and humor in FX's 'Dying for Sex' — and Neighbor Guy's kick in the 'zone' The show is about death, it's about sex, it's about abuse, it's about cancer, it's about friendship. What do you want audiences to take away from it? Or is it all of the above? Slate: I guess what I've thought a lot about during filming and since, is my own fear of stasis, and that I thought I felt very threatened by the idea that, what if? What if something happens to me that's either too good or too bad, and I don't change anymore because I'm clinging to something that's already occurred. That fear just used to kind of mess with me. It didn't really have a greater function. And that is upsetting in itself, and I think that what Michelle performed so beautifully is Molly's really difficult decision to even admit to a wall or a stopping point or stasis and how gratifying it is to take oneself through and reject the idea that something gigantic that happens to a person negative or positive is so large that would block the entryway to any more change or progress. I want people to be excited about identifying what might be a stopping point or a definition that is entombing them in a way, and to decide to bust out if they want to. Williams: Damn! We have to end on that note. Best of GoldDerby Gary Oldman on 'Slow Horses' being 'an extraordinary show to work on' and 'one of the highlights of my career' Dan Fogelman and team on the making of 'Paradise': 'It only works if you have talented people who you trust' Brandon Scott Jones on CBS' 'Ghosts': 'I enjoy playing characters that are desperate' Click here to read the full article.
