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Los Angeles Times
2 days ago
- Entertainment
- Los Angeles Times
For the trio behind it, one of ‘The Bear's' best episodes was also an ‘act of kindness'
When I tell Liza Colón-Zayas that I cooked asopao de pollo, a traditional Puerto Rican stew, in preparation for our interview, her eyes light up. The dish, similar to one she makes as beleaguered line cook Tina Marrero in 'The Bear's' Emmy-nominated Season 3 episode 'Napkins,' brings back deeply comforting memories for the Puerto Rican actress, 53, who was raised in the Bronx. (She tells me she even consulted on which ingredients to use for authenticity.) 'You come home, and it smells like Mom was cooking for you,' Colón-Zayas says of the favorite Latin American meals she grew up with. 'It's like, 'Ahhh.' My habits have improved. My knives are better. But I still want my go-tos.' 'Napkins,' which earned Colón-Zayas' co-star Ayo Edebiri an Emmy nomination for her first-ever directing credit, tells Tina's story, part of the show's tradition of spotlighting individual characters. (Sorry, Jeremy Allen White groupies, there's no Carmy here.) We see Tina before her gig at the Beef, struggling to find a job, to keep her family together and, most of all, to feel seen. 'I did not expect it. When I got it and read it, I was just so emotional. I loved it. I thought it went so above and beyond showing her humanity and life before we got to see this refresh,' Colón-Zayas says. But 'Napkins' is also, in so many ways, Colón-Zayas' own story. She's a 30-year veteran of television and the New York theater scene, where she was a mainstay in the 1990s alongside co-star Jon Bernthal and now-husband David Zayas (who in 'Napkins' plays Tina's spouse named, yes, David). Still, few viewers could conjure her name before 'The Bear,' for which she made Emmy history last year as the first Latina to win for supporting actress in a comedy series. Which is to say, Colón-Zayas knows the ups and downs of being talented, hardworking and sometimes straight-out ignored, as Tina is in so much of 'Napkins.' This leads up to the pivotal final scene between Tina and Bernthal's Mikey, who runs the Beef. Though 'Napkins' is front-loaded with montages that show Tina being laid off from a candy company and searching for new employment — 'I love a montage,' Edebiri tells me. 'Shout out Eisenstein, shout out Sam Raimi' — what makes it great is the climactic sequence between Colón-Zayas and Bernthal. Tina walks into the Beef, gets a sandwich, sits down and tries her best to enjoy the food. But her eyes are ringed with the suggestion of tears and dejection. Mikey checks in on her (as well as the possibly terrible food) and asks about her crying. 'But not, like, sobbing,' Tina says, in an ad-lib by Colón-Zayas. 'She and I just sort of speak the same language immediately,' Bernthal says of the chemistry between him and Colón-Zayas. That, coupled with Edebiri's distinctive style, add to the scene's sense of discovery: At the outset, Tina and Mikey don't yet know each other, much less know that they need each other. Edebiri's road to such confident filmmaking began with a first-time director's course through the Directors Guild of America and a surrealist music video for Clairo's 'Terrapin,' starring 'Weird Al' Yankovic and his floating head. A certified movie nerd, Edebiri lists inspirations for her and creator Christopher Storer as diverse as 'Star Wars,' 'Johnny Guitar,' Akira Kurosawa's 'High and Low,' 'The Pink Panther' and 'The Hudsucker Proxy.' Which may explain the auteurist quality to 'Napkins,' particularly the 'slightly strange or unnatural blocking,' or arrangement and movements of performers in a scene, that Edebiri found in Kurosawa's films. She also has strong feelings about the music in the episode, fighting skeptical producers to use almost the entirety of a Kate Bush deep cut, 'The Morning Fog,' even after 'Stranger Things' had brought 'Running Up That Hill' back to the charts. 'It's a song that I've always really loved, and the more I listened to it, I was like, there's this woman who's being shipwrecked and she's being born again,' Edebiri says. The self-described Bush 'freak' Edebiri got her way in the end, though it required a letter-writing campaign with Bush, who approved with one qualification: 'You have to use the lyrics.' For her actors, though, it was Edebiri's restraint that shone through most vitally in 'Napkins.' Bernthal and Colón-Zayas were opposite each other the whole time the cameras rolled, adding an irreplaceable rawness to the interaction. What they're able to portray, without ever explicitly addressing it, is the powerful connection between two strangers that can change your life. Or what Colón-Zayas calls 'this act of insane kindness.' 'I withdrew, like, 'We just have to hold this as long as possible, and it has to be as still as possible,'' Edebiri says of her notes as a director. Colón-Zayas confirms: 'It's almost hands-off. She really let us do our thing.' 'That's the nicest compliment, because I've never heard that before in my life,' Edebiri responds. 'That's not, like, a feature of mine.'
Refinery29
18-07-2025
- Entertainment
- Refinery29
Is The Bear Committing 'Category Fraud'? Either Way, Ayo Edebiri Deserves Her Historic Emmy Noms
For many TV watchers The Bear and controversial Emmy nominations go hand in hand. For the last few years, every time the show scores Emmys nominations — like this year's 13 nods — the same statement inevitably gets cranked out of the discourse machine: ' The Bear is not a comedy. ' The show has consistently earned nominations and won in comedic Emmy categories, sparking outcry from viewers and critics who ask, 'How can a show about anxiety, trauma, and family breakdowns be a comedy?' But this leads to another question: In an era where genres are constantly being blurred and reimagined, do categories even matter? And further, does this whole debate overshadow artists' achievements? This year, one of The Bear's breakout stars Ayo Edebiri has made Emmys history. She's the first woman ever to be nominated for both acting and directing in a comedy series and she's the youngest Black woman to have earned three acting nominations. She's up for 'Outstanding Leading Actress in a Comedy Series' and 'Outstanding Directing For A Comedy Series' for her directing work on the episode 'Napkins'. While calling The Bear a 'comedy' might be questionable, there's no doubt that Edebiri's phenomenal work, both in front of and behind the camera, deserves recognition — and award wins. That tension between the category and the content has made The Bear a lightning rod for awards discourse and, to be fair, the 'Emmys fraud' debate isn't entirely without merit. There's a long history of shows making strategic decisions to improve their chances of success. At the Emmys, shows can submit themselves to any category they choose, so they tend to pick the one they believe they are more likely to win. Lead actors submit themselves to the supporting actor category or more dramatic shows submit themselves to the comedy categories, bending the rules to secure an award. For example, in 2014, Joe Morton — who played protagonist Oliva's father in Scandal — was submitted for the 'Outstanding Guest Star' award category despite appearing in most episodes that season. It also doesn't help that the Television Academy (who runs the Emmys) used to state for years that comedies were defined as having a run time of 30 minutes. Therefore, a show like The Bear, exploring panic attacks, grief spirals, and high-stakes emotional reckoning alongside lighter comedic moments ended up being classified as a comedy by default because most of the episodes' runtimes fit the comedic categories by definition. They changed these rules in 2021. Comedic acting has historically been undervalued, so when a show like The Bear dominates the comedy category, it raises valid concerns about whether dramas-in-disguise are crowding out more traditional, and equally deserving comedic work. The reality is TV genres straddle a medley of storytelling styles, which is great for viewers who appreciate innovation — award shows need to keep up. Bearing all this in mind, it's difficult not to feel happy for Edebiri — what matters most is her work being recognized. Her work in front of and behind the camera has been exceptional. Season 3 of The Bear often felt sluggish and struggled to find its feet, but flashback episode "Napkins" (Edebiri's directorial debut and written by Catherine Schetina) stood out as a beautiful, tender insight into chef Tina (played by Liza Colón-Zayas) and how she became who is in the kitchen. We see the working-class woman of color, mother, and wife struggle after being suddenly thrust back into the modern LinkedIn-ified world of work, pitted against graduates and younger workers vying for the same jobs, facing endless faux-polite rejections and the immense pressure to continue providing for her family in a job market that doesn't value her. A coincidental but deeply meaningful encounter with Mikey at The Beef helps Tina reinvent herself in the workplace. The Bear tends to veer between unbearably hectic and tranquil; Edebiri shows her directorial chops by directing an episode imbued with that quiet stillness. We see the camera focus on aspects of Tina's everyday routine, and watch as the stability of her life begins crumbling. Whilst this part of Tina's story is sad, she's not a pitiful figure. Edebiri gives the character a sense of fight, determination and dignity despite the anguish. Edebiri has continued to build on her skills in 2025's Season 4, directing and starring in the episode 'Worms' — a tender portrait of Blackness, family, and community whilst also a highly introspective character study. Sydney (Edebiri) is facing a long stretched out dilemma: should she stay at The Bear or leave to join Chef Adam Shapiro's new venture? As Shapiro begins to feel like an awkward mismatch rather than a viable new business partner, it's also the first time we see the show delve more explicitly into racial themes. In the episode, Shapiro doesn't understand that Sydney's hair appointment is likely to take all day, he over-explains why he's blasting an East Coast rap song, and is then surprised when she chooses to put Beethoven on instead. He expects her to "bring in Afro Caribbean influences" to the restaurant, despite the fact we've never really seen her cook that style of cuisine (Sydney is also Nigerian). Later, he asks her if she's seen the Chris Rock documentary Good Hair. He has the air of a 2020 self-described "white ally" who reduces Sydney to her racial identity, putting her in a box and diminishing her humanity. (Predictably, his good nature quickly disappears when he doesn't get what he wants from her later in the series.) ' While calling The Bear a 'comedy' might be questionable, there's no doubt that Edebiri's phenomenal work, both in front of and behind the camera, deserves recognition. ' 'Worms' also reflects the deeply familiar shared experience of Black women getting their hair done: Sydney gossiping hairstylist/cousin Chantel (played by Danielle Deadwyler who is hilarious in the episode), getting her hair braided at home rather than in a salon, the stylist code-switching on the phone then back to her authentic self with Sydney, Chantel scolding her young daughter TJ for talking back. It's a very believable portrayal of a near-universal experience for Black women. The exploration of Sydney's dilemma through her conversation with the much younger TJ is an interesting twist. There's hardly any food in the house, so they go on an impromptu shopping trip, and leisurely make a home-cooked meal; the timer on the oven is stuck at 12:00. Unlike the demands of the professional kitchen, time is suspended and Sydney has the time to contemplate her choices through the simplicity of a child-like metaphor: choosing which house to go to for a sleepover. Getting a glimpse into Sydney's familial relationships creates a contrast with Carmy (Jeremy Allen White), who can't even remember he's now an uncle. 'Worms' demonstrates deftly the tension of choosing between someone who seems "right" on paper (Shapiro) and people who — despite their flaws — feel like home (Syd's coworkers at The Bear). Edebiri's ability to convey that tension in her meandering dialogue, wide eyes, pauses, and sometimes unconvincing justifications for why she's still at The Bear is outstanding. Comedy or drama, The Bear's writing, storytelling and directing is warm, grounded, realistic and brings us back to the heart of the show: food. The Bear is often far more interested in the personal and the micro, than the political and macro, but to me it has always quietly reflected a truth about multi-racial America, particularly for working-class people. People from different backgrounds work, socialize and care about each other. The Bear restaurant is often referred to as a family— albeit a chaotic one— and that extends to something very true about people in America more broadly, contrary to the story that more Conservative power holders want to tell. In a wider landscape of ICE raids and other racially hostile policies, the quiet politics Edibiri skillfully and convincingly teases out feels important.
Buzz Feed
16-07-2025
- Entertainment
- Buzz Feed
Newly Emmy-Nominated Hulu Shows You Should Be Watching
FX received a total of 35 nods and Hulu raked in 23, bringing its overall haul to 58. This is significantly less than last year (not every year can be a Shōgun year!), but still an impressive showing when you look at its dominance in the major acting categories. The Bear (S3) As suspected, The Television Academy yet again said yes, chef to The Bear. Having a new (and considerably more favored) season of The Bear streaming during the voting window might have been exactly what the show needed to boost its Emmy chances. The drama (with some comedic moments!) was able to bring in 13 overall nominations — including for Ayo Edibiri's directing on the episode "Napkins" — despite a more tepidly received third season. That brings its total to 49 Emmy noms across three seasons.13 nominations, including: Comedy Series, Lead Actor in a Comedy Series (Jeremy Allen White), Lead Actress in a Comedy Series (Ayo Edibiri), Supporting Actor in a Comedy Series (Ebon Moss-Bachrach), Supporting Actress in a Comedy Series (Liza Colón-Zayas), Directing for a Comedy Series (Ayo Edibiri), Guest Actor in a Comedy Series (Jon Bernthal), Guest Actress in a Comedy Series (Olivia Colman), Guest Actress in a Comedy Series (Jamie Lee Curtis)Watch it on Hulu. Dying For Sex No surprises here! This limited series, based on the real-life story of Molly Kochan — whose terminal cancer diagnosis prompted a journey of sexual exploration — was an undeniable critical hit and featured what many believe to be career-best work from Jenny Slate and Michelle Williams. Its nomination haul reflects that. 9 nominations, including: Limited or Anthology Series, Lead Actress in a Limited or Anthology Series or Movie (Michelle Williams), Supporting Actor in a Limited or Anthology Series or Movie (Rob Delaney), Supporting Actress in a Limited or Anthology Series or Movie (Jenny Slate), Directing for a Limited or Anthology Series or Movie, Writing for a Limited or Anthology Series or MovieWatch it on Hulu. What We Do in the Shadows (S6) While What We Do In The Shadows wasn't able to break into the major acting categories, it's a relief to see that it's back in the Comedy Series mix for its final season. Now, get ahead of your streaming blues and read our list of show recs if it just hit you that, for the first time since 2018, there won't be a new season headed to FX.8 nominations, including: Comedy Series, Writing For a Comedy SeriesWatch it on Hulu. Only Murders in the Building (S4) No Steve, Selena, or more shockingly, Meryl, but eight nominations is nothing to frown about. In its fourth season, the comedy series had an uphill battle with new entries like The Studio and Nobody Wants This crowding the acting field.8 nominations, including: Comedy Series, Lead Actor In A Comedy Series (Martin Short)Watch it on Hulu. Mid-Century Modern (S1) A posthumous nod for Linda Lavin seemed like the most logical place for the Television Academy to show support for this new series, which follows three gay men who retire to Palm Springs. However, voters seemed more taken by the below-the-line craft, recognizing its sound mixing, production design, and picture editing. Its directing nomination was the biggest surprise of the bunch.5 nominations, including: Directing for a Comedy Series Watch it on Hulu. Paradise (S1) Perhaps the biggest overperformer from Hulu was this new series from This Is Us creator Dan Fogelman. While many were on the lookout for Sterling K. Brown's name, few saw James Marsden and Julianne Nicholson getting in there. Two acting nominations for Nicholson in a calendar year feels absolutely right, though.4 nominations, including: Outstanding Drama Series, Outstanding Lead Actor in a Drama Series (Sterling K. Brown), Outstanding Supporting Actor in a Drama Series (James Marsden), Outstanding Supporting Actress in a Drama Series (Julianne Nicholson)Watch it on Hulu. Welcome to Wrexham (S3) It should not come as a surprise to anyone that the two-time winner in the Unstructured Reality Program category has yet again received a nod for its third season. This genre-defying docu-series slash real-life Ted Lasso from Rob McElhenney and Ryan Reynolds is clearly just getting started. 4 nominations, including: Unstructured Reality ProgramWatch it on Hulu. Bill Burr: Drop Dead Years In this hour-long special filmed at Seattle's Moore Theatre, Bill Burr takes on the mess of contradictions that define our modern lives. Emmy voters did not contradict themselves in their praise for his work — also throwing it a Picture Editing nomination.2 nominations, including: Outstanding Variety Special (Pre-Recorded)Watch it on Hulu. The Handmaid's Tale (S6) It's a time-honored tradition to see final seasons overperform on Emmy nomination morning. That was not the case with The Handmaid's Tale. The critical favorite, which previously nabbed 15 Emmy wins across its five seasons — including a Drama Series win for its first season — received an underwhelming send-off with S6. Reliably great guest actor Cherry Jones earned the lone nomination for Handmaid's — a third for her. 1 nomination: Guest Actress in a Drama Series (Cherry Jones)Watch it on Hulu. Sly Lives! (aka the Burden of Black Genius) Questlove's first doc won an Oscar. His second? Well, it may have flown under your radar entirely. Good thing the Television Academy has given the brilliant, underseen project about funk pioneer Sly Stone (and so much more) a bit more visibility by honoring it here. 1 nomination: Documentary or Nonfiction Special Watch it on Hulu. Social Studies This five-part series from Lauren Greenfield is a fascinating and sobering examination of teenhood in the age of TikTok. (And no, this won't be the last time you see TikTok mentioned in this nomination list.) As I expected, voters simply couldn't shake this doc when it came time to put pen to paper.1 nomination: Documentary or Nonfiction SeriesWatch it on Hulu. Say Nothing Well, one nomination is The chatter around this limited series adapted from the Patrick Radden Keefe book seemed to die down in the months after its release — never a great sign for an already under-the-radar title. In a just world, this series would have also landed a nod for Best Limited or Anthology Series. But we don't live in a just world, and you would know that if you watched Say Nothing.1 nomination: Writing for a Limited or Anthology Series or MovieWatch it on Hulu. The Secret Lives of Mormon Wives (S1) My reality feels very unstructured after learning that The Secret Lives of Mormon Wives landed a nomination for Unstructured Reality Program. I say that with mostly love in my heart! Hulu's breakout hit, now in its second season, introduced many to the messy, disorienting world of MomTok. Now, can we get these ladies in the same room as Julianne Nicholson's Dance Mom at the Emmys?1 nomination: Unstructured Reality ProgramWatch it on Hulu. Watch all of these Emmy nominees on Hulu.
Time of India
26-06-2025
- Entertainment
- Time of India
The Bear Season 4: Brie Larson, Francine Fak, and Danielle Deadwyler join the chaos
'The Bear' returns June 25, 2025, with a fresh wave of talent strengthening the kitchen drama. While Jeremy Allen White and the core cast come back, several significant new cast members are making waves. Tired of too many ads? go ad free now Brie Larson joins the kitchens Oscar winner Brie Larson is stepping into 'The Bear' universe for Season 4 in a role described as vital. Though details are being kept under wraps, insiders hint her character brings both gravitas and friction to Carmy's finely tuned or maybe fraying operation. Francie Fak: A newcomer Francie Fak is another newcomer with buzz. Reports point to her joining the series in a supporting role under the name Francine Fak. It's unclear whether this is a character name or a nod to cult-favourite chef Neil Fak Fak (played by Matty Matheson). Either way, Fak seems primed to stir things up in the kitchen. Returning favourites The core cast includes Jeremy Allen White as Carmy, Ayo Edebiri as Sydney, Ebon Moss-Bachrach as Richie, Lionel Boyce as Marcus, Liza Colón-Zayas as Tina, Abby Elliott as Natalie, and Matty Matheson as Fak, who will all return. Rest, Jamie Lee Curtis reprises her role as Donna Belazzato in a recurring arc, Oliver Platt as Cicero, and Molly Gordon as Claire returns for recurring appearances. Notably, Ayo Edebiri and Lionel Boyce make their writing debuts, co-penning an episode, a creative expansion following Edebiri's direction of Season 3's 'Napkins.' Premise and the premiere date recap The story picks up immediately after Season 3's cliffhanger: Carmy faces the fallout from a cryptic Chicago Tribune review, and Sydney weighs a high-stakes career move. All 10 episodes of Season 4 will premiere simultaneously on June 25, 2025, on FX on Hulu and internationally via Disney+. Further, Season 4 is shaping up to be 'The Bear's' most expansive yet, both in storytelling depth and star power. With heavyweight additions and creative growth among the original team, don't expect anything short of a red-hot comeback.
Black America Web
04-06-2025
- Entertainment
- Black America Web
Ayo Edebiri Expands Her Creative Contributions To ‘The Bear' Season 4
Source: ROBYN BECK / Getty The Bear's Ayo Edebiri expands her creative contributions by co-writing an episode for the upcoming fourth season. Collaborating with co-star Lionel Boyce, who plays pastry chef Marcus, the two have been able to add new roles to their repertoire. Read more inside. Edebiri is renowned for her portrayal of sous-chef Sydney Adamu in FX's acclaimed series The Bear . Now, the Emmy winner takes her talents behind the camera as a writer for the show. Edebiri's involvement in the show's creative process isn't new. She made her directorial debut in Season 3 with the episode 'Napkins,' which garnered critical acclaim and showcased her multifaceted talent. Her foray into writing feels like a natural progression as she began her journey and formative years as an artist crafting stories. The fourth season of The Bear is set to premiere on June 25, 2025, on FX and Hulu, with all ten episodes releasing simultaneously. Deadline reports that while specific plot details remain under wraps, the season is anticipated to delve deeper into the personal and professional challenges faced by the characters, particularly Sydney, who is at a crossroads in her culinary career. Edebiri's transition from acting to writing and directing within the same series highlights a growing trend in the entertainment industry, where actors take on multifaceted roles to shape the narratives they bring to life on screen. Her collaboration with Boyce not only enriches the storytelling of The Bear but also highlights the dynamic talents within its cast. As fans eagerly await the new season, Edebiri's expanded role promises to bring fresh perspectives and depth to the series, continuing its tradition of compelling storytelling and captivating character development. Congrats Ayo! SEE ALSO Ayo Edebiri Expands Her Creative Contributions To 'The Bear' Season 4 was originally published on Black America Web Featured Video CLOSE
