#so...tell him he's a racist if he doesn't prioritise the narratives of all the POC on this show in s4.

[whenmemorydies]

The legerdemain of racism: demands for season 4 of The Bear

Alright folks, this one has been sitting on my chest like a fucking elephant for the last week. It's a long one (when are they not, I'm sorry lol), so if you'd give me the grace of your time and eyeballs, lets have a cup of tea and do this.

Legerdemain: the magic trick

In 3x07 Legacy, we're introduced to the concept of legerdemain (French for 'sleight of hand') in the form of notes and drawings, etched into one of Carmy's notebooks:

Other possible definitions of legerdemain include:

'the skilful hiding of the truth in order to trick people';

'skilful tricks done as part of a performance'; and

'cunning, deception or trickery.'

There have been important discussions on this app about the concept of legerdemain in The Bear, and how Storer, Calo and co. appear to have peppered season 3 of the show with references to their own use of the concept in breaking the fourth wall, to comment on filmmaking, on cooking, magic, and perhaps, using the legerdemain of season 3 as a distraction while they take a dish their industry further in season 4.

Have a look at the below metas for some helpful background to what I'm talking about here.

Fourth Wall/Magic Trick Metas for The Bear:

@brokenwinebox's Fourth Wall (being broken)

@brokenwinebox's The New Paradigm

@thoughtfulchaos773's meta on the fourth wall

@currymanganese's Richie's journey is not over (on Richie being the author avatar for creator Chris Storer

@currymanganese's masterful consolidation of fourth wall analysis and their speculative analysis on the role of the Faks

@ago0112's analysis of the blurring of fact and fiction during the Ever funeral service

My post Richie and the viewer.

See also this beautiful reblog thread discussing how the creative decisions involved in season 3 have elicited sympathetic responses in the audience that mimic the emotions of the characters on The Bear, possibly contributing to a division in how this season has been received generally. Shout out to @moodyeucalyptus, @vacationship and @greekyogurttragedy for this generous and thoughtful discussion. And this insightful breakdown on the treatment of characters of colour this season between @hwere and @mxmajor + this discussion on the sidelining of Black grief this season with @melfinawins , @suellenalmeida and @moodyeucalyptus.

An ache: POC on The Bear

After I finished my first watch of season 3 (which was an ill-advised binge while recovering from the flu), I felt like I had sat through a year's worth of television. This was purely for the fact that I was emotionally SPENT by the end of it (still didn't stop me from wanting to rewatch the entire thing immediately - I didn't, thank god. Shout out to my nervous system for threatening a revolt and stopping me). Anyway this is to say, I had to really stretch my memory to recall a lot of the content in this season's early episodes. One that stood out though was the beginning of 3x02 Next.

3x02 begins (hilariously) with Syd and Papa Adamu fighting for bathroom time and then Syd leaving the apartment for work. As Syd makes her way to work, we hear Eddie Vedder's cover of "Save It For Later" playing, which @brokenwinebox has referred to in the context of the fourth wall.

We then leave Syd but get a tour of early morning Chicago with documentary-style footage of an array of workers beginning their daily grinds, preparing the city for its day. These workers are diverse in lots of ways including cultural background and employment, running the gamut from food service, hospitality, newspapers (shout out to the Chicago Tribune which will give The Bear its first review in 3x10 Forever), sports, etc.

What is striking about this beautiful opening to 3x02 are the lyrics of "Save It For Later" that are playing as we see all these hardworking people pass by on our screens:

We hear Eddie Vedder sing, "run away, run away and let me down" over and over while diverse, working class folks wave at us, the viewers. And if I'm being honest, in relation to people of colour and Black folks being represented on this show, this is a good chunk of what season 3 ended up feeling like for me (and undoubtedly, for a lot of other BIPOC viewers too): racialised people waving, hailing the creators behind this show, and screaming DON'T LET US DOWN, DON'T RUN AWAY FROM US. WHY THE FUCK SHOULD WE SUFFER LIKE THIS?

And then we get the remainder of 3x02, which myself and others have described as having two too many Faks and one too many unnecessary conversations about Claire in lieu of the attention that should have been paid to Marcus and the loss of his mother. Where the fuck was Chester, who looked after Mrs Brooks when Marcus was in Copenhagen? I needed to see their sweet friendship in that episode and was actually blown away when we got none of it.

And things got progressively worse from there.

In this pre-season 3 meta on The Bear, I spoke about how part of the tragedy of Carmy's fridge spiral was the (white) saviourism of his speech to Tina ("I failed you guys") which rubbed me all sorts of wrong ways given that the largely POC crew rallied and turned Friends and Family into a success while our man was stuck in the fridge. White saviourism can also be described as the trope of the 'white man's burden' (itself named after the Rudyard Kipling poem written as a justification for European imperial conquest of the Global South).

I'm not saying that the white saviourism here is intentional or that Carmy would even identify his behaviour in this way (unconscious biases are just that - unconscious - after all). But Carm is the product of the fine dining industry which is predominantly white. His access to those fancy kitchens was predicated on the fact that his family owned their own restaurant to begin with. That access would have been dictated by privilege and power which are inextricably tied to things like race, class, gender, ability etc. Marcus got his start in the culinary world via McDonalds while his single mum busted her ass looking after him. As far as we know, Syd had no connections in the culinary world before she embarked on her career and she's got the imposter syndrome to show for it (this is part of why I will fight to the death anyone who slags her off, she's too precious to me). 3x06 Napkins gave us huge insight into Tina's journey to fine dining which was also not easy. Likewise in 3x07 Legacy when Ted Fak (?!) gives Sweeps the latter's "I know who you are" moment. I'm still waiting on the origin stories of Ebra, Manny and Angel.

These differences between Carmy's journey and those of the characters of colour on this show matter and it was heartening to me to know that the writers of The Bear thought they mattered enough that they made them canon. These stories make it clear that of all of the people at The Beef and then The Bear, Carmy is likely the person with the most race and class privilege. And sometimes, the man acted like it! (e.g. Carmy disregarding all the work put in by the largely POC crew after he got locked in the walk in, dismissing their victorious service led by Sydney and Richie in 2x10 when he talked to Tina. He'd do this again when he spoke to Sydney in 3x01 and she has to remind him that everyone helped get the restaurant through Friends and Family).

Let me be clear: I wasn't and am still not mad that Carmy becomes an entitled, privileged little shit when the shit hits the fan. This is all in character for him (he's been this way since season 1 folks - recall 1x07 The Review).

I even expected the white saviourism to shoot itself into the stratosphere in season 3 while Carmy entered Michelin Mode. Because that is how this white man has been trained (in a largely white industry) to operate in a high pressure culinary setting that prioritises the reputation (and the glory) of the EC at the cost of everyone under them. Add to that Carmy's clear trauma, his learned behaviours from dealing with an abusive mother and absent father, his discordant relationships with his parentified siblings, his psychotic ex-boss, his grief...I was certain the man was going to be a hot, dysregulated mess for at least part of this season. And he was.

BUT...

What I wasn't counting on was the overabundance of the Faks (I am still not over John fucking Cena taking up screen time on this show OR that it was Neil and Ted at the end of 3x08 Ice Chips, visiting Nat and Donna after Nat's delivery), and the overabundance of Claire content, while we had the season running away from our characters of colour.

Sydney spent most of season 3 mediating between two dysregulated white guys (Richie and Carmy - though her character didn't do this without a fight, a la "I'm not your fucking babysitter" in 3x03 Doors) and being subjected to Carmy's tirades all through service and prep, without much exposition at all about her and her motivations for staying at The Bear (we get a glimpse - a beautiful one that absolutely devastated me - just before her panic attack in the season's last episode 3x10). We even had Marcus in 3x03 Doors (this particular choice PISSED me all the way off given the absolute lack of care given to this character and the passing of his mother in the same episode) pushing both the Magical Negro trope and the white man's burden trope as he tells Carmy to "take us there Bear": a plea to Carm to make the restaurant work for the crew's sake. In 3x05 Children, we get Carmy treating Ebra like an actual Magical Negro in one of the few exchanges between the two of them this season, when Carm asks Ebra, "Am I fucking this up?" about, well - in a moment I'd like to think was fourth wall knocking - this entire season/the operation of the restaurant.

@kensatou in this brilliant gifset (of one of the funniest bits this season) also points out how the restaurant is contributing to the gentrification of its neighbourhood, further driving the restaurant and us viewers towards an increasing whitening of the world of The Bear.

Then we've got one of the most frustrating aspects of racism and misogynoir associated with this show and a seemingly bewildering response from the cast and crew in tackling it: the INSISTENCE at different points in time by some fans of the show, the cast and the crew that Sydney and Carmy are platonic and nothing more. All the cues and subtext in the show itself, be damned. I won't go through all the arguments as to why this is bullshit but will say, many folks have talked about how many m/f platonic relationships there are on this show (Richie/Tina, Richie/Sydney, Marcus/Sydney, Marcus/Tina, Richie/Nat, Michael/Tina, Carmy/every other woman apart from Sydney etc). There’s no shortage so why are folks so pressed with Sydcarmy? *cough* anti-black racism and misogynoir is why *cough*. Anyway...there's been LOTS of exposition about this on Tumblr by folks much more well-versed in this discourse than me. Just search the #sydcarmy hashtag for that brilliance.

Some (including me) have wondered why the cast and creators don’t directly address the obvious racism behind calls for Sydcarmy to only be platonic, or at the very least, just tell people calling for this to watch the damn show and see. Instead Sydcarmies were met with official denials of any kind of romantic relationship between Syd and Carmy right up until premiere of season 3. I know I personally felt that the insistence by the cast and crew to actively deny any romantic relationship between a Black woman and white man on this show was frustrating to the n'th degree. But then I jumped on Tumblr, as we do, and fell into the fourth wall, magic trick and legerdemain discussions and I got thoughts...if you're still here, I promise I'm almost at my point lol, stick with me.

Racism as the sleight of hand, white supremacy as the deception

The singular Toni Morrison famously described racism as a distraction (tres legerdemain-ish, n'est-ce pas?):

"The function, the very serious function of racism is distraction. It keeps you from doing your work. It keeps you explaining, over and over again, your reason for being. Somebody says you have no language and you spend twenty years proving that you do. Somebody says your head isn’t shaped properly so you have scientists working on the fact that it is. Somebody says you have no art, so you dredge that up. Somebody says you have no kingdoms, so you dredge that up. None of that is necessary. There will always be one more thing."

The above quote is from a talk that Ms Morrison gave at Portland State University in 1975 entitled "Black Studies Center Public Dialogue, Part 2". You can listen to the talk in full here. A transcript of the talk can also be found here.

What if, the racism driving the anti-Sydcarmy antagonism and the cast and crew not addressing it or letting it fester is the point. Racism doing what racism does: distracting and deceiving. What if the pay off from this sleight of hand is that in season 4 we get what we know is destined to happen? An outcome based on the cues and clues that are littered throughout this show for anyone with a modicum of media literacy and without the blinders that a racist worldview grants: Sydcarmy.

And what about what Morrison said next in her talk,

"The distraction is no different than bombing Cambodia to keep the Northern Vietnamese from making their great push. And since not history, not anthropology, not social sciences seem capable in a strong and consistent way to grapple with that problem, it may very well be left to the artists to do it.

For art focuses on the single grain of rice, the tree-shaped scar, and the names of people, not only the number that arrived. And to the artist one can only say, not to be confused, [sigh] not to be confused.

You don’t waste your energy fighting the fever; you must only fight the disease. And the disease is not racism. It is greed and the struggle for power.

And I urge you to be careful. For there is a deadly prison: the prison that is erected when one spends one’s life fighting phantoms, concentrating on myths, and explaining over and over to the conqueror your language, your lifestyle, your history, your habits.

And you don’t have to do it anymore. You can go ahead and talk straight to me."

Now Morrison was speaking directly to Black artists, creators and thinkers when she gave the above talk but I would argue that all creators who are telling stories that feature people of colour, or people from communities that have been systemically discriminated against for whatever reason, have a responsibility to heed her call. Speak DIRECTLY to the communities you are representing in your work. And if you are doing your damn job properly in 2024, that is ALL OF US, in some shape or form. What Morrison is asking folks to do, is de-center the white gaze.

Ok so bearing in mind the above, back to the fourth wall, the magic trick and an invitation to believe. Recall this screenshot from 3x09 Apologies:

@currymanganese has theorised that Richie is the author-avatar for The Bear creator Chris Storer. Storer is partners with Gillian Jacobs (the actress who plays Tiff, also pictured here) in real life. In essence, we are looking at some version of "mom and dad" of this show (ideally, we'd have an avatar for showrunner Joanna Calo in here instead, but I'm working with what I got). After Tiff says "Well, I know my demographic" in the above scene, Richie/Storer stays looking at the camera long after Tiff turns away from it.

Let’s be real, in any other circumstance, if two white people were looking me dead in the eye and saying they knew who their demographic was, I’d be worried lmao. I'm still worried because for a white showrunner like Storer to even begin to understand just HOW paradigm shifting what I'm going to suggest below is, would be huge.

But...what if the demographic is us? The viewership that was drawn into this show by the unapologetic and unambiguous representation of Black characters and characters of colour in season 1 of The Bear? A show that had Sydney making stew and plantains for the family meal from the jump in 1x01 System, that had Tina calling Carmy a puta while next second claiming no Inglés, that had Marcus, Sydney and Sweeps code switching to AAVE with no explanation to anyone; that had Marcus lovingly applying Palmer's Cocoa Butter (iykyk) to his bedridden mother's hands? A viewership that includes many people of colour who have been so frustrated by the sidelining of the characters of colour this season because of the show's focus on Carmy, the fucking Faks and Claire?

Now there has been some analysis on the purpose of the Faks and Claire which has lightened my heart somewhat. But the treatment of racialised characters this season still doesn't sit completely square with me.

Do Storer and Calo have what it takes to do what Toni Morrison commanded and not be confused? To go ahead and talk straight to us in season 4?

Will they make things square like Carmy alluded to in his description of what he wants his legacy to be, in 3x07?

As much as I went into my issues with this season here in this post, I am hopeful. I love this show. I love how it deals with grief. I love the symbolism and the quality of the writing, I love the acting, I love the cinematography. I love the music. This thing is a veritable feast. And I know it can be yet greater, if it heeds Ms Morrison's demand.

There's glimpses that its doing this and hopefully, will take the thread and run with it head-first into season 4: at the end of 3x10 Forever who is it that brings all of us viewers back to the idea of chosen family (what the showrunners have said the show is actually about)? Which character is seen remembering the original crew of the Beef and their trajectory to the end of season 3? Who has refused to run away from them all throughout the show (and when she did, she came back)? Whose arrival at The Beef kickstarts this whole ride in the first place? Its the CDC of The Bear: Sydney Adamu.

If Storer and Calo want to take this legerdemain shit seriously, then season 4 needs to centre Sydney as the main protagonist. It needs to return to its characters of colour. It needs to paradigm shift the fuck out of this show.

We already got Ayo directing the season premiere for season 4. I am cautiously holding out hope for more of the same next season. Listen, I know I am asking for folks to suspend maybe everything we know about systemic racism in the entertainment industry here lol. But if this season has been about the suspension of belief and distraction, maybe Ms Morrison’s words are more prescient than ever. And if these showrunners are committing to the bit as hard as I think they are, maybe the final season of The Bear is going to be its best yet.