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unlikelyjapan · 1 year

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s2e8 rewatch notes

I've been living under a rock this week, but I did do a dive into Bolognese.

I've noticed there's only sunlight in the dining room when Syd and Carmy are together - otherwise it's always cast in a pale blue or artificial hue during the daytime. There's so much uncertainty in the opening scene, with Syd surveying the in-progress landscape by herself, like she knows it might be all for not.

Cut to Carmy stimmying alone in the kitchen. Claire's "you alright?" and Carmy's blank expression "Yeah, I'm alright" followed by Claire whispering "everything's fine" - others have touched eloquently on the infantalization, but so much of their relationship is dependent on her telling him how to feel. She asks him about the NICET level-2 exam, and he trails off mid-way because he really doesn't want to be discussing this with her - it punctures the love bubble.

Claire can feel the hesitation marks - re: with him sharing about his work, about his relationship/situationship with her, and that's what spawns the abrupt "never, ever apologize" - she's effectively telling him "you don't need to say anything" so she can continue being in control of their narrative. She's emotionally intuitive enough to see he's mentally in anguish, and she's trying to protect the connection at all costs by denying him any opportunity to experience/feel that anguish.

I don't think her actions are nefarious, it's just that when someone really REALLY wants someone else, they're bound to manipulate their emotions. We see it in her helping flip the narratives about the cannoli too - it's very much a "change the angles/change the lighting" move on something that is actually big . fucking. deal - it's projected like she's simply invested in Carmy's improvement, but it's also incredibly self-serving.

UGH the whispering. On second viewing, I can view it more as intentional discomfort, but it's still like being spit-roasted in CW Network hell.

"Lay my Love" John Cale and Brian Eno playing - "I am the crow of desperation, I need no fact or validation" - the whole song is about the relentlessness (and shadiness) of getting someone to love you back. Carmy suppresses who he is (and what he's feeling) to be with Claire, Claire aids in suppressing Carmy's feelings and completely sublimates her own need for everything (other than Carmy) to get him to want to be with her.

Tina & Ebra - yay, I love witnessing platonic friendships/working partnerships! /s

Someone please cross-stitch me an "Old bitches like their bitch ways" pendant to hang in my kitchen. Beyond that, there's not much to analyze in this scene - Ebra seems to feel more shame than resentment in his need to stay fixed. This is such a great interlude for the episode - showing that failure is tolerated within the found family, there's a place for everyone etc.

The fire suppression test is the shoe that doesn't drop for Carmy (so it emboldens him - the world didn't end, he's safe, so he immediately jumps into a defined relationship 2 weeks from open at the end of the episode) while Syd understands that the test just means they have permission to begin the first leg of their journey.

Hence, her response to "Just thinking about the fire suppression test" is a broader "Controlling the zone, staying calm, creating space, trust" - "How do we do this?" Carmy defers to her for the emotional labor of running The Bear - again. He figures he's there to deliver her things that impress her and elevate her (his talented palate, the chaos menu, a chef's coat, her star via his cache) - so naturally he thinks it's mission accomplished as soon as they have clearance to open.

Talking about the potential of failing the suppression test, they say "We are fucked" - in unison. When Sydney echos Carmy, he cops another sneaky glance at her face (sorry, I'm graphically feeble so I didn't grab a shot) not unlike the scene where they're talking in the kitchen. Contrasting this with the mumbled anxiety conversation with Claire, this conversation gives him strength - when they have these synchronistic moments, Carmen feels incredibly seen and heard.

"The best offenses have the ability to reset and adapt on a dime."

"We can do that though."

"We have to."

Well, one of them achieved this. Sydney is the offense. Carmy is the defense. Sydney is adapting to all the travails set up in the process of opening the restaurant - including Carmy - attempting to score a win. Carmy is blocking her from that win, but he's a shitty defense because his whole schtick is impressing Syd ironically taking Coach K to heart in his personal life. I think back to the intro-interview I transcribed at the beginning of Forks (from Coach's interview):

The very first thing is that in order to get better you change limits. And when you change limits, you're going to look bad and you're going to fail. And at West Point I learned that failure was never a destination. In other words, when you are knocked back, you know, figure out why, then change.

Carmy changed the limits in so many things - in his boundaries in relationships (with both Syd and Claire), opening his own restaurant, and reaching for more of life in general. He's failing, as expected - but he's also failing to play defensively, to figure out the why- the wind is just sort of carrying him along.

They also reinforce in the same talk that "you're not going to get there alone" - he's simultaneously trying to do this with Syd (as a "team" as it exists in his mind) and FOR Syd (laying what she's asked for at her feet like a sad cat seeking praise when she really just wanted him to listen).

"Carmy said he was going to handle it" - ahaha, I get it. The fridge handle comes off - Carmy constantly says "I'll handle it." Someone in the writer's room earned a cracker.

By this point, you can tell everyone on the team is exasperated by his absentee B.S, even if half of them are enablers.

"I was going to surprise you" - oooh Marcus.

"I see you with the olive oil" - Syd calling back to the apartment kitchen scene in s1e8.

The smile dissipates from Marcus' face instantly after Syd tries the dessert and Carmen interjects with the dextrose. These man hoes are so messy - I don't care what the Hollywood Reporter cranks out, I write it as I see it.

Marcus resets and the smile comes back when Carmen looks at his dessert and says "very yes", but not with the same intensity.

Also, so much for the Coach K "don't make excuses" - when Syd accosts Carmy about the fridge door, he immediately discusses his 'gnarly panic attack' - from one angle, he's learning to open up on his trauma via his relationship with Claire, but he's also using subtle manipulation to evade responsibility for things.

"She's a girl who's a FRIEND??" - Syd

"She's a girlfriend? You think?" - Carmy

"Oooh." - Syd

"Ooooh. Okay. Uh. Next" - Marcus

If you follow this up later with Marcus saying "That's healthy" re: the cannoli with solemn eyes, one begins to intuit that he doesn't think much of Carmy beyond boss-guy by this point (I mean, neither do others right now, but he's been in Europe).

He attributes Copenhagen to Syd (which, fair enough, it was her idea, but it was a window into Carmy's life orchestrated by Carmy) and you can tell the writers are playing with the tension by this point. Carmy as buffer/barrier. He only breaks the tension when Carmen says "for real" after trying the Copenhagen sundae - Carmy's expertise still means something to Marcus.

Richie's apology to Natalie - for Everything. "For a long time I didn't know where I fit, and I would shove myself into, like, places and things where I definitely did not fit. And I think that that probably....definitely....made things worse. And I'm sorry if I took anything out on you and if I treated you like shit."

In summary - sorry for injecting myself into your family for years and riling everyone up and manipulating the whole family dynamic. Sorry for aiding in Mikey's downfall. Sorry for aiding in Carmy's downfall. Sorry for not protecting you amidst all that. Sorry for all my "Van Halen" shit at work trying to compensate for what I lost with your family, with my own family I tried to build.

"That's why you're wearing the suit?"

"Um....I'm wearing the suit because it makes me feel better about myself."

I like that Natalie appreciates the visual confirmation that Richie is trying to be better, to practice self-love - she knows that's the inverse of The Beef and the Berzattos. And hearing Richie say "I need this place to work" and Gary echoing "WE need this place to work" is Natalie's first confirmation she's probably heard that the team isn't just her and Syd. She becomes so much lighter after this scene.

Syd rolling her eyes after hearing Carmy say he "had to draw them because the heat was off" - she's a technical and practical person, and you can tell that it's mildly aggravating (in that lovingly jealous way) that creative pursuits come to Carmy so easily. She has to absorb inspiration and creativity through observation and study, whereas with him it's self-contained.

Carmy cuts the tape as he's getting fired up/enthusiastic with Syd - noticing the details again, getting into the zone, and smiling.

Originally, the golem in me was like "haha, he ignored the lame "level 2 baby!" text from Claire, but I now realize that he reads it and then immediately leaves that "zone" - he again pushes labor onto Sydney regarding his Iberico hook-up "uh yeah - I'll give you his number, and uh, you can go ahead and you can call him." He was stoked seconds ago, he finally seemed absorbed in his space and his work - this man is so conflicted.

"This looks kinda like a chaos menu"

"Well no, it's like, it's a thoughtful chaos menu."

"Oh."

"Look, Claire and I, we were talking about it last night, and she-she made me realize that maybe I'm clinging onto some things that....I don't know, maybe, I just, I don't care that much about anymore"

I just noticed that he looks directly into Syd's eyes as he says the last sentence - dagger to the heart of their partnership from her POV.

"And this is good, right? Because this is what you wanted."

*this is a 'your cat dropping a dead bird on your carpet' moment*

"Yo why are you being like that?

I feel like Syd's perspective on the fight has been amply analyzed on here, I have no notes.

I found it more interesting that Carmy starts ranting more hurt and emotional than he's ever sounded talking to her before. "I'm sorry, I like, fucking hated Cannoli's my whole life and now..."

*Cue ASL* "STOP. Stop."

He was about to spill his guts for her here. He can't understand why she's upset (I did this for you), he doesn't understand why she's mad about Claire (she was my sounding board for your ideas, she's not my girlfriend!), and he wants to share with her how he got here (Syd's menu, built for Syd - his pain converted into something healing).

Ugh - Syd's "you need to decide if this person is a girlfriend or girl that's a friend" demand for an answer being interpreted as an instruction. Again, it's been discussed to death, but now there are so many dead birds on the carpet to clean up.

The Crane Wife by The Decemberists plays as Carmen enters the fridge and asks Fak if Claire is his girlfriend. I feel like "I hate Fak's meddling ass" is going to be inscribed on my tombstone by loved ones at this point, but it doesn't need to be discussed - the whole thing is beautifully broken down with the meaning behind the song here. (Ugh, I've lost the link! Whoever has this post flagged come forward so I can link it/give credit? It was perfect.)

The interjection with Richie (doing Carmy's bidding) in having Sydney approve putting Mikey's dying note to Carmen on the line though? Jesus H. Christ - it's not even that they pan to a scene with Sydney after Carmen says "I love her a lot?" re: Claire, it's literally about Syd having the final say as to WHETHER HIS DEAD BROTHERS LOVE LETTER TO HIM IS OKAY TO BE ON THE LINE.

I feel like this scene was a win for the sydrichies too, and I earnestly I don't know what they were doing there - the compliments, the only-child dialogue. "It's nice that you have Syd and Nat" "Yeah, now you do too"

But she says "thanks for asking" to Richie - even though it was Carmy asking her if this massive thing was okay. There's a wall (the one just rebuilt) between Syd and Carmy after the kitchen conversation, things are moving through Richie as the conduit now. Richie is her partner while Carmy is MIA.

Cicero and Natalie in the car:

"Appraisal on the lot came back".....

"But here's where things, uh, get funky, right? .... skyrocketing interest rates"

Remember the Olivia Coleman scene where she was talking about the market crashing and her initial dream restaurant getting killed? More foreshadowing for S3 I guess.

"Hey, if you were to have kids all over again, what would you do?"

"Oh, honey, I wouldn't have them......" "You know, Nat, I'd um...what would I do? I would want them to be....not so fucking afraid of things, you know? I'd protect them less. Yeah. I'd want em to have more fun, make more mistakes. Get into more fuckin' trouble, you know? I don't know how to do it...but that, that's what I'd do."

Although Cicero smells blood in the water, he's The Bears daddy (and probably the closest thing to a father that Richie, Carmy and Natalie have now) - I think he wants to push them, he'll let them make mistakes, but he won't let them become "a story of complete and utter failure" I believe. And so does Natalie.

As the sign changes to "10 days to open"

Carmy "What are you guys doing?"

Natalie "Just staring at some stuff" as her and Syd go over the calendar. They're alone together in work again.

The inner narratives of each character during the fire suppression countdown are so revealing:

Syd - Restaurant closure signs, old boxes of Sheridan Road paperwork, her father grasping her shoulders in comfort as she looks away from him, seemingly insecure/dejected. (Fear of failure dominates)

Natalie - Bills and IRS statements piling up, her mother torturing her 5 years earlier, cuddling with Pete on the couch and looking peaceful. (Fear of moving backwards dominates)

Ebra - Being praised with "He's learning!" and putting on his Original Beef shirt with a smile. (Nostalgia dominates- fear of change)

Marcus - Smiling at the beef, tasting his own dessert, taking care of his mother in the hospital. (Comfort dominates - fear of loss)

Tina - "I'm grateful for all y'all motherfuckers" hugging Richie, laughing at family meal. (Love dominates)

Richie - Tiff saying "You're going to be such a cute dad", family snaps with a picture of Claire holding and smiling at Eva front-and-center (!!!), laughing at family meal. (Loss dominates - also living vicariously through Carmy with Claire or!? What a weird fucking montage, someone please explain)

Fak - The balloon popping repeatedly (Fear of immediate failure...)

Carmy - The stove burners, the burning frozen food at his apartment, the portrait of the bear he drew, Mikey's face when he received it, the flames licking the wall at the beef, the clock at 11:51, his eyes vacantly reflecting the flames, pictures of Natalie/Donna/Cicero/himself as a kid, Mikey smiling deranged, Michelle telling him "keep going", the flash of the red kitchen clock as the examiner says "3" (wow....this gets its own post in a bit, it's late)

Then it's just interspersed shots of Carmy nodding and Sydney's nostrils flaring as they count down the remaining numbers.

The aftermath/the hugs have been well-dissected, I'll leave it to others.

Song lyrics during restaurant cooking montage

I will come to you in the daytime

I will raise you from your sleep

I will kiss you in four places

As I go runnin' down your street

I will squeeze the life right out of you

You will make me laugh and make me cry

And though we try to forget it

You will make me call your name

As I shout it into the blue summer sky

And we may never meet again

So shed your skin and lets get started

And you will throw your arms around me

Song lyrics from "I gotta go call my girlfriend"

I have dreamed of you in the daytime (Claire working the ER)

And I have watched you in your sleep (Carmy grocery shopping)

I met you in high places (Carmy cooking while wearing his The Beef shirt - regression much?)

Touched your head and touched your feet (Syd scrubbing the floor)

And though I disappear from out of you (Claire leaving the ER)

And though I disappear from out of you (Sydney on transit watching the game - announcer says "they need a miracle")

And though I try to forget it (Carmy cooking/shredding cheese)

You will make me call your name (Sydney getting home)

As I shout it into the blue summer sky (Sydney getting undressed, revealing the 3 of Swords tattoo - Claire walking in and kissing Carmy)

"We may never meet again" (goes to black)

Apologies if someone already broke all of this down, but what in the heavy-handed fuck is this?

#the bear fx #the bear season 2 #the bear spoilers #the bear #carmen berzatto #carmy x sydney #syd x carmy

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