For many television observers The bear and controversial Emmy nominations Go hand -hand. For the last few years, every time the demonstration scores Emmys nominations – such as this year’s 13 nod – the same statement inevitably takes turns from the speech machine: “The bear It’s not a comedy.“The show has won steadily nominations and won in comic categories, causing outcry by viewers and critics asking:” How can a demonstration for stress, trauma and family damage be a comedy? “But this leads to another question: At a time when species are constantly blurry and redefinition, the categories still matter?
This year, one of the The bear Breakout Stars Ayo Edebiri has made the story of Emmys. She is the first woman ever appointed to act and direct in a series of comedy and She is the younger black woman who has won three nominations. She is ready for “excellent leading actress in a series of comedy” and “excellent directing for a comedy series” for the direction of her work on The Episode “Papers”. In calling The bear A “comedy” can be questionable, there is no doubt that Edebiri’s apparent work, both in front and behind the camera, is worth recognition – and wins.
This tension between the class and the content has made The bear A lightning rod for the prize and, to be fair, the “Emmys Fraud” conversation is not entirely without value. There is a long history story that make strategic decisions to improve their potential successes. In Emmys, broadcasts can undergo any category they choose, so they tend to choose what they think are more likely to win. Lead actors are undergoing supporting actors or more dramatic performances to the comedy categories, bending the rules to secure a prize. For example, In 2014, Joe Morton – who played the father of the protagonist Oliva in the scandal – Submitted for the “Excellent Visiting Star” awards, despite the fact that he appeared in most episodes at that time.
It also does not help that the television academy (managed by Emmys) has used to declare for years that the comedies were set to have a 30 -minute execution time. Therefore a show like The bearExploring panic attacks, spirals of sadness and emotional removal of high stages along with lighter comic moments have ended up being classified as a comedy by default, because most of the episodes moves by definition in the categories. These changed these rules in 2021. The comic action has historically undervalued, so when a show like the bear dominates the comedy category, it raises valid concerns about whether the dramas-disguise are filled more traditional and equally remarkable comedic work. The reality is the television genres that climb a mixture of storytelling style, which is ideal for viewers who appreciate innovation – the awards must continue to continue.
Taking all this in mind, it is difficult not to feel happy about Edebiri – what is most important is her work recognized. Her work in front and behind the camera was excellent. Season 3 of The bear He often felt sluggish and struggled to find his feet, but the “Hakkis” episode (the directorial debut of Edebiri and was written by Catherine Schetina) Liza colón-zayas) And how it happened who is in the kitchen. We see the Woman of the Working Class of Color, Mother and Wife fight after suddenly pushed into the modern LinkedIn-ified Work of Work, placed against graduates and younger workers who are struggling for the same jobs, facing endless FAUX appreciates her. A symptomatic but deeply important encounter with Mikey in beef helps Tina discover herself in the workplace.
The bear It tends to shout between unbearably hectic and quiet. Edebiri shows its directing steaks by directing an episode inspired by this quiet stillness. We see the cameras focus on the aspects of Tina’s daily routine and watch as the stability of her life begins to collapse. While this part of Tina’s story is sad, not a sad figure. Edebiri gives the character a sense of battle, determination and dignity despite the anxiety.
Edebiri continued to rely on its skills in the 4th of 2025, directing and starring in the “Worms” episode – A portrait of black, family and community, and an extremely endoscopic character study. Sydney (Edebiri) faces a long stretched dilemma: has to stay in the bear or leave to join the new Chef Adam Shapiro business? As Shapiro begins to feel like an embarrassing mismatch rather than a viable new business partner, it is also the first time we have seen the show explicitly put on racial issues.
In the episode, Shapiro does not understand that Sydney’s hair appointment is likely to get all the day, exceeding why he is blasting a rap of the east coast and then surprised when he chooses to put Beethoven instead. She expects that “she will bring about her Caribbean influences” to the restaurant, despite the fact that we never saw this cook’s style of kitchen (Sydney is also Nigerian). Later, she asks her if she has seen the Chris Rock documentary Good hair. It has the air of a self -proclaimed 2020 “white ally” that reduces Sydney to its racial identity, putting it in a box and reducing its humanity. (Provided, his good nature quickly disappears when he does not get what he wants from it later in a row.)
In calling The bear A “comedy” can be questionable, there is no doubt that Edebiri’s apparent work, both in front and behind the camera, is worth recognition.
“Worms” also reflects the deeply known common experience of black women who get their hair: Sydney gossiping by hairstylist/cousin Chandel (played by Danielle Deadwyler who is hilarious in episode), to take her hair at home and not in a lounge, Phone and then back to HERIC with Sydney, Chandel Scolding HERY TJS Tjegeric. It is a very believable depiction of an almost universal experience for black women.
Exploring Sydney’s dilemma through her conversation with the much younger TJ is an interesting twist. There is almost no food at home so that they go on an improvised shopping trip and make a relaxed meal at home. The timer in the oven is stuck at 12:00. Unlike the requirements of professional kitchen, time is suspended and Sydney has the time to consider its choices through the simplicity of a child transport: choosing which home to go for a sleepover. Take a look at Sydney’s family relationships creates a contrast with Carmy (Jeremy Allen White), who cannot remember being a uncle now.
“Worms” demonstrates the intensity of the choice between someone who looks “right” on paper (Shapiro) and people who – despite their flaws – feel like home (Syd’s partners in The bear). Edebiri’s ability to convey this tension to his dialogue, widespread eyes, pauses and sometimes non -convincing excuses about why he is still in the bear is excellent.
Comedy or drama, The bear Writing, narrative and directing are warm, grounded, realistic and brings us back to the heart of the show: food. The bear He is often much more interested in staff and micro-small, politics and macro, but for me he has always been quietly reflected a truth about multi-planning America, especially for working class people. People from different backgrounds work, socialize and care for each other. The Bear restaurant is often referred to as a family – though chaotic – and extends to something very true to people in America more widely, as opposed to the story they want to say more conservative power holders. In a wider landscape of ice raids and other racially hostile policies, the quiet policy Edibiri skillfully and persuasively teases that it feels important.
Emmys will probably continue to cause controversy, but Edebiri’s work The bear He was excellent, whether he steals scenes on the camera, or shapes the emotional narrative behind it. The show can blur the lines of comedy and drama – but this is actually a key ingredient for construction The bear Insufficient TV.
Like what do you see? What would you say for a while R29, here?
Ayo Edebiri is the moment
Black women who win big emmys should not be rare
Beyoncé & Viola Davis made a story – not enough
