1) Bear is a Brit… Read Full Bio ↴There are numerous artists with this name, including:
1) Bear is a British alternative rock group from Sheffield formed in the mid 1990s.
2) Bear is the founding member of NON Records.
3) Bear was an indie/alternative band now known as Von Bear.
4) Bear was an American psychedelic rock band from Boston, originally called The Children Of Paradise
5) Bear is an American politically and socially driven Punk Rock band from Simi Valley, CA.
6) Bear is a British band from Norwich.
7) Bear is an American r'n'b artist from California.
8) Bear is an American screamo group from North Carolina.
9) BEAR is a Canadian punk rock band.
10) BEAR is a Belgian Metalcore band from Antwerp.
1) Bear is an alternative rock group from Sheffield, formed in the mid 1990s by Chris Trout, formerly of various British alternative groups, including A.C. Temple, Kilgore Trout, and Spoonfed Hybrid. This band has had various other members over the years, but the sound and vision of the band have always been emphatically Trout's. http://misterchristrout.com
2) Bear is the founding member of NON Records and produces what could be the soundtrack to a possessed Atari game. His synth-driven pop creations command the dance floor with funky grooves and bass-heavy vocals. Inspired by the Paris Hilton environments of our time, Bear’s songs create an aura as pastiche as it is fun. ‘Gulfstream EP’ serves as a debut effort and exemplifies Bear’s distinctively ironic, dance-ready sound.
3) Bear was an indie/alternative band. Now known as Von Bear.
4) Bear was an American psychedelic rock band from Boston, originally called The Children Of Paradise, that recorded the theme music (Greetings!) for an early Brian De Palma film, 'Greetings' starring a young Robert De Niro. Members included Eric Kaz (keyboards, vocals), Steve Soles (lead vocals), Artie Traum (guitar, vocals), Skip Boone (bass) and Darius Davenport (drums)
5) Bear is a politically and socially driven Punk Rock band from Simi Valley, CA. The band called it quits shortly after recording and releasing one full length record on Felony Records.
6) Bear is a British band from Norwich, Norfolk, consisting of Jonathan (Vocals, Keys) James (Guitar, Backing Vocals) Dean (Drums) Matt (Bass). Their myspace is http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=51317899&MyToken=24ade896-053e-4240-b6aa-d024f1ab5980
7) Bear is an American r'n'b artist from California, United States. His myspace page is http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=51195207
8) Bear is an American screamo group from North Carolina, United States, http://www.myspace.com/bearmanmusic
9) BEAR is a Canadian punk rock band from the surrounding woodlands of Sudbury Ontario, Canada. They sing about BEARS and how hard it is being a BEAR in the north. IT IS REAL.
10) BEAR is a Belgian Metalcore band from Antwerp.
Face BEAR, an Antwerp-based 4 piece. Conspired in 2010 they set out to bring audible fury to the masses.
About 103 twisted breaks and turns later their first cub saw the burning rays of sunlight in the form of a 5 track MCD 'ABSTRACTIONS' which was self released. And later on became digitally available on Conspiracy records.
BEAR spends the rest of 2010 playing numerous shows, including a UK tour with While She Sleeps. The band recieved loads of great reviews in
Metal Hammer/Rocksound/Mindview on their MCD and dropping jaws on the way with their high energy driven and destructive live performance.
By the end of 2010 their efforts got rewarded with a record deal!
BEAR is VERY proud to announce they signed with LET IT BURN RECORDS, who re-released ABSTRACTIONS which was re-mastered for extra heavyness and fitted with new artwork.
The band recorded their debut album DORADUS in March 2011 @ Red Left Hand studio with Sven Jansssens and was mastered by Alan Douches (Converge, Dillinger Escape Plan, Mastodon, ... ) @ West West Side Music.
DORADUS will hit the stores begin October. Packed with high calibre screaming, raging drums and twisted riffage, it promises to be one of the heaviest albums of 2011.
'WRECKTHINGS', the first single of the record, hit the internet a month before the release of DORADUS. Along with an epileptic videoclip it gives a taste of the mayhem to come. Check it out online NOW!!!
Miss My Love
Bear Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
But never punch a clock
It's my job to love you
And I do love my job
No one checked my credentials
But I know I'm qualified
I don't have much choice
How much you occupy my mind
I've worn holes in all my jeans
Uniform of my commitment
Busted at the seams
When you slip and twist your ankle
Bear you home upon my back
When you're sad or bored or lonely
It's my job to make you laugh
I don't get paid to do it
And don't ever take time off
It's my job to love you
And I'm damn good at my job
Wise soul glowing through your eyes
And the spirit of a child
When I'm feeling overworked
You compensate me with a smile
And in the night I hold you close
Until you fall asleep
I wade with you into the shallows
Dive with you in the deep
Always let my vocation
Interfere with my career
the location of my loyalty
Should never be unclear
No one is in charge
Love is the boss
It's my job to love you
And I'm damn good at my job
Love is the work
Love is the wage
The cycle of returns on the
Investments that we make
Sometimes it's easy
Sometimes it's not
Sometimes it's too much
It's never not a lot
Love is the work
Love is the wage
Love is the key
To its own cage
No one checked my credentials
But I know I'm qualified
I don't have much choice
How much you occupy my mind
I don't get paid to do it
And don't ever take time off
It's my job to love you
And I do love my job
Love is the work
Love is the wage
The cycle of returns on the
Investments that we make
Sometimes it's easy
Sometimes it's not
Sometimes it's too much
It's never not a lot
Love is the work
Love is the wage
Love is the key
To its own cage
In the song "Miss My Love" by Bear, the lyrics reflect a deep commitment and dedication to a loved one. The singer talks about how they have signed a metaphorical contract to love the other person, despite not having to punch a clock for it. Their love is not bound by external validations or certifications, as they believe themselves to be qualified purely based on their feelings and actions towards the person they care for. This unconditional and selfless love is portrayed as an intrinsic part of their being, something they do effortlessly and with great skill.
The lyrics also emphasize the sacrifices and efforts the singer makes for their loved one. They describe how they constantly go out of their way to care for the other person, whether it's carrying them when they're hurt or making them laugh when they're feeling down. The uniform of their commitment is depicted as worn and busted, symbolizing the wear and tear that comes with unwavering love and devotion. Despite not receiving any tangible rewards or breaks from their responsibilities, the singer takes pride in their role and believes they excel at it.
The theme of love as both work and reward is prevalent throughout the song. The singer views love as their job, but one that brings its own intrinsic joy and fulfillment. They describe how love serves as both the labor and the wages, highlighting the cyclical nature of giving and receiving in a relationship. The challenges and uncertainties of love are acknowledged, with the singer admitting that it can be easy, difficult, overwhelming, but always significant. Love is portrayed as a key that unlocks its own constraints, suggesting that it has the power to set both the singer and their loved one free.
Ultimately, the lyrics convey a profound sense of devotion and dedication to the person the singer loves. Love is depicted not as a fleeting emotion, but as a consistent and unwavering force that guides their actions and decisions. The singer's commitment to their loved one is unwavering, and they find fulfillment and purpose in fulfilling their role as a provider of love and support. The song captures the complexities and nuances of love, highlighting its transformative power and the profound impact it can have on both the giver and the recipient.
Line by Line Meaning
I signed the contract
I made a commitment to you
But never punch a clock
But my love for you is not tied to a schedule
It's my job to love you
It is my duty and pleasure to love you
And I do love my job
And I take pride in loving you
No one checked my credentials
No one needed to verify my ability
But I know I'm qualified
Because I am confident in my love for you
I don't have much choice
I have no control over how much you consume my thoughts
How much you occupy my mind
You fill my thoughts completely
Kneel down for you so often
I show my devotion to you frequently
I've worn holes in all my jeans
My dedication to you has worn out my clothes
Uniform of my commitment
My clothing reflects my loyalty to you
Busted at the seams
Struggling to contain my overflowing love for you
When you slip and twist your ankle
I will carry you through tough times
Bear you home upon my back
Supporting you when you are in need
When you're sad or bored or lonely
I am here to bring you joy and companionship
It's my job to make you laugh
Bringing happiness to you is my responsibility
I don't get paid to do it
I do not need any compensation for loving you
And don't ever take time off
And I am always there for you
And I'm damn good at my job
And I excel at loving you
Wise soul glowing through your eyes
You possess wisdom and depth
And the spirit of a child
But also retain a sense of wonder and innocence
When I'm feeling overworked
When I feel burdened by life's challenges
You compensate me with a smile
Your joy and happiness bring me comfort
And in the night I hold you close
I provide comfort and security by your side
Until you fall asleep
Until you are at peace and rest
I wade with you into the shallows
I am always there to support you in times of doubt
Dive with you in the deep
And dive into the depths of life with you
Always let my vocation
Always let my duty
Interfere with my career
Interfere with my worldly success
The location of my loyalty
Where my dedication lies
Should never be unclear
Should always be evident
No one is in charge
In matters of love, there is no higher authority
Love is the boss
Love dictates our actions
The cycle of returns on the
The constant give and take in
Investments that we make
The emotional investments we both put in
Sometimes it's easy
Sometimes love flows effortlessly
Sometimes it's not
Sometimes love requires work
Sometimes it's too much
Sometimes love is overwhelming
It's never not a lot
But it is always worth it
Love is the key
Love is the solution
To its own cage
To understanding and nurturing love itself
Lyrics © O/B/O DistroKid
Written by: Sam Beebe
Lyrics Licensed & Provided by LyricFind
@montymason1647
Yeah. About Carmi's "girl friend" or "friend who is a girl": who is she really when we have that scene where a very startled, clearly jolted Sydney asks, "Who is Claire?"
Or... when a series of sudden flashbacks of Sydney utterly overwhelm Carmi, forcing him to face, however begrudgingly, that he is absolutely torn between Claire, his "love" interest, and Sydney his supposedly "platonic" partner.
And some insist that with Claire, Carmi has found his true love, and that however absolutely potent and real the chemistry is between Sydney and Carmi, it is somehow nonetheless solely, definitively "platonic."
Oh?? Really??
But then let us consider these facts:
Carmi NEVER, EVER has flashbacks about any other person –– and oh, so tellingly, never, ever any other woman–– in contrast to, in juxtaposition with, in opposition to Claire, as he specifically experiences with the moments, images, sensations of HER: Sydney.
Carmi has PTSD flashbacks of family trauma, of sadistic virtuoso chefs, of restaurant meltdowns. But he NEVER has flashbacks overwhelming him that place Ritchie, Flak, Tina, ANYBODY against Claire.
But he does with HER: Sydney.
And then there is this very scene, this table scene, with its metaphor of a (i) COUPLE taking turns bearing the weight of a table (i.e., bearing the weight of a RELATIONSHIP) and (ii) the startlingly intimate, nay, lyrical but undeniably erotically charged intimacy of the two (couple) lying down in such close proximity to each other, conveying myriad subtexts via the languid nearness of their bodies, the tender lyricism of their body language, the tender musicality of their shared spoken words, and the literal subject intimacy of those words ( in which Sydney downplays her jealousy and Carmi oh, so tellingly clearly AVOIDS calling Claire his "girlfriend" ).
Indeed, "under the table" (now there's a metaphor for unacknowledged love and longing!) languidly lying together (in two senses of the word, i.e., stretched out as if on a shared bed and yet DENYING the patently undeniable between them), Carmi tells Sydney in THAT way what Claire or any other ostensibly exclusive, and real, and sane romantic partner would NOT EVER want to HEAR of and SEE via her man, a man in so intimate a pose, place, and position, with so beautiful, talented a young woman as Sydney, these very words in so very tender, sensuous and, dare one say it, naked and loving a tone:
"I couldn't do it without you...I wouldn't want to do it without you."
Yeah. That is many things, Carmi, but NONE, and I mean, NONE of them are anything remotely "platonic."And Sydney, I did not exactly hear or see you refuting ANY of them in ANY way.
"I couldn't do it without you...I wouldn't want to do it without you."
Let that sink in for a minute...an hour...a lifetime.
And OUTSIDE of this intimate space of the table (the outside world), Carmi is NEVER afraid to ask a Ritchie, a Flak, anybody to hang about socially OUTSIDE of the restaurant business.
But he is afraid to do so with Sydney.
Carmi and Sydney are too afraid to ask each other to share each other's company without the cover of "work," the "brigade," the "sourcing," "the restaurant." One notes that it is CLAIRE who coaxes Carmi into a relationship, based on their PAST history and PAST longings for each other, whereas Sydney is too guarded to make such a move, as she has no past, no shared "ethnic" community and history. But whereas Claire has Carmi's carnal embrace, it is the fulfillment of something longed for in their PAST.
But Sydney is of the present –– and the future. She is the Shock of the New and the fire –-"fire, chef"––of transformation: HER transformation of the restaurant, HER transformation of Tina,HER transformation of Marcus, HER transformation of Ritchie: HER transformation of The Bear himself.
She is an ambitious, startlingly talented artist on par with Carmi, and she is as emotionally guarded, wounded, enigmatic as he is. She is the game-changer and the paradox (absolutely present, hauntingly distant).
And just as revealing as this mysteriously beautiful "table scene," is how both Carmi and Sydney are so very clearly afraid to acknowledge what we all see, feel, and know about them both: Theirs the classic and true ship, and pun so, very, very intended, the REAL "slow burn" of the Bear. Under the table, and oh so beguilingly in plain sight: Carmi and Sydney.
@montymason1647
@@dr.rav3nb : Thank you, thank you for your so very kind words! And thank you, THANK YOU, for your so strikingly articulate ––and hauntingly beautiful–– evocation of the "under-the-table" longing and love –– there, I said it–– binding Carmi and Sydney together. No merely "platonic" pair can ever be this way, say these things, say them with such lyrical, tender passion to each other as do Carmi and Sydney with their "under-the-table" LOVE.
And as the show pivots on the tests of stress, there is this absolutely irrefutable stress test thus: Would Claire –– would you, I, or anybody else in love with somebody –- find any comfort, any sense of security seeing that object of desire LYING down so languidly, sensually, intimately (and erotically) next to his/her supposedly "platonic" but similarly languidly, sensually, intimately (and erotically) positioned partner?
And if Claire were duly upset with overhearing Carmi's full-on freakout in the refrigerator space, can you imagine –– can you IMAGINE!–– how rightfully unnerved and upset Claire would be to see Carmi lying down in such languid, intimate proximity with a similarly, sensually languid and strikingly beautiful young woman, as if they were two lovers lying together in their shared bed, as Carmi utters to that strikingly, hauntingly beautiful Sydney, with his bedroom eyes and hushed LOVER's tone: " I WOULDN'T EVEN WANT TO DO THIS WITHOUT YOU."
Game over.
I reiterate thus the culinary pun: the undeniable, the real, the oh-so-"under-the-table" love, the "SLOW BURN" in plain sight? It's Carmy and Sydney. In THEIR words, "that's FIRE...chef." Indeed. Indeed.
@montymason1647
Oui. Sí. Sì. YASSSS!! One of the things about "canon" is that it is a formality, a moment when something that ALREADY is and ALREADY recognized by all becomes "official," i.e., the show runners, writers, and directors dedicate an episode where the "shipped" leads finally openly acknowledge and consummate their long-brewing, slow-burn affair of the heart. But here is the central contradiction: a "slow-burn" by definition is a longterm, highly charged, intense "under-the-table," erotic-spiritual affair of the heart between two people that was there from the moment they met. It is the stuff of Shakespeare to Shonda Rhimes. It is Scully-Mulder (X-Files), the iconic Richonne, "Sharpwin"( The New Amsterdam); it is Shakespeare's Taming of the Shrew, Much Ado About Nothing and Rhime's Bridgerton (and Still Star Crossed, for that matter).
And it sure as Hell is Carmy and Sydney.
"Canon" is rather like Columbus "discovering" America (without the horrors to come, of course): he sailed –– the "ship!" –– and merely bumped into something that was ALREADY there.
So, yes, if the writers are the Artists of Truth as Carmy and Sydney are to THEIR art, high cuisine, then they will make Carmy and Sydney "canon."
And at that point, we can all roll our eyes and pat them on the back, give them a special holiday for "discovering" what was there ALL along: Carmy and Sydney, "under-the-table" affair of the heart in plain sight, for all to see.
@montymason1647
Ah, those haters. I DO remember the richonne haters, denying what was right there, all along, and which when they, Rick and Michonne, became "canon," really embodied what a classic film couple, "shipped," established," "canon," or otherwise, is. Richonne is now broadcast and popular cultural history because they became who they were always meant to be.
Likewise, Max Goodwin and Helen Sharpe, or "Sharpwin" : the haters and deniers hated and denied what was there all along, who Max and Helen could not help being: both a luminous couple in erotic fire and spiritual connection, and hauntingly beautiful in their allegorical power.
And now the haters and deniers hate on the very notion of Carmy and Sydney being who and what they are. On this very thread, I have written detailed, contextualized analysis as to the scenes, gestures, histories, the literal words and body vocabularies that TELL us, SHOW us, DEMONSTRATE to us that in so many ways, so many deep and haunting and funny and poignant ways, Carmy and Sydney are ALREADY a couple.
And to YOUR point, just as Richonne was as such, really, from the moment they first met; just as Helen and Max were in that first five minutes of their encounter; so too, were Carmy and Sydney, in THEIR first encounter. Think of that crucial moment in Sydney's interview with Carmy for the position of Sous, when she tells him, "I KNOW WHO YOU ARE."
Book end that now with the starkly beautiful, and I believe soon-to-be iconic "under-the-table scene (the very staging, "under the table," is the most literal of metaphors, as "under-the-table," scene acknowledges and plays out Carmy and Sydney's "under-the-table" love connection, that is to say, their HIDDEN LOVE in PLAIN SIGHT): here, "under the table, is the pivotal moment of Carmy's right-there-for-all-to-see-and-hear declaration:
"I couldn't do this without you....I WOULDN'T WANT TO THIS WITHOUT YOU."
That the scene LITERALLY stages Carmy and Sydney as though they are lovers or husband and wife lying down together in their shared bed; that the metaphor of Carmy and Sydney taking turns bearing the weight of the funky table –– meaning, taking their turns TOGETHER , sharing the weight of their relationship ; and in this moment comes Carmy's barely disguised, jaw-dropping confession of love: when a man, in THAT intimate a setting, in that intimate of a position, with that one woman who is the "FIRE: (Carmy's words, not mine ) and light of "The Bear" (which, surprise! is BOTH the name of the restaurant and Carmy himself)––then in all but the moment of actual canon," we can only see, hear, and know what ALL of our senses tell us: in so many ways, Carmy and Sydney are ALREADY together.
And since so much of The Bear plays out in the stress tests of cooking and characters, the final stress test about who Carmy and Sydney really are to each other is this: IF CLAIRE had her heart broken over Carmy's refrigerator room freakout of truths, IMAGINE what how her heart would have fared in seeing ...
1. Carmy and Sydney lying together so intimately under that table
2. Seeing the undeniably erotic charge arising out of Carmy and Sydney's languidly lyrical, serenely seductive body language –– Carmy and Sydney are not really so much "under the table," but in their shared bed
3. The reality full force of seeing and hearing Carmy tell this alarmingly beautiful, brilliant, enigmatic, artistic SYDNEY, ––literally lying next to Carmy as if she were his young, beautiful, brilliant lover or wife––and hearing and seeing Carmy telling the oh, so very beautiful, brilliant Sydney what he has STILL never has yeet said to Claire,! AND I quote Carmy verbatim, "I WOULDN'T WANT TO DO THIS WITHOUT YOU."
Game. So. Over.
"Canon" is a formality sealed with that first kiss, the first night together, and all of that. But a formality only makes something "official" that ALREADY exists.
You were right about richonne because it was THERE in front of us all. And in exactly the same way, Carmy and Sydney already ARE.
And THAT is exactly what the haters and deniers so fervently hate and so desperately seek to deny: that which ALREADY is and that which is UNDENIABLY in front of the haters' and deniers' eyes: Carmy and Sydney's "under-the-table" love for each other.
@montymason1647
@@neonrays28 : Mon Dieu, yes! Yes! I refer to the pivotal scene of which you describe –-and which establishes beyond any doubt the erotic connection between Carmi and Sydney in BOTH the realms of Art and Romantic Love –– as the "Under-the-Table" scene. It is such an audacious, BRAZEN cinematic metaphor for "under-the-table" love, i.e., love and passion hidden in plain sight.
YES, and oui, encore une fois to your absolutely accurate assessment of the intent and purpose of the production crew in staging this scene. INDEED, in a past life, I worked in advertising and film production worldwide.I know from personal experience, HOURS went into the setting up the "under-the-table" scene: establishing, adjusting sound, LIGHTING –-which I shall return to in a moment–-and stage marks; then Jeremy and Ayo had to play the scene several separate times to capture the take that best conveys the correct, the most evocative mood. And what is that mood? A humming, erotically charged connection linking the two (very attractive, compelling) leads, emphasized by the close proximity of their bodies, lying in such intimate, suggestive repose, and the lyrical, languid, clearly erotic shimmer of their body language, all establishing and reinforcing who Carmy and Sydney really are to each other.
AS TO THE LIGHTING: the "under-the-table" scene literally refers, alludes to, and replicates two Renaissance paintings –– "Venus and Mars" by Sandro Botticelli AND Dosso Dossi's "Allegory of Fortune," and Dossi's couple surrounded by the cornucopia connects the bounty of food and the couple lying in repose as with (a) the nurturing power of love and (b) the parallel, nay connected, fulfilling pleasure of erotic love.
The "Under-the-Table" scene practically recreates Botticelli's and Dossi's couple (sans nudity), and that Carmi and Sydney lie together in a space dedicated to and surrounded by FOOD makes the Dossi allusion not only brazenly obvious but borderline bratty: "HAH!! HAH!! We all play coy while spending hours recreating a famed Renaissance painting(s) featuring a man and woman in the eros of love, in the place apart –-and the nourishment of the spiritual/ erotic love that is as essential as....the bounty of food.” In essence, that is what the screen writers, director, set designer, and production team are quite obviously saying—in addition to the core message: Cary and Sydney are husband and wife
And the haters and deniers are either too committed to their agenda to acknowledge the banquet served before them!
Yes, I completely agree with you about the literary tropes, sprinkled and added throughout each scene as if they were the ingredients of Carmy's and Sydney's culinary creations: YES! Foreshadowing, (brazen) ALLUSIONS, metaphors, parallelisms, ellipsis, subtext run amok, etc.
The Bear is an allegory of Art and Creativity as the means to discovery...transformation...redemption...BECOMING. And cooking is the core metaphor ––what is cooking but the art of mixing ingredients, applying HEAT, thereby transforming the ingredients so as to CREATE that which sustains life, reveals meanings, builds community, binds that community with ritual and purpose.
And Carmy and Sydney are at the CORE of it all: THEY are the mixed ingredients, the heat, the meaning: What did Freud call and consider the urge to create, to give life, to make Art and make meaning through the CREATIVITY, ART, and CONNECTION in life? EROS.
In my view, you absolutely "GET IT." And I completely agree with you.
@montymason1647
@@neonrays28 : THANK YOU for your kind, generous words. It goes without saying that I both enjoy and am heartened by your absolutely on-point, contextualized, and strikingly sensitive analysis of the "under-the-table" affair of the heart between Carmy and Sydney.
And your observation about the Richonne deniers is SO sharp and relevant: there are no small number of people infected to some degree with racism that just cannot and will not deal with who and what America (and Britain, Spain, or France, for that matter) is and always was. What Rick and Michonne and a Carmy and Sydney, a Max and Helen convey is a social, cultural, historical reality that has always existed, but NOW has a RIGHTFUL voice, presence, a long overdue representation in the popular culture.
Also, a crucial aspect of your argument that I think is so on-point is that with a Rick-Michonne or a Carmy and Sydney relationship, you have the individuals fall in love and become an iconic couple as complex, fully realized human beings AND as a natural, human event.
It always strikes me that as great as the iconic Fitz and Olivia couple were, their onscreen relationship nonetheless did NOT elicit anywhere near the racialized viewer denial and opposition as a Richonne or, now, Sydney and Carmy do. I agree with your subtle suggestion about barely sublimated racism: Fitz and Olivia's relationship did not generate anywhere near the denial and objection of a Richonne precisely because Fitz and Olivia subtly played out along the myth of the "taboo": the "scandal" of the extramarital affair stands in for the White racist trope, internalized by too many people of colour, that if people of different "races" ("race" being that absurd, AND tragic anti-scientific construct if ever there were one) fall in love, become a couple, and especially if they become a POWERFUL, leading couple, there "must" be something "taboo," "transgressive" about them.
Well, if the mix of brilliance, courage, poignancy, mutual passion, self-reinforcing physical beauty –– "lookism" duly granted, a Rick and Michonne and a Carmy and Sydney nonetheless just have "IT," they DO look strikingly beautiful together in the classic cinematic way ––are indeed so "taboo," I think society at large can benefit from such "transgression."
On that point alone, and SO many more points, your posts are the "Chef's Kiss." Or as Carmy shouts out to Sydney," That's FIRE, chef!"
@montymason1647
Yeah. About Carmi's "girl friend" or "friend who is a girl": who is she really when we have that scene where a very startled, clearly jolted Sydney asks, "Who is Claire?"
Or... when a series of sudden flashbacks of Sydney utterly overwhelm Carmi, forcing him to face, however begrudgingly, that he is absolutely torn between Claire, his "love" interest, and Sydney his supposedly "platonic" partner.
And some insist that with Claire, Carmi has found his true love, and that however absolutely potent and real the chemistry is between Sydney and Carmi, it is somehow nonetheless solely, definitively "platonic."
Oh?? Really??
But then let us consider these facts:
Carmi NEVER, EVER has flashbacks about any other person –– and oh, so tellingly, never, ever any other woman–– in contrast to, in juxtaposition with, in opposition to Claire, as he specifically experiences with the moments, images, sensations of HER: Sydney.
Carmi has PTSD flashbacks of family trauma, of sadistic virtuoso chefs, of restaurant meltdowns. But he NEVER has flashbacks overwhelming him that place Ritchie, Flak, Tina, ANYBODY against Claire.
But he does with HER: Sydney.
And then there is this very scene, this table scene, with its metaphor of a (i) COUPLE taking turns bearing the weight of a table (i.e., bearing the weight of a RELATIONSHIP) and (ii) the startlingly intimate, nay, lyrical but undeniably erotically charged intimacy of the two (couple) lying down in such close proximity to each other, conveying myriad subtexts via the languid nearness of their bodies, the tender lyricism of their body language, the tender musicality of their shared spoken words, and the literal subject intimacy of those words ( in which Sydney downplays her jealousy and Carmi oh, so tellingly clearly AVOIDS calling Claire his "girlfriend" ).
Indeed, "under the table" (now there's a metaphor for unacknowledged love and longing!) languidly lying together (in two senses of the word, i.e., stretched out as if on a shared bed and yet DENYING the patently undeniable between them), Carmi tells Sydney in THAT way what Claire or any other ostensibly exclusive, and real, and sane romantic partner would NOT EVER want to HEAR of and SEE via her man, a man in so intimate a pose, place, and position, with so beautiful, talented a young woman as Sydney, these very words in so very tender, sensuous and, dare one say it, naked and loving a tone:
"I couldn't do it without you...I wouldn't want to do it without you."
Yeah. That is many things, Carmi, but NONE, and I mean, NONE of them are anything remotely "platonic."And Sydney, I did not exactly hear or see you refuting ANY of them in ANY way.
"I couldn't do it without you...I wouldn't want to do it without you."
Let that sink in for a minute...an hour...a lifetime.
And OUTSIDE of this intimate space of the table (the outside world), Carmi is NEVER afraid to ask a Ritchie, a Flak, anybody to hang about socially OUTSIDE of the restaurant business.
But he is afraid to do so with Sydney.
Carmi and Sydney are too afraid to ask each other to share each other's company without the cover of "work," the "brigade," the "sourcing," "the restaurant." One notes that it is CLAIRE who coaxes Carmi into a relationship, based on their PAST history and PAST longings for each other, whereas Sydney is too guarded to make such a move, as she has no past, no shared "ethnic" community and history. But whereas Claire has Carmi's carnal embrace, it is the fulfillment of something longed for in their PAST.
But Sydney is of the present –– and the future. She is the Shock of the New and the fire –-"fire, chef"––of transformation: HER transformation of the restaurant, HER transformation of Tina,HER transformation of Marcus, HER transformation of Ritchie: HER transformation of The Bear himself.
She is an ambitious, startlingly talented artist on par with Carmi, and she is as emotionally guarded, wounded, enigmatic as he is. She is the game-changer and the paradox (absolutely present, hauntingly distant).
And just as revealing as this mysteriously beautiful "table scene," is how both Carmi and Sydney are so very clearly afraid to acknowledge what we all see, feel, and know about them both: Theirs the classic and true ship, and pun so, very, very intended, the REAL "slow burn" of the Bear. Under the table, and oh so beguilingly in plain sight: Carmi and Sydney.
@naomiwebb3268
Ugh I’m obsessed with this comment
@skylessnights
Gosh this comment is everything!! OP speaking nothing but FACTS ❤
@piafernandagonzaleztoro3122
Plis 👏👏👏👏👏👏👏
@dr.rav3nb
Your analysis and commentary is so sublime, so beautifully written, I had to pin it. I am OBESESSED!
@montymason1647
@@dr.rav3nb : Thank you, thank you for your so very kind words! And thank you, THANK YOU, for your so strikingly articulate ––and hauntingly beautiful–– evocation of the "under-the-table" longing and love –– there, I said it–– binding Carmi and Sydney together. No merely "platonic" pair can ever be this way, say these things, say them with such lyrical, tender passion to each other as do Carmi and Sydney with their "under-the-table" LOVE.
And as the show pivots on the tests of stress, there is this absolutely irrefutable stress test thus: Would Claire –– would you, I, or anybody else in love with somebody –- find any comfort, any sense of security seeing that object of desire LYING down so languidly, sensually, intimately (and erotically) next to his/her supposedly "platonic" but similarly languidly, sensually, intimately (and erotically) positioned partner?
And if Claire were duly upset with overhearing Carmi's full-on freakout in the refrigerator space, can you imagine –– can you IMAGINE!–– how rightfully unnerved and upset Claire would be to see Carmi lying down in such languid, intimate proximity with a similarly, sensually languid and strikingly beautiful young woman, as if they were two lovers lying together in their shared bed, as Carmi utters to that strikingly, hauntingly beautiful Sydney, with his bedroom eyes and hushed LOVER's tone: " I WOULDN'T EVEN WANT TO DO THIS WITHOUT YOU."
Game over.
I reiterate thus the culinary pun: the undeniable, the real, the oh-so-"under-the-table" love, the "SLOW BURN" in plain sight? It's Carmy and Sydney. In THEIR words, "that's FIRE...chef." Indeed. Indeed.
@jaydas8976
The fact that Carmy had a panic attack but he immediately relaxed and calmed down when he thought of Sydney, yeah they’re definitely gonna be canon at some point. I’m fine with waiting
@m.b.8521
Yesssss thisssssss
@lnu9068
Which episode was this
@jewelcee1419
What episode? 😢