A winner of 21 Primetime Emmys, five Golden Globes, and countless other awards, The Bear has been one of the best shows of this decade. Alas, all good things must come to an end, as FX and Hulu’s chaotic culinary comedy-drama takes its final bow in less than a month. After Carmy (Jeremy Allen White) left operations at the restaurant in the capable hands of Sydney (Ayo Edebiri), The Bear Season 5 follows the gang, including Richie (Ebon Moss-Bachrach) and Natalie “Sugar” (Abby Elliott), after they “discover that Carmy has quit the food industry, leaving the restaurant to them.”
Series creator Christopher Storer is back to steer the ship for one final time, and he’s joined by a host of fan-favorite returning faces, alongside White, Edebiri, Moss-Bachrach, and Elliott. Lionel Boyce, Liza Colón-Zayas, and Matty Matheson continue in the kitchen for Season 5, with Ricky Staffieri, Oliver Platt, Will Poulter, and Jamie Lee Curtis returning in recurring roles. All eight episodes of the final season will be released at the same time on June 25. With one last chance to catch Allen-White’s most iconic character on the horizon, fans have been preparing by checking out the actor’s most emotionally devastating movie.
The film in question is After Everything, a 2018 gem written and directed by Hannah Marks and Joey Powerin their feature debut. Despite being sprinkled with clever comedy, After Everything‘s tough examination of love in tragic circumstances left its audience in tears and critics impressed, with the film earning an 84% average score on review aggregator Rotten Tomatoes. “After Everything is a remarkably honest, bittersweet, and fresh romance,” wrote one reviewer, with another writing, “Featuring terrific performances by its young leads, the film marks an auspicious feature debut for its writers/directors.” Eight years on, After Everything is one of the ten most-streamed movies on Netflix in the U.S., at the time of writing.
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
Jeremy Allen White Is Back at the Box Office
Jeremy Allen White and Maika Monroe having a dinner date in After EverythingImage via Good Deed Entertainment
As the countdown to The Bear‘s finale ticks closer, Allen White will be hoping for more success from Season 5 than his current big box office release. The Mandalorian and Grogu, the big screen debut of Pedro Pascal‘s titular bounty hunter that also stars Allen White, has been dismantled by a pair of viral horror hits in A24’s Backrooms and Focus Features’ Obsession. Against a production budget of $165 million, the film has yet to hit the $330 million mark, and it has already dropped out of the domestic top five.
For more of the latest streaming news, make sure to stay tuned to Collider.
Release Date
October 12, 2018
Runtime
95 minutes
Director
Hannah Marks
Producers
Jon Keeyes, Ash Christian, Jordan Yale Levine, Sean Glover, Zhu Di, Brian O’Shea, Michael J. Rothstein, Jordan Beckerman, Brian M. Cohen, Roz Rothstein, Stephen Braun
