My final thoughts on Syd and Carmy before the final season destroys us!
Frankly, never in my life have I felt as historically gaslighted by a piece of media as I have while watching this show for the past few years. It has genuinely made me feel like an idiot, a clown, and a crazy person just for using my eyes.
From the very moment of the S1 finale when Carmy just stares at Sydney after she comes back, I was like... okay, it’s giving. There are some vibes in here, but we’ll see.
And then the writers went ahead and proved my point all over again in S2 with the infamous screwing under-the-table scene.
At that point, I’m like, okay, what am I supposed to do with this?
Because that is not platonic at all. If you are not that kind of show, and if you aren’t planning to give these characters a romantic trajectory, why make scenes that are so deeply, intimately charged? Why explicitly bring up his potential girlfriend(friendgirl) and invite those direct comparisons in that exact moment?
And honestly, why have him give her incredibly personal gift? They aren't even officially friends yet-they are trying to build out a professional partnership. If I was dealing with that motherfucker in real life, I would be confused as hell about his intentions. You don't just drop high-thought, deeply personal tokens on a work partner unless lines are being crossed.
And don’t even get me started on the absolute madness that is the panic attack scene. I won’t let anyone forget about it because what the fuck was that?
Even if we try to play devil's advocate and assume it’s not a romantic implication, let’s look at the facts: he literally hallucinates Sydney just to calm himself down. In his absolute darkest moment of panic, he needed validation. He needed a reminder that he is a great chef and that someone values him for the exact image he built of himself. That is exactly what Sydney represents to him. Okay good.
Which brings me to my next major point: that is precisely what Carmy needs in Season 5. He desperately needs to be reminded that he is an excellent fucking chef, that he has impacted a lot of people, that he is immensely talented, and that he is a force in the kitchen. He can be batshit crazy, but his talent is undeniable-and that is exactly why the blood orange dish needs to be brought up by Sydney to ground him. But I’ll get back to that later.
And so it didn't stop there. The show spent years building parallel storylines, shared trauma, and intense visual mirroring between them.
Yet, the fans who pointed this out were called weird, unnecessary, or even "creepy" just for shipping a pairing that has undeniable, electric chemistry on screen. The creators and actors in interviews act like it’s all in our heads, and it’s just bizarre.
The whole concept of shipping characters has always been one of the foundational pillars of television. It is completely normal and has genuinely been a driving force in fandom culture for decades. It’s not a joke. A massive portion of the attention, hype, and cultural relevance this specific show gets comes directly from shipping-from the edits, the fan art, and the creative writing that keeps the community alive between seasons. We famously know how media uses queerbaiting to string audiences along, but in this moment, (if it’s not actually intentional) The Bear is giving us a case of straightbaiting that is undeniably there.
Let’s be real: based on the constant pushback from the creators and parts of the audience, you would think we are out here rooting for biological siblings to get together. It is an incredibly condescending, "ew, gross" response just for reading the text they are actively writing on the screen.
When it comes to the general audience, it is a classic fandom double standard. The moment a woman of color shares a deeply intimate, structurally romantic narrative tether with a white male lead, mainstream viewers suddenly become the world's most aggressive defenders of "platonic friendship."
Sydney and the Ghost of Mikey
I also want to bring up another idea, inspired by a really cool post by @whenmemorydies. It’s the constant, deliberate comparison between Sydney and Mikey throughout the seasons.
In so many ways, Sydney represents the partner Carmy always wanted Mikey to be with him, but never was. She is the person who actually agreed to open a restaurant with Carmy, something his brother never did, leaving him locked out of The Beef instead. Sydney literally fills that void: she builds people up, she makes them confident, and she pushes Carmy forward. It is such a beautiful, deeply emotional touch to their story, showing that she is tethered to the very core of his family's healing.
And that’s what makes his behavior especially devastating, and why it is so profoundly non-platonic. Despite everything she represents, he still ends up treating her with the same dismissive, toxic arrogance Mikey (and later Fields) used on him. In storytelling, you don't have a character replicate their deepest, most destructive generational trauma with just a casual coworker. You do it with the person who holds their entire heart. She isn't just a business partner, she is the emotional anchor he is subconsciously fighting against because he’s terrified of ruining her, too.
Their stories are tied together everywhere you look. Look at the writing structure itself.
The Blood Orange Hamachi is The Ultimate Chekhov’s Gun and I’ll Die On This Hill
From a purely logical writing perspective, if Carmy doesn't find out about Sydney's core culinary memory in Season 5, it is quite literally incomplete storytelling.
In writing, Chekhov’s Gun states that every element in a script must be necessary. If you introduce a loaded rifle on the wall in Act 1, it absolutely must go off by Act 3. Otherwise, don't fuckin’ show it to us.
My favorite example of this in television is the “Yellow Umbrella" in How I Met Your Mother. That umbrella is passed back and forth between Ted and the Mother for seasons before they ever meet. It’s a visual, cosmic tether telling the audience: these two are spiritually connected and moving toward the same point. If Ted had never found out that the umbrella belonged to her, the entire soul of that multi-season narrative payoff would have collapsed.
In The Bear, the blood orange dish is their yellow umbrella. And the writers haven't just dropped this detail once! they have been explicitly, intentionally lingering on it across four seasons:
S1: Syd tells Marcus the lore. This establishes her entire motivation. She didn't just stumble into The Beef, she wanted to work for pennies specifically to get close to the chef who made the dish that defined her entire culinary philosophy.
S3: We literally watch the memory happen on screen. Which genuinely surprised me at that time, because I thought we were over this. But we see Carmy swap the fennel for blood orange on a whim. The writers chose to visually shoot this moment to cement its weight.
S4: Syd tells Donna. And she drops: “actually this is pretty wild. I don’t even know if he knows it…”
Why have her say that exact phrase to his mother of all people if it’s meant to go nowhere?
Why make Donna ask her if ‘they are very close’?
Why linger on this detail for four years? Leaving Carmy in the dark permanently defies basic scriptwriting structure. If the gun doesn't fire in Season 5, it's just bad bad writing.
The Claire Problem: Reopening Closed Doors
Another massive issue with the writing choices: Claire.
I’m sure people already talked about it, but I’ll repeat. From a purely objective media-analysis perspective, not even as a shipper, just as someone trying to figure out the plot-the way they handled Claire in the recent episodes makes no sense.
They closed that romantic storyline perfectly. It was tragic, it was done, they exchanged their "I wish you wells," and the door was shut.
But then, at the very end, the writers deliberately reopen the door to them potentially trying again. What was the reason?
It’s almost like they realized, "Oh shit, Claire is still gonna be at the wedding," and just completely forgot about the massive closure they had, deciding to just let them try again. Is that seriously what happened?
Because why take people who are clearly not on the same page, who mostly just cause each other stress and hurt, and force them back into the exact same cycle? Unless there is a specific, narrative reason for Carmy to face Claire one last time to realize he’s chasing a ghost of a life he doesn't actually want, it feels completely redundant and entirely unnecessary.
The Cigarette: My Roman Empire
In S4 finale the writers dropped one of the most heavily coded, intimately loaded tropes in cinematic history: the shared cigarette.
And when I tell you… in the moment I jumped-not just because it’s a nice, sexy moment that was already charged without the damn cigarette-but I also screamed because it is so very intentional and so very symbolic.
In screenwriting, passing a cigarette back and forth is never just about the nicotine. It is a classic visual stand-in for intense physical and psychological intimacy. When characters are screaming, arguing, and at their absolute wits' end, lighting up forces a physical pause, a momentary peace treaty where they drop their weapons to inhale.
The mechanics of it alone are very personal. They are putting their lips on the exact same filter, tasting the same thing, and breathing the same air. Sydney was so stubborn to try it, and her stepping into his habit represents her finally crossing over into his messy, chaotic world completely. Meanwhile, Carmy, who had been trying to quit, literally "quits quitting" because of her. It proves she has a singular, unique power to disrupt his control. They enter this state of mutual vulnerability, admitting that they are both burning out, but choosing to share that vice rather than drown alone. Why make something so sensory, tactile, and intensely personal if you don't want the audience to root for them?
What makes it even more frustrating is how that scene left us hanging. They never actually finished their argument. Just as the dam was genuinely breaking-just as the conversation shifted from being about the restaurant to being entirely, deeply personal about them-they were abruptly interrupted.
Leaving them with a massive wall of unresolved feelings was so painfully on purpose. The writers deliberately froze them in that moment of high-stakes emotional tension, and we'll just have to see where it goes.
My Prediction for the Finale
At this point, I’m refusing to give myself hope, lmao. I am stuck entirely between two feelings, but if the showrunners are actually smart storytellers who intend to resolve all of these setups, my prediction is that Carmy and Sydney's romantic relationship is going to be implied in the end.
I don't think anything wildly open or crazy is going to happen between them on screen, but it will be heavily understood. That would give a gorgeous, bittersweet tone to the finale that perfectly matches the gritty, realistic style of the show.
But if this story ends with Carmen just moving back on with Claire, or if the writers give us some lukewarm resolution where him and Sydney look at each other and go, "Hey, I think we're actual friends now," it is going to be incredibly unsatisfying.
Because, hey, for some reason they never were friends. Not like her and Marcus, and definitely not like him and Richie. It was never written that way, and it was never there for a reason.
Throughout all seasons, the show has deliberately pushed them away from a standard, comfortable friendship. Their relationship has always felt beautifully weird, intense, and perpetually caught in the "in-between", never settling into something safe or specific. Because of that heavy, built-up tension, having them finally resolve their status by just settling on "being friends" is plain boring.
We’ll see where it goes. Maybe the writers have a brilliant master plan to resolve all of these tethers. But if S5 drops and all of these massive setups are just swept under the rug while we're told we're "crazy" for watching the actual plot, I’m going to have a serious problem with the creators of one of my favorite shows.
She strokes his hair, and he grips her waist. Anchoring her. Trying to stretch this moment forever, because if she flees right now, he doesn’t think he could survive. So maybe, it’s really about anchoring himself.
All that’s between them is a tiny, tiny amount of space where their breaths are becoming one.
And her rule.
Her fucking rule that haunts him every single day.
Do not kiss me. Ever. Her voice rings inside his head on late nights when he can’t sleep.
“What the fuck are we doing?” He finds himself whispering.
—Chapter 16: Confit Byaldi
“Carmy?”
And he jolts as he hears her voice calling his name, and only as he snaps his eyes back at her, does he realize Sydney and this man walked so close to him that they’re now standing there, just a few steps away.
She wears a deep frown on her face.
Such a contrast to her peaceful, happy expression she had when she looked at the man.
A second bullet to the heart, and Carmy’s bleeding out on the sidewalk.
—Chapter 15: Caprese Salad
Thank you, Black people in fandom spaces. Thank you, Black creators and Black lurkers. Thank you Black artists, Black writers. Thank you, Black bloggers, Black influencers. Shoutout to those Black characters, both canon and original. Thank you, Black people, both queer and cishet.
Your perspectives matter. Your representation matters. You are not bothersome for demanding equal treatment in fandom. It is not your responsibility to make fandom more welcoming and inclusive to you. It is not your sole responsibility to create all of the Black-centered content. You are not "ruining" anyone's fun for demanding better for yourself, and anyone who says otherwise can go fuck themselves. Any fandom worth being a part of should have no room for racism in it.
Black people in fandom, you are wanted. You are needed. You are loved and appreciated. Don't let anyone tell you otherwise.
And since they don't get told it near enough, thank you, Black women especially!!!
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