“The Bear” tackles serious issues of alcoholism, anxiety, and suicide

“Let’s go NO “Make them laugh” seems to be the new mantra for comedy awards at the Emmys.

Bright, humorous laugh-fests once dominated the Emmy Awards for comedy series, with classics like “Taxi,” “The Golden Girls,” “Friends” and “Seinfeld” entertaining generations of fans and finding new life through reruns and streaming services.

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But in the early days of streaming, the multi-threaded so-called comedy-drama began to creep into the awards circuit, with titles like Netflix’s “Orange Is the New Black” — which famously pivoted from comedy to drama — and Amazon Prime Video’s “Transparent.” More recently, the category has taken a more serious turn.

In recent years, comedy series nominees and winners have reflected a broader, more inclusive interpretation of comedy. Series like Amazon’s The Marvelous Mrs. Maisel and Fleabag , as well as HBO’s Barry and Apple TV+’s Ted Lasso , have won critical acclaim and prestigious awards despite often straddling the line between comedy and drama.

This year, dramas with a more dramatic tone — even straight dramas — are taking a back seat to traditional comedy shows. But they’re still in the comedy category. FX’s “The Bear,” about Jeremy Allen White’s chef Carmy, who takes over his brother’s restaurant after his sibling commits suicide, is beloved by fans and critics alike. But the serious tone that each episode takes often raises questions about whether it belongs in the same category as ABC’s spoof doc “Abbott Elementary” or Hulu’s mystery romp “Only Murders in the Building.” Even this year’s return of HBO/Max’s “Hacks” is more dramatic than before.

The lines between comedy and drama categories at the Emmys have become increasingly fragile. In 2015, the Television Academy automatically placed any show under 30 minutes in the comedy category and any show longer than that in the drama category. But in 2021, that changed when the Academy announced it would no longer consider a show’s length in categorization. The changing landscape has sparked debates about the nature of humor in contemporary award-winning programming.

“The Bear” is so harrowing that one of the season’s two best episodes, “Fishes,” covers a previous Christmas dinner with Carmy and his dysfunctional family, including his brother (Jon Bernthal), five years before his death. His comic relief is a pre-dinner prayer from guest comedy hopeful John Mulaney. It’s rare for a TV comedy to find humor in suicide and addiction. Another most impressive episode is “Forks,” which follows Richie (Ebon MossBachrach) as he trained in everything from cleaning forks to working in the kitchen at an upscale restaurant. And the most powerful scene may be the one in which the chef opens up about her own struggles with depression. Again, this is not laugh-out-loud material.

According to multiple industry sources, networks and strategists have been trying to pull the TV Academy’s review of “The Bear” in order to move it into the drama series race, where it would face off against its network sibling, “Shogun.” It’s highly unlikely that it will find traction. While it could be argued that “The Bear” is less funny than last year’s drama series winner, “Succession,” it’s been a long-debated topic that has also seeped into the film space, particularly around the Golden Globes. Remember movies like Ridley Scott’s “The Martian” and Spike Jonze’s “Her,” which were considered comedies in their own right?

To read: All Primetime Emmy predictions in every category on Varieties Prize Circuit.

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“The Bear” was an undoubted success, breaking the record for the most Emmys for a comedy series in its first season, and it could break the all-time nominations record for a comedy series, which is currently held by “30 Rock” with 22. Other networks hate to see their competitors win — and win big.

When you look at the guest star lineup, which will surely be peppered with many of “The Bear”’s actors — Bernthal, Jamie Lee Curtis, Bob Odenkirk, Sarah Paulson and Mulaney — standing alongside the comedic antics of “Saturday Night Live” hosts Kristen Wiig, Maya Rudolph and Ryan Gosling, the list doesn’t necessarily reflect the same genre synergy.

What about some dramas that seem more comedic but still aim to be taken seriously? You could argue that drama contenders like “Fallout,” “The Curse,” “Mr. and Mrs. Smith” and “Loki” might fit better into the comedy landscape.

The shift from traditional sitcoms to more complex comedy-dramas raises questions about the nature of comedy in the streaming era. Classic comedies were often characterized by their episodic nature, laugh tracks, and a clear focus on humor. However, many classic sitcoms tackled heavy topics every now and then to bring both laughter and tears to viewers. For example, “Golden Girls” explored themes of grief, aging, homelessness, anti-Semitism, and more; “Taxi” involved drug addiction, nuclear war and animal abuse; “Designing Women” had an episode about AIDS that was nominated for an Emmy for Outstanding Writing in a Comedy Series. And let’s not start with “M*A*S*H.”

In contrast, many contemporary shows blur genre lines and use a bit of humor as a tool to explore deeper themes.

This evolution reflects broader changes in audience expectations and cultural norms. Today’s viewers are often looking for more than just entertainment; they want stories that resonate on many levels and reflect the complexities of real life. As a result, sitcoms have adapted to these demands, offering humor laced with real emotional depth.

Does that make “The Bear” any less of a comedy? Not necessarily. But like any work of art, it’s up for interpretation.

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