Meaty restaurant drama is still an enticing bingeable prospect

Take a soupçon of identity crisis, a pinch of perfectionism, a scoop of burnout and mix thoroughly with a large measure of fraternal grief and sear over a hot grill and voilà!

- Jane Steventon on The Bear

You have The Bear, a perfectly blended drama about a chef on the edge, driven by relentless ambition and exacting standards as he turns his family's humble sandwich shop into a fine-dining restaurant, writes Julia Steventon, screenwriting course leader and film production deputy course leader and senior lecturer at the University of Portsmouth.

This intoxicating family drama was eaten up by critics and audiences alike in 2022, its first season garnering a rare perfect 100 per cent score on Rotten Tomatoes, the subsequent two reaching scores of 99 per cent and 89 per cent respectively. It's certainly a hard act to follow for season four.

The first 10 minutes of The Bear's pilot episode thrillingly defined what was to come in high-octane style and scene-setting detail. The first season delivered a clever mix of authentic dialogue and setting, relatable family dysfunction and dynamic production style.

Showstopping scenes of stressful kitchen heat were served up alongside a delectable range of new and established talent in the form of Jeremy Allen White (Carmy), Ebon Moss-Bachrach (Richie), Ayo Edebiri (Sydney) and Oliver Platt (Cicero/Uncle Jimmy).

In charge is showrunner Christopher Storer, who came up with the concept after being inspired by his friend's father Chris Zucchero, the owner of Chicago sandwich joint Mr Beef.

With his professional chef sister also serving as a consultant, Storer succeeded in creating a deliciously authentic and intensely real drama. Buoyed along the way by 21 Emmys and five Golden Globes, Storer also watched his cast ascend, the tortured-soul performance of White garnering particular praise.