If ‘The Bear’ Season 4 Premieres Without Promotion…

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I was thrilled to find out that “The Bear” has emerged from its winter slumber! The fourth season of this delightful culinary drama on FX made its premiere on Hulu last Wednesday, the 25th of June, and it’s a treat for fans like me who’ve been eagerly waiting.

Before the premiere of The Bear, I couldn’t ride the subway in New York City without being surrounded by ads for an unheard-of cooking show starring the actor from Shameless. Frankly, I never imagined that the poster on the wall would transform into the hit series of the year, let alone the summer. As we approached the fourth season, it seemed like there were more ads on the streets – but there certainly were a lot more on our TikTok feeds. (A representative from FX informed us that their marketing campaign remained as strong as ever.)

You might have noticed increased publicity surrounding Season 4, appearing in various media outlets such as The Hollywood Reporter, among others. This heightened promotional activity has several explanations.

Originally, FX planned a promotional event for “The Bear” on June 9th, which also served as an early push for award consideration for season three. Unfortunately, this event had to be canceled due to scheduling conflicts and wasn’t rescheduled.

Despite the promise of one-on-one interviews for talent, it seems that the main cast members – Jeremy Allen White, Ebon Moss-Bachrach, and Ayo Edebiri – were primarily unable to attend due to scheduling conflicts. This is according to FX. (White is set to appear in a Bruce Springsteen biopic coming later this year, while Moss-Bachrach stars in the upcoming “Fantastic Four” film in July.) Similarly, series regular and executive producer Matty Matheson was also unavailable, along with other show producers, presumably including creator and showrunner Christopher Storer.

At least they all had time to enjoy a meal at Musso & Frank.

Well then, I was just giving them a playful tease. Naturally, they deserve to enjoy their premiere’s success, and since this particular group is known for it, they must indulge in an upscale dining experience.

Typically, outside the entertainment-media industry, it’s uncommon for producers and main actors to be accessible to the media before a new season, especially during awards campaign seasons. However, given that FX took home the most Emmys among all networks in 2024, it’s clear they are not beginners; they have a solid understanding of their craft and execute it effectively.

For the premiere of season four (and seasons two and three) of “The Bear,” fewer screeners were distributed compared to usual. FX only shared screening links with a select group of critics, among whom was one from THR. An FX representative explained to THR that over 219 critics and reporters at 108 different publications received early access. While it’s not unusual for top-tier series like this one for HBO to manage access tightly, it should be noted that such control is intended to prevent leaks. Screeners are a privilege, and while more people typically have this privilege, it’s important to remember that it’s not an entitlement.

The peculiarities surrounding what critics can and cannot do with regard to screeners for ‘The Bear’ season four is quite intriguing. Unlike regular schedules, reviews for this season weren’t allowed to be published until 11:15 p.m. PT on Wednesday night, which is 2:15 a.m. ET on Thursday – a delay of six hours and 15 minutes after its initial airing at 8 p.m. ET/5 p.m. PT on Wednesday. However, this delay wasn’t arbitrary; calculations by The Hollywood Reporter revealed that the total runtime of all ten episodes in the season equates to exactly six hours and 15 minutes. Thus, a dedicated fan could potentially finish watching the entirety of ‘The Bear’ season four before any TV critic’s review could influence their viewing experience. Contrary to speculation, this embargo wasn’t aimed at giving fans an unspoiled viewing experience. Instead, it was a precautionary measure to prevent revealing information about the season’s guest stars or the season finale.

Embargo periods are frequently used in TV and movie production, and the timing can sometimes reveal the production team’s internal feelings about the quality of their work. For instance, a same-day release embargo on reviews often suggests that a studio isn’t confident about its film. In television, it’s more complex. For example, streaming platforms often wait until 12:01 a.m. on the day of a TV premiere to lift the review embargo. Choosing a time is necessary, even in an industry that rarely adheres to traditional scheduling. Given the flexibility, the start of the day – when a new show or season debuts – is as reasonable as any other. The embargo for “The Bear” season four, however, is unusual.

In simpler terms, the studio Lionsgate requested that film critics only release positive reviews for their movie “Ballerina,” which is a spin-off from “John Wick.” This was followed by another embargo for negative reviews at a later time. However, this approach didn’t sit well with the critics, as it probably shouldn’t have.

Furthermore, let me clarify that we’re not implying FX thinks season four of “The Bear” is poor – they don’t hold such an opinion. Instead, our assumption is that the stringent regulations surrounding this particular instance reflect Storer’s deep commitment to safeguarding viewers from potential spoilers about his series. As always, we have solid evidence to back up our statements.

During the airing of The Bear’s fourth season opener, an FX representative communicated with media outlets asking them to issue “spoiler alerts” at the beginning of all in-depth reviews, recaps, and coverage due to potential semi-major spoilers. However, it was unusual that neither FX nor Hulu had revealed episode titles or descriptions for The Bear’s fourth season until Thursday. This might have been excessive.

In this context, let me rephrase for you:

This precedent was established long before the new season began. For instance, during the first season of “The Bear”, which was initially an unrecognized summer show, a situation that typically doesn’t lead to a wave of Emmys, the list of spoilers not to be revealed even included the guest cast of Oliver Platt as Carmy’s (Jeremy Allen White) uncle. To be clear, announcing Platt’s role is hardly comparable to revealing the next James Bond. We’re not implying that this is an outrageous incident showcasing what happens within “The Bear”‘s PR department, but it does serve as an illustration.

FX is typically open to press interactions but oddly so in this case, which might lead one to incorrectly assume that Storer is exerting some influence. However, FX also values its fanbase and the spokesperson emphasized they need to handle it with as much care as their media interactions. This can be a tricky tightrope walk, and both parties aren’t immune to making mistakes occasionally.

Despite the media’s apparent fondness for FX, it is fair to say that we also enjoy their favor. Throughout this entire discourse, we have been engaging in industry-specific conversations. To illustrate our mutual affection recently, here’s a highly specialized example: When John Solberg, longtime publicity head at FX, announced his retirement plans internally, several entertainment publications (such as The Hollywood Reporter) reported it as industry news. While this is not an unusual occurrence, it does acknowledge Solberg’s influence on the business, both professionally and personally. Many of us have a genuine liking for John, but he has earned this recognition through his achievements. Similarly, his superior, John Landgraf, has gained similar acclaim.

Landgraf is well-respected as a top executive in the business industry. When he expresses his thoughts, we take note. Known for his brilliance in television, Landgraf has guided FX to become a favorite among critics. (Solberg was instrumental in earning these accolades and managed the guidelines for The Bear’s season four promotional campaign.) Notably, Landgraf is also credited with coining the term “Peak TV” – in 2024, he announced it had reached its peak.

To clarify, we’re not criticizing FX in any way; that’s certainly not our intention. Our encounter with The Bear’s promotional efforts seems unusual and somewhat awkward, but we view it as an isolated incident rather than a pattern of behavior.

The Bear was hoping for a strong fourth season – while the initial and subsequent two seasons received praise from both critics and general public, there was a slight drop in viewership with the third season. Critics’ reviews were also less favorable, though not to the same extent.

After being lifted, the restrictive ban, the appraisals for season four have arrived, and surprisingly, they’re quite favorable overall. Indeed, this latest season faced the series’ harshest criticism yet from critics, but the general consensus among television reviewers remains mostly optimistic.

Well, not all TV critics. THR’s Angie Han didn’t love it.

In Han’s critique, she expressed that the most recent season seems exhausted from attempting to surpass its previous successes. Instead of progressing or delving further, it appears to be returning to familiar themes as if preparing, possibly, to conclude permanently.

“The spark that lit up earlier volumes has dimmed significantly,” Han wrote.

By this point in time, you’ve likely surpassed the six hours and fifteen minutes given for contemplation, forming your personal opinion regarding “The Bear” season four. That is, assuming you were aware it existed in the first place.

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2025-06-27 00:25