Worms (The Bear)

The Bear
Industry	Television series
Founded	June 25, 2025; 16 months ago
Headquarters	Chicago, United States
Products	Television episodes

Worms represents the fourth installment of the American comedy-drama series The Bear during its fourth season. This episode, the 32nd in total, was penned by Ayo Edebiri and Lionel Boyce and directed by Janicza Bravo. It debuted on Hulu on June 25, 2025, simultaneously with the entire season release.

The narrative follows Carmen "Carmy" Berzatto (Jeremy Allen White), a celebrated chef from New York City who returns to Chicago to take charge of his late brother Michael’s faltering Italian beef sandwich shop. With financial backing from his uncle Jimmy (Oliver Platt) and support from cousin Richie (Ebon Moss-Bachrach), sister Sugar (Abby Elliott), and chef Sydney (Ayo Edebiri), Carmy strives to elevate the Beef into a refined dining experience known as the Bear.

"Worms" received acclaim from critics as one of the season's most remarkable episodes and a defining moment for co-writer and lead actress Ayo Edebiri, applauded for its combination of incisive humor and heartfelt storytelling through the character Sydney Adamu.

Plot

Sydney is introduced to Adam Shapiro’s (Adam Shapiro) upcoming restaurant project, where she is offered significant control over operations and increased investment in staff training. She then visits her cousin Chantel (Danielle Deadwyler) for a hair appointment. While Chantel attends to errands, Sydney forms a connection with Chantel’s 11-year-old daughter T.J. (Arion King), taking her grocery shopping, preparing a meal together, and discussing T.J.’s social challenges. Through metaphors related to sleepovers, Sydney contemplates her uncertainty about whether to remain at the Bear or accept Shapiro’s offer. Later, she contacts Shapiro to review partnership documents.

Black Chicago

The episode was co-written by Ayo Edebiri and Lionel Boyce, both regular cast members since the series began. Notably, Edebiri is the sole main cast member featured in "Worms." The episode stands out as the most distinctly Black-coded installment of The Bear so far, with Edebiri, Boyce, and director Bravo all being Black creatives. Edebiri stressed the importance of genuine representation: "These people are Black, so let's make it as true and real and grounded as everything else is in the show." To ensure authenticity, they consulted fellow cast member Corey Hendrix, a Chicago native portraying Sweeps, regarding the setting of Sydney’s cousin Chantel’s residence and nearby salon on Chicago’s South Side. Neighborhoods such as Bronzeville, Englewood, or Chatham were considered within the context of ongoing gentrification. The script also includes a line Hendrix originally said during season one filming: "That's in the north, right? You know their beefs be different. Put some cheese on it!"

Boyce shared that his aunt has been a beautician owning salons since his youth. In an interview with Rolling Stone, he described barbershops and beauty salons as vital community hubs—“third spaces” where lifelong connections form. The episode’s style drew inspiration from the "Barbershop" episode of Atlanta, another series under FX Networks. Sydney’s hairstyle plays a significant role in this episode; Edebiri pointed out that its consistent appearance reflects her character’s identity.

Karlton Jahmal from BuzzFeed praised the episode’s faithful depiction of Black American cultural nuances: Chantel’s phone code-switching, her outfit check (“fit check”), the stove clock frozen at 12:00—a common trait in many Black households—T.J.’s feelings of alienation at a higher-tier school amid conflicting parental aspirations and neighborhood loyalty, Chantel’s remarks like "Don't worry about that, go and make me a bowl," alongside a critique of North Side White-people beef sandwiches being overly dry—with Chantel advising: "Dip it, keep it wet," adding cheese for flavor.

The episode opens with Sydney unraveling her box braids on her day off—a time-consuming ritual—and using “I have a hair appointment” as an excuse to delay Adam Shapiro, who misreads this phrase due to unfamiliarity with Black hair culture. Jahmal explains that within Black communities this expression signals being occupied for the remainder of the day. The unlit digital clock in Chantel’s kitchen symbolizes how Black hair appointments often stretch time. Boyce recalled to Rolling Stone that braiding hair can take an entire day starting early morning, underscoring its cultural importance. Emily Heil from The Washington Post observed the contrast between Chantel’s kitchen—with its broken oven clock—and The Bear's restaurant kitchen where every second matters; here there is room for connection and conversation instead.

Ayo, Whoopi, SydCarmy, Groundhog Day, and cinematic intertextuality

While styling her hair, Syd watches the 1986 comedy Jumpin' Jack Flash starring Whoopi Goldberg, focusing on the line, "Do you wanna work here, or do you want to live?" This dialogue echoes the conversation between Andrea Terry (Olivia Colman) and Carmy in the season-three finale "Forever" (Chef Terry: "I learnt that I want to sleep in more..."; Carmy: "Live.") and also connects to the season finale "Goodbye." A poster of Jumpin' Jack Flash is visible in Syd’s room during season one. Boyce mentions Edebiri’s admiration for Goldberg’s work: "Ayo loves Whoopi." Heil from the Washington Post observed that certain films thematically resonate with both lead characters in season four: Carmy experiences a sense of entrapment similar to Bill Murray’s role in Groundhog Day, while Jumpin' Jack Flash depicts a capable Black woman assisting a White man’s escape.

The racialized microaggressions of Adam Shapiro

Shapiro’s exchanges with Syd expose "friendly yet painful" microaggressions, revealing his shallow approach to multiculturalism within his restaurant as demonstrated through Syd and her culinary contributions. Microaggressions—whether deliberate or unintended—convey subtle racial insults that accumulate psychological harm over time. Shapiro dismisses Syd’s attempt to avoid conflict by citing a hair appointment, signaling his exploitative attitude. Keyaira Boone of HelloBeautiful.com identifies Syd’s skills as The Bear’s "secret sauce," which Shapiro takes advantage of, mirroring industry trends where Black women often feel pressured to comply.

During an early phone conversation, Shapiro demands details about the duration of Syd’s hair appointment and reacts with surprise when it exceeds his expectations, urging her to rearrange it. Upon meeting her at the restaurant, he assumes an East Coast rap track suits her taste—a stereotype she challenges by switching the music to "Für Elise." Later, Shapiro offhandedly suggests Syd might bring "Afro-Caribbean influences," despite no indication of such heritage or interest; this confines her culinary identity rather than encouraging genuine partnership. Boone critiques this as a clumsy effort to connect with her Blackness, creating discomfort unnoticed by Shapiro.

Boone describes Shapiro’s conduct as performative allyship, with director Janicza Bravo emphasizing the subtle workplace tensions Black women endure. Although The Bear’s Italian family may lack understanding of intersectionality, they consistently subject all employees to a demanding environment. Shapiro feigns greater appreciation for Syd than he genuinely feels. Vulture’s Eakin concurs: his patronizing and superficial behavior drains Syd’s enthusiasm. Despite Shapiro’s aspiration for a fair kitchen offering diverse staff and benefits, The Bear already reflects these ideals.

Chef poaching and restaurant staffing

Culinary producer Courtney Storer shared with Variety that she discussed recruitment challenges with Edebiri and Boyce, noting the difficulties chefs encounter when managing restaurant personnel. She pointed out the disparity between promised human resources provisions—such as vacation time and training—and the actual experience, underscoring how chefs frequently feel isolated amid fierce competition for talent.

Sydney's close circle

Sydney is usually seen sporting "extra small knotless braids," a style crafted by her cousin Chantel, who caters to a tight-knit group of friends and family. Chantel’s husband, Christian, works part-time at a hair supply store to help finance a couples' getaway to Costa Rica. As noted by Edebiri in Variety, Christian is absent that day, but Chantel is not parenting T.J. alone. The gossip exchanged during appointments adds layers to the character relationships, with Vulture’s Eakin highlighting Darnell’s dubious conduct involving a second family in Texas. Director Bravo and writers Boyce and Edebiri hold differing opinions on whether Sydney will follow through with plans involving Chantel and Mary, reflecting her current personal challenges.

Casting

The casting of T.J. was crucial to the episode’s impact. Boyce commended Arion King’s portrayal for its authenticity, likening it to his sister. Creator Christopher Storer stressed the necessity of securing an excellent child actor to establish this vital relationship. Casting director Jeanie Bacharach and her team conducted four rounds of auditions before selecting King.

Filming

Filming took place over approximately five days in March 2025. Scenes set in Adam's restaurant in Avondale, Chicago, were shot at Milli by Metric coffee roaster’s then-upcoming location, which also served as the official coffee provider for The Bear cast and crew behind the scenes. Location scout John Roxas identified a Bronzeville residence for Chantel and Christian's home, which director Bravo quickly approved to preserve narrative authenticity. The sequence where Sydney and T.J. shop for ingredients was filmed at Olivia's Market in Bucktown.

Set decoration

Sydney’s apartment is adorned with houseplants such as pothos, calathea, and tree philodendron. It also features two framed photographs by Tyler Mitchell: Untitled (Kiki and Stephan Dancing), originally commissioned by Vogue, and Untitled (Group Hula Hoop), taken in Brooklyn in 2019.

Costuming

Sydney sports a Negro Leagues sweatshirt sourced by costume designer Courtney Wheeler from Manny of Goody Vault, complemented by what appears to be a vintage Escada jacket. During her visit to Shapiro's industrial space, Sydney wears a multicolored knit beanie by Susie Kondi Lumi, described by Edebiri as "the most insane hat of all time." Chantel is seen wearing a cornflower-blue Adidas Originals Premium Crochet Tracksuit paired with a Rag & Bone Featherweight Lara jean jacket when heading out to the store.

Music

The soundtrack includes tracks such as "Ante Up (Robbin Hoodz Theory)" by M.O.P., Beethoven's "Für Elise" performed by Walter Rinaldi, "STUCK" by Durand Bernarr featuring Ari Lennox, "Wood" by Duval Timothy featuring Yu Su, "Wings of Love" by Tsvia Abarbanel, "Technova" by Towa Tei, "You Got Me Like" by SHAED & snny, "You Will Rise" by Sweetback, and "So In Love" by Curtis Mayfield.

Food

This episode spotlights an elevated yet child-friendly beef bowl inspired by the Cheeseburger Macaroni variety of Hamburger Helper. Joseph Lamour, food reporter for The Today Show, remarked that it skillfully merges gourmet elements with accessible ingredients. Hamburger Helper provides a meal kit consisting of a "blend of spices and pasta...designed to be cooked with ground beef." Series creator Boyce mentioned his fondness for Hamburger Helper flavors like beef stroganoff and mac and cheese as his go-to "instant-comfort nostalgia food."

During the 1970s inflationary period in America, Hamburger Helper became popular for enabling consumers to stretch one pound of ground beef into an entire meal amid rising beef prices. Ground beef continues to serve as an affordable protein choice depending on the cut and fat percentage; the least costly options often include trimmings with up to 30% fat content.

Within the episode, Sydney—despite being "canonically bad with kids"—forms a connection with T.J. while preparing the dish together. They enhance it using double-concentrated tomato paste, diced yellow onions, shredded cheese, toasted panko breadcrumbs, and replace some milk with heavy cream for added richness. Food Republic recommended Parmigiano Reggiano to maximize umami flavor and suggested ketchup as an alternative to tomato paste. Variations featured aged Irish cheddar and fresh herbs like parsley, oregano, and basil; Chantel intended to add hot sauce.

Perry Santanachote from The Kitchn praised this upgraded recipe as restaurant-quality—savory, creamy, and comforting—highlighting how tomato paste adds umami while parsley and panko contribute freshness and texture. Lamour described it as his first positive Hamburger Helper experience in 42 years due to its rich yet balanced taste and appealing presentation suitable for dinner parties. The inclusion of Hamburger Helper was not sponsored product placement.

The episode title "Worms" refers to gummy worms Sydney purchases at the market.

Critical reception

Rolling Stone critic Alan Sepinwall lauded Deadwyler as "one of the most versatile actors currently working," praising his "relaxed, confident, humorous performance." He identified this episode as a standout in season four that "focuses on meaningful emotional details," allowing Edebiri's "screen presence, charm, and tangible vulnerability" to take center stage.

Rolling Stone journalist C.T. Jones highlighted how "Worms" portrays cherished facets of Black community life without excessive exposition, framing The Bear as a narrative about strangers becoming family while respectfully honoring Black domestic spaces. Slates Nadira Goff described it as a "charming episode" providing an overdue update on Sydney but felt the storyline ultimately lacked impact on her final choice. Times Judy Berman deemed it "...refreshing," offering relief from Carmy’s ongoing struggles.

Vultures Marah Eakin awarded "Worms" four out of five stars for its focus on Sydney’s character development. Culture correspondent Roxana Hadidi observed it as an authentic depiction of Black womanhood crafted by creators producing content they personally wish to see. WaPos Heil emphasized Sydney’s metaphor about decision-making alongside Carmy’s role as the protective "big brother," effectively capturing their relationship dynamic. Decider.com ranked "Worms" among The Bear’s best episodes immediately upon release, praising Edebiri’s nuanced acting and chemistry with King as central to its emotional resonance.

BuzzFeed applauded this "more tranquil installment" as "a beautiful portrayal of Black culture and family," calling it the series’ most explicitly Black-coded episode that authentically reflects Chicago’s significant Black population through dialogue and interactions. Substream magazine’s Murjani Rawls commended how the episode centers on Sydney alongside T.J., using their parallel challenges to explore insights gained from youth contrasted with adult complexities.

The New Republic considered the episode a "series highlight," recognizing Deadwyler's exceptional contribution, Edebiri's humor, and guest director Janicza Bravo's efficient directing style that contrasts with typical approaches on the show.

Accolades

TVLine honored Ayo Edebiri as Performer of the Week for her work in "Worms," highlighting it as her finest performance in the series thus far and emphasizing Sydney’s multifaceted character alongside Edebiri's comedic timing and emotional depth. Dave Nemetz also praised guest star Deadwyler and young actor King for their outstanding performances.

Retrospective assessments

In 2025, Vulture ranked "Worms" 11th out of 38 episodes from The Bear, noting its high-quality talent ensemble and success as an exceptional standalone installment.

Collider placed this episode third on its 2025 top ten list for The Bear, calling it "undoubtedly the best episode of season four" and one of the series' finest overall.

Sources

External links

Transcript for The Bear - Season 4, Episode 4: Worms