and he could leave something to the crew instead of the mob. He obviously was not a rationale thinker or criminal mastermind so in his desperation he decided this is how he wanted to take care of his restaurant family.

Than to owe $330,000 to the mob?

But it's not their money. So why so happy? Nothing is fixed.

That intro wasn't pitch perfect but WXRT and the L and Obama and Blagojevich it was close enough. What I loved was the lighting.

I will never forget the first time I went to LA. Late 20s for someone's wedding. I was mostly by myself so kinda reflective and I was struck by the light. The orange /brown glow of LA looks exactly like a thousand TV shows, the Rockford Files or a Haim music video. I just had this realization that it wasn't sepia toned TV but just the way the light actually is in LA.

These shots of Chicago have the honest blue gray light. Those aren't stage shots with the right filter. It's real and it hits.

They still owe the money to Uncle Jimmy, so it gets them back to even, not enough to open a new restaurant. But it's so obvious, the writers had to have already planned for it.

One possibility is Carmy takes it to Jimmy and says he can have it, or he can roll it over and stake a new restaurant, which also serves to keep Jimmy involved (good for us the audience, but not Carmy).

Another option is starting S2 by showing what Carmy did with the money immediately after finding it. Maybe he took it to the casino and put it all on red. Who the fuck knows, but the writers can play around with ways they multiplied the money off-screen.

Is nobody in the writer's room said, maybe we shouldn't go with "There's always money in the tomato cans" after "There's always money in the banana stand."

Kind of made the whole show absurd, merits here and there aside.

Where did the money come from

They could have made it clearer, for sure.

--
I think the children like it when I "get down" verbally.

I don't recall exactly, but I remember a discussion about whether Mikey preferred the big or small tomato cans.

I'm not sure why Mikey would have been squirreling away cash instead of paying creditors both legitimate and illegitimate, though. Maybe he planned on blowing it up and starting over w Carmy.

(EDIT - also don't they still owe all the $ to Cicero? does this just bring them back to even? How are they gonna completely renovate?)

Yeah, dumb.

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https://bluegraysky.com/forum/index.php?id=501491

He closed the shop, right?

the ending made no sense? Like, at all?

20 just brutal minutes, done in one shot, on the 5th take.

But stuck with me was the intro. Lin Brehmer over footage of the city waking up… just a knife to the heart if you lived there in your twenties.

From the Vulture review:

“Review” opens with a voice-over from Lin Brehmer, the longtime morning host of the alt-rock station in Chicago, WXRT. It’s hard to explain WXRT if you haven’t heard it, but it’s an unholy blend of ’90s Chicago heyday stuff (Smashing Pumpkins, Local H), modern indie rock that’s not too too out there, and a lot of longtime personalities like Brehmer. They support local bands fiercely, they’re always at shows, and people have listened to Brehmer every day for the better part of their entire adult lives. He’s florid and effusive, like in this intro where he talks about “Christmas Unicorn” Sufjan Stevens, but if you’re into it, you love him.

The same can be said for Chicago as a whole, which Brehmer introduces with Stevens’s cut. The Bear aims to celebrate the city with an opening montage that uses a mix of archival footage and B-roll shots out on the town, giving the unfamiliar a glimpse of what life in Chicago is like. Yes, there’s a big beanlike statue down in Millennium Park or whatever, but life in Chicago is actually about neighborhoods and buses, pizza from Pequod’s (not Uno’s), and a brisk dash along the el tracks in the morning on the way to work.