The Bear’s “Worms” Episode Gave Us Sydney—But Left Her Standing Still
I just watched The Bear Season 4, Episode 4, and I’ve got to talk about it—especially because it finally gives us something we’ve been craving: a Sydney-focused episode. The installment, titled “Worms,” is beautifully crafted, with stunning direction by Janicza Bravo and co-writing by Ayo Edebiri herself, who plays Sydney. On paper, it’s everything you’d want: an introspective, culturally rich exploration of Sydney’s inner world and the weight of a huge decision looming over her. But somehow, despite the brilliance in its details, the episode lands with a frustrating thud.
“Worms” is styled almost like a stand-alone, following Sydney through one seemingly ordinary day. But that day is anything but. She’s debating whether to leave the chaos of the Bear—Carmy, the dysfunction, the stress—for a new opportunity offered by Adam Shapiro, a white chef dangling the promise of stability and respect. The pros list is long. The cons list? It’s just one thing, but it matters: her loyalty to the people she’s come to think of as family.
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This internal tug-of-war plays out in the most intimate of spaces: her cousin Chantel’s home, where Sydney’s getting her hair braided. What The Bear nails here are the textured, nuanced portrayals of Black womanhood—conversations with her cousin, moments with her young niece TJ, and all the unspoken bonds around the kitchen table. These scenes are authentic, from the gossip mid-braid to the code-switching and tender mentorship moments. It’s warm, hilarious, and grounded in realness.
The metaphor of two “sleepover houses”—one chaotic but beloved, the other sleek and soulless—is a brilliant way of framing Sydney’s dilemma. Her interaction with TJ, who’s dealing with her own anxiety about losing friends and finding belonging, mirrors Sydney’s own confusion. And yet, despite all this emotional buildup, the episode ends with Sydney agreeing to “look over paperwork” from Shapiro. No confrontation with Carmy, no shift in dynamics, no resolution. Just... static.
And that’s the problem.
“Worms” tells us so much about Sydney—how she loves, how she gives, how she doubts herself—but it doesn’t seem to tell her anything new. We see the chaos of the Bear through her eyes, we hear her hesitate, we watch her ache. But when the next episodes roll in, none of this appears to stick. There’s no real progression. It’s as if we took a deep, meaningful detour into her soul only to hop right back on the road to nowhere.
And don’t get me started on Shapiro. He’s the walking definition of well-meaning ignorance. His vibe is like a TED Talk with trap music playing in the background—wildly unaware, deeply uncomfortable, and just out of sync with everything Sydney needs. Yet even with all these red flags, Sydney wavers.
So while I appreciated the tenderness, the cultural specificity, and the chance to finally breathe with Sydney in a space that centers her, I’m left wondering: What was the point, if nothing changes?
"Worms" is a standout episode for its artistry and intent. But it feels like a missed opportunity for Sydney’s growth. She deserves more than just the spotlight—she deserves transformation.
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