For the longest time, I've always been quite taken back by Sunday's Navel Gazing and the comments. The 'org chatters on, not just about music, but shows, movies, drinks, books, sports, etc. To that point, I figured it's time to fiddle with this overlap a bit. There isn't a better property right now than FX's The Bear and a Season 4 that's sure to be just as divisive as past seasons. However, it does feel more whole, complete and filled with pastry closure.

This season finds Jeremy Allen White's Carmy trying to keep his restaurant going and out of debt, all while trying to somehow win a star and impress whatever secret reviewer comes through. It's to make up for the middle-ground Chicago Tribune from Season 3 that left the beef sandwich shop-turned-fine-dining establishment in disarray. Now, while the first two seasons focused on character development with Carmy's Berzatto family, and outliers like Syd, Marcus and Richie trying to keep the culinary engine running, all while facing personal demons and Carmy's anger issues, Season 3 felt like a rinse and repeat. Now, I enjoyed it because it's so technically sound. Whether it's the editing or music or dialogue, I couldn't care less if it's dubbed a comedy or drama -- it's just good TV. But the drama and tension did feel overdone.

Season 4 leans into survival mode more, but a bit more comedy, especially when the Faks come to the fore, as well as Tiff's wedding. The chaos is toned down for more order, even amid a bevy of awesome cameos that one would expect arguments to arise from. Instead, this season is about healing, rehabilitation and warmth with many folks. It dives into the idea of mending fences with loved ones, losing them (mentally and physically) and once more what the ambitions and rigours of the job offer. But everyone thankfully feels more driven, focused and determined to be, well, an adult kitchen.

By toning things down, though, the score and soundtrack do get diminished a bit. Refused's "New Noise" has become a staple of past season but here, it's just kept for the credits. Tiff's wedding episode, though, does have music as a character a bit more to sate fans like me who love that audio signature. Weezer's "Susanne," Pearl Jam's "Throw Your Arms Around Me," and Bruce Springsteen's "Tougher Than The Rest" anchor this chapter filled with cute father-daughter subplots, brotherly notes that dial into Michael's death, romance (for those who ship Carmy and Claire), and the concept of true love and soulmates. It pays off Richie's Taylor Swift connection as well.

Now, that's not to say music is totally killed off. Throughout the season, you hear Wilco, Shellac, Bob Dylan, Lou Reed, Pretenders, etc. as showrunner Christopher Storer continues to layer the Chicago setting with more sentiment, personal connection and emotions. However, it does feel like this aspect of the show could and should have been played up more as it reflects the anxiety and duality within of so many characters: a subtle call-and-response, in a sense. It's always been one of the show's best traits.

That said, the 10 episodes are quality. It introduces intriguing concepts for a potential Season 5 to explore: franchising, Carmy moving on from the business, Syd taking over and deciding to use the Bear as her main job, Marcus being awarded for his skills, and other elements needed to turn a profit. But if this does end up being a series finale, it works. There are ambiguous threads, but overall, everyone gets a seat at the table and the actors, as the hipsters say, ate. The Bear has cooked up a delicious storm once more that's best embodied by the repeated use of St. Vincent's "Slow Disco" in a couple of episodes. Life is worth slowing down, forgiving and offering second chances. By the time FX wraps these episodes, we'll ask ourselves if this was a creatively satisfying meal. And the way the ensemble plays out: I personally think the resounding answer is "Yes, Chef!"