Exploring the Psychosomatic Aspects of The Bear
A Freudian Analysis of the Berzatto Siblings Within Season Two’s “Fishes”
In the summer of 2022, Hulu released a brand-new show centered around the intricate psyche of a young and ambitious chef, Carmen Berzatto (played by Jeremy Allen White), who assumes control of his late brother’s restaurant. Guided by series creator Christopher Storer, the narrative swiftly captivated audiences, catalyzing a myriad of psychoanalytical discussions and character dissections.
As the first episode in the series that showcases the Berzatto siblings all under one roof, “Fishes” provides a look into each one’s role within their family dynamic. Within this hour-long Christmas special, Michael, Natalie, and Carmen Berzatto serve as direct embodiments of the id, ego, and superego, three concepts found in psychoanalysis principles that construct the mind.
Through their interactions and behaviors, viewers are granted a glimpse into the complexities of the human brain, as each sibling navigates their struggles and desires within the framework of their familial relationships. The episode serves as a precursor to deeper analyses of the characters’ personalities, offering a rich tapestry for viewers to explore the depths of conduct and motivation.
Background on the Series
With its multidimensional characters, excellent cinematography, grimy Chicago backdrop, and impressive soundtrack, The Bear stands out as one of the most acclaimed shows in recent years. The episode “Fishes,” in particular, follows Carmen’s dysfunctional and chaotic family during a hectic holiday dinner.
The Bear is set post-COVID, observing Carmen (known mainly by his nickname, Carmy) as he moves back to the windy city following a tragic death in his family. Throughout season one, it becomes revealed to the viewers and Carmy alike that Michael, his fun-loving and charismatic brother, struggled with addiction, taking his own life only four months prior to the events of the pilot episode. In doing so, Michael left The Original Beef of Chicagoland, his sandwich shop, to his kid brother, satisfying one of Carmy’s lifelong dreams of working there — albeit under unfortunate circumstances.
Accustomed to the life of a fine-dining chef, Carmy sets out on the tedious task of turning The Beef into a respectable and formal establishment. “Fishes,” the sixth episode of season two, provides a glimpse into life before Michael’s suicide, flashing back five years to one specific Christmas dinner. With a house packed full of guests, Donna Berzatto, the maternal head of the family, scrambles to prepare an elaborate meal for everyone. Between her frantic cooking, rampant alcoholism, and the overall rowdiness of the group, tensions only grow. Bickering escalates into fighting, objects get thrown, decor gets broken, and the episode ends with Donna driving her car into the living room.
Background on Freudian Concepts
Nick Crossley, a Senior Lecturer in Sociology at the University of Manchester, describes the id, ego, and superego as the tripartite structure of personality, each component working together to dictate human behavior. Id, the most primal piece of our human mind, acts on impulses. Behaviors influenced by the id are typically antisocial and hostile, focused on instant gratification only. We see this in Michael’s character, as he only heightens the mayhem during dinner, purposefully aggravating different household members to appease his self-serving desires.
On the opposite end of the spectrum, Gregory Castle, a Professor of English at Arizona State University, characterizes the superego as the part of our mind that helps us maintain our mental balance by internalizing parental and societal authority. Natalie, affectionately referred to as Sugar by her relatives, serves as the superego of the trio, constantly attempting to meditate and calm the disarray. Meanwhile, as explained by American cognitive psychologist Arthur S. Reber, the ego is the part of a person’s personality that deals with reality by balancing the id’s impulses and the superego’s constraints. We can see this in Carmy, the youngest, who consistently struggles to balance his turbulent home life and stressful career.
Michael and the Id
Michael Berzatto, commonly referred to as Mikey on the show, represents the id fragmentation of the human mind. Even though he appears only in flashback scenes, Mikey has a strong personality that is evident even in death. He is known to be personable and charming, but also highly impetuous and rash. As supported by Fawzia Khan and Reilly Murtaugh, both contributing authors of Comic Book Resources, Mikey acts in a self-destructive, heedless manner. These tendencies align with the id, as Mikey’s actions often lack consideration and thoughtfulness for the people around him.
In “Fishes,” the rising climax is caused primarily by Michael, who intentionally provokes his already irritated family member, Uncle Lee, played by Bob Odenkirk. The interactions between the two men become increasingly heated, with Mikey throwing cutlery at Lee over the dinner table. Mikey makes decisions based on instant gratification and acts in a manner consistent with the concept of the id, as described by Jacqueline Longe, the Senior Content Project Editor at Cengage Learning: “The id operates only on the pleasure principle, seeking to satisfy these basic urges immediately with no regard to consequences.” Ignoring the requests of his loved ones to stop, Mikey insists on amplifying the chaos through aggression and hostility, exemplifying the id conception of Freudian psychology.
Natalie and the Superego
Consistently throughout the episode, Natalie is shown trying to bring peace and order to her family’s chaotic household, her mannerisms and conduct demonstrating the superego constituent of the mind. The opening scene showcases an anxious Natalie, taking a smoke break outside with the sounds of indistinct yelling echoing from the house. Mikey joins her, prompting his sister to stop asking Donna about her well-being. The first few lines of dialogue establish Natalie’s mindset; instead of enjoying time with family, she focuses intently on checking on her mother and soothing any tensions. While talking with Mikey, she says, “And here I am, just f*cking in the middle because you’re you and Carmy’s Carmy.” This dialogue exposes how Natalie believes she functions within the family — while the other siblings can simply be themselves, she carries the responsibility. As FX’s own Cast and Crew section recounts, Natalie is stuck in the “forever fixer” position regarding her familial situation.
As elucidated by Zina O’Leary, a Senior Fellow at the Australia and New Zealand School of Government, “an over-developed superego can mean high levels of guilt and anxiety.” Natalie, after joining Donna in the kitchen, frequently offers her assistance, attempts to reassure her mother at every turn, and exhibits signs of clear stress about the night. Even in later scenes, when trying to keep Mikey and his ensuing chaos at bay, she begs him to stop, being the only character to plead instead of scold. Her actions, all woven with worry, display the traits commonly associated with the superego aspect of the human brain.
Carmy and the Ego
Throughout the duration of The Bear, we watch as Carmy struggles with his desire to be acknowledged for his accomplishments, all while coping with anxiety and imposter syndrome — this internal dilemma helps to categorize his character as embodying the ego facet of the triad. His behavior within “Fishes” gives more context to his mental conflicts while navigating his return home for the occasion. One of our first glimpses of Carmy in the episode is in the kitchen, where he insults Mikey and brings up his skills as a chef, saying “I’m the guy that does food. You’re the guy that what?” As revealed later, Carmy only ever entered the culinary world to prove to Mikey that he was capable of working with him. Hence, even within this brief interaction, Carmy’s insecurities and intentions shine through his word choice.
As Reber explains, the ego represents the “specific defence mechanisms that serve to mediate between [the id and superego].” As we can interpret through his behavior, Carmy’s defensive strategy involves shielding himself behind his achievements. His career becomes his entire life, as his family members frequently mention his work, teasing him on numerous occasions for being too uptight and withdrawn. Even when faced with opportunities for connection, like when his old fling Claire is brought up in conversation, Carmy immediately gets upset. This is consistent with O’Leary’s analysis that “a strong ego can lead to over-rationality and a lack of spontaneity,” as he avoids taking risks or involving himself in situations where he is not in control. Carmen’s behavior in the episode personifies the ego’s function.
The Deeper Meaning of the Episode
Within the tumultuous dynamics of the Berzatto family, Carmen’s behavior emerges as a poignant reminder of the profound influence familial interactions wield over the individual psyche. The chaotic meal is a microcosm of the long-standing tensions and unresolved conflicts within the Berzatto household, leaving an indelible mark on Carmy’s psyche. Throughout the episode, the audience is shown an exploration of the formative experiences that have shaped Carmen’s character within the series.
As a flashback, “Fishes” serves not only to provide background on the Berzatto family dynamics but also as a crucial explanation for Carmen’s complex behavior within the show. As the narrative unfolds, viewers witness the tumultuous relationships between Carmen and his siblings, particularly Michael, whose larger-than-life presence still looms over the family dynamic. Michael’s impulsive and reckless actions serve as a stark contrast to Carmen’s more reserved and introspective nature, highlighting the divergent paths the siblings have taken in response to their shared upbringing.
Moreover, “Fishes’’ provides insight into Carmen’s fraught relationship with his mother, Donna, whose struggles with alcoholism and emotional volatility have left a lasting impact on her children. Through uncomfortable interactions and tense exchanges, viewers are given a deeper understanding of Carmen’s complex feelings of love, resentment, and obligation towards his mother, whose actions have often veered between moments of warmth and affection and bouts of chaos and instability. Amy Lamare, a writer for the media company Goalcast, evidences the mirrored nature of Carmen’s outbreaks within the kitchen and Donna’s breakdowns throughout the episode. It seems that, among other things, anger issues may have been passed down from mother to son.
By delving into the complexities of familial relationships and the enduring dysfunction, the episode offers viewers a deeper understanding of Carmen’s internal struggles and motivations, laying the groundwork for his ongoing journey of self-discovery and personal growth within the show.
Final Thoughts
In exploring the psychosomatic depths of The Bear’s “Fishes” the narrative journeys into the intricate web of the Berzatto family dynamics, unraveling the Freudian triad of id, superego, and ego embodied by Michael, Natalie, and Carmen. However, beyond dissecting the characters’ psychological makeup, the episode profoundly reflects the complexities of familial relationships and the impact of past traumas.
As the chaotic holiday dinner progresses, not only do we witness the clash of personalities, but also the deep-seated tensions and unresolved conflicts that have shaped the Berzatto siblings. Michael’s impulsive nature, Natalie’s constant striving for order, and Carmen’s internal struggle for recognition resonate with the broader human experience of navigating the interplay between primal desires, societal expectations, and personal aspirations.
Ultimately, “Fishes” transcends its role as a mere television episode, as the flashback encourages viewers to reflect on the significant power of family ties and the relentless pursuit of self-discovery. It urges audiences to confront their familial dynamics and how they shape identities, inviting them to embark on their own journey of introspection and growth. In this sense, The Bear’s exploration of the psychosomatic aspects of the human psyche extends far beyond the confines of the screen, offering a mirror through which to examine individual lives and relationships.
Additional Sources Used in this Article
Gregory Castle. “Psychoanalysis (to 1966).” The Encyclopedia of Literary and Cultural Theory. 2011. Found on Credo Reference.
Arthur S. Reber et al. “Ego.” The Penguin Dictionary of Psychology. 2009. Found on Credo Reference.
Nick Crossley. “Id, Ego and Superego.” Key Concepts in Critical Social Theory. 2005. Found on Credo Reference.
Zina O’Leary. “Id/Ego/Superego.” The Social Science Jargon-Buster. 2007. Found on Credo Reference.
David and Julia Jary. “Ego.” Collins Dictionary of Sociology. 2006. Found on Credo Reference.
Jacqueline Longe. “Id.” Gale Encyclopedia of Psychology. 2016. Found on Credo Reference.
