• Main
  • Film
  • Television
  • Theater
  • Best Of the Rest
  • Subscribe
  • About
Saturday, September 5, 2026
  • Login
  • Register
The Contending
No Result
View All Result
  • Main
  • Film
  • Television
  • Theater
  • Best Of the Rest
  • Subscribe
  • About
No Result
View All Result
The Contending
No Result
View All Result
Home Emmy Awards

‘Beef’: How Jake Schreier Bookended the Second Season with that Life-Changing Fight and Absurdity

Joey Moser by Joey Moser
June 9, 2026
in Emmy Awards, Featured Story, Interviews, Limited Series, Television
0
‘Beef’: How Jake Schreier Bookended the Second Season with that Life-Changing Fight and Absurdity

(Photo: Netflix)

Share on FacebookShare on Twitter

Some might not believe where the second season of Beef goes if they only watch the first episode, and it’s one of the wildest rides of the entire television season. So much of the sophomore outing is about how we take sides as a couple against those who threaten us as united fronts shift and change depending on the strength of the marriage that you are in. Jake Schreier leans into absurdity and tragedy as shows us that it’s not about the destination but literally the journey…even when it comes to marriage.

Who finds the most acceptance by the end of Beef’s second season? In order to even consider that we have to ponder where we came from. The titular fight that kicks off the sparring between Carey Mulligan and Oscar Isaac versus Cailey Spaeny and Charles Melton is so shocking that even hearing it is troublesome to the viewer. There is something about the pitch of Mulligan’s screams or how Isaac’s Josh sounds like he has had enough this time. Schreier talks about building up to that intensity, and we find a mutual appreciation right before it gets as bad as it does. Mulligan’s Lindsay says, ‘I hate you’ calmly, a glass of wine in her hand and her husband counters with a knowing, almost vicious reply. ‘I know,’ he says.

By episode eight, the entire season is so complicated and tangled with partial understandings that we admit to ourselves that our allegiances aren’t as clear as when they first started. With everyone in Korea, the action finds a wholly new energy as Josh, Lindsay, Ashley, and Austin must confront a common enemy even if they don’t know how or when they will make it back to the States. On the Trochos turf, Schreier’s camera is bathed in whites and cool blues, and there is an incredible sequence where Song Kang-ho’s Dr. Kim speaks the most blatant honesty about marriage and relationships. It’s lost on those listening since they don’t speak the same language before the scene turns physical with madcap action.

Schreier understands how the loneliness that drives anger can be threaded throughout an entire season of television. The final moments at the graveyard speak to memory and regret that makes us wonder if we should consider our own loneliness before we consider raising our voices.

Beef is streaming now on Netflix. 

Spread the Word!

  • More
Tags: BeefJake SchreierNetflix
Joey Moser

Joey Moser

Joey is a co-founder of The Contending currently living in Columbus, OH. He is a proud member of GALECA and Critics Choice. Since he is short himself, Joey has a natural draw towards short film filmmaking. He is a Rotten Tomatoes approved critic, and he has also appeared in Xtra Magazine. If you would like to talk to Joey about cheese, corgis, or Julianne Moore, follow him on Twitter or Instagram.

Next Post
Reframe: ‘The Insider’

Reframe: 'The Insider'

Subscribe to Podcast

Apple PodcastsSpotifyAndroidby EmailRSS

Subscribe Now!

Subscribe here to The Contending's newsletter! We will never spam you. We promise!

Looking To Advertise?

Looking to advertise with The Contending? Contact us for inquiries!

The Latest Stuff

Venice 2026: Gabriel Gutierrez Morales’ Peculiar Gay Love Story, ‘Tijuana, Todavia’

Venice 2026: Gabriel Gutierrez Morales’ Peculiar Gay Love Story, ‘Tijuana, Todavia’

September 5, 2026
Venice 2026: Lance Oppenheim’s ‘Primetime’ Features An Egomaniacally Finessed Robert Pattinson

Venice 2026: Lance Oppenheim’s ‘Primetime’ Features An Egomaniacally Finessed Robert Pattinson

September 5, 2026
Venice 2026: Raphaël Balboni & Ann Sirot’s Beguiling ‘Diane In The Loop,’ Features A Luminous Ninon Borsei

Venice 2026: Raphaël Balboni & Ann Sirot’s Beguiling ‘Diane In The Loop,’ Features A Luminous Ninon Borsei

September 5, 2026
Venice 2026: Manuel Wetscher’s ‘Eklipse,’ Authentic Look At Ignorance, Homophobia

Venice 2026: Manuel Wetscher’s ‘Eklipse,’ Authentic Look At Ignorance, Homophobia

September 5, 2026
Venice 2026: Alexandre Smia’s Taut, Tense Thriller, ‘Jupiter’ Is ‘House of Dynamite’ Sibling Cinema

Venice 2026: Alexandre Smia’s Taut, Tense Thriller, ‘Jupiter’ Is ‘House of Dynamite’ Sibling Cinema

September 4, 2026

Wise Words From Our Readers

  • For UnjustOther on Venice 2026: Gianni Amelio’s ‘Nessun Dolore’ — A Compelling, Semi-Absurdist Look At The Migrant Crisis
  • FJA on Venice Film Festival 2026 Could Offer A Glimpse Into Oscar 2027
  • For UnjustOther on Venice Film Festival 2026 Could Offer A Glimpse Into Oscar 2027
  • Julie on Vote For the 2026 Cooler Awards!!!
  • Julie on The 2026 Hamptons International Film Festival Announces East Coast Premiere of ‘I Play Rocky’ as Opening Night Film
The Contending

© 2025 The Contending

Find All the Things

  • Main
  • Film
  • Television
  • Theater
  • Best Of the Rest
  • Subscribe
  • About

Dreaded Social Media

Welcome Back!

Login to your account below

Forgotten Password? Sign Up

Create New Account!

Fill the forms below to register

All fields are required. Log In

Retrieve your password

Please enter your username or email address to reset your password.

Log In
No Result
View All Result
  • Main
  • Film
  • Television
  • Theater
  • Best Of the Rest
  • Subscribe
  • About

© 2025 The Contending

  • More Networks
Share via
Facebook
X (Twitter)
LinkedIn
Mix
Email
Print
Copy Link
Copy link
CopyCopied