This impulse to decenter heroes and destabilize epiphanies is what elevates “Reservation Dogs” and makes it one of the best dramedies around. .... The series is quietly confident. It doesn’t need you to think it’s smart. But it is. And for all its skepticism about the ways Native American “wisdom” has been fetishized, marketed and misused, “Reservation Dogs” is ending its too-short run as impish and funny as it is sad and — I’ll say it — wise.

The four episodes made available to critics hint at a wistful final run for this cinematically adventurous show that never loses sight of where it began and everything that makes it outstanding.

No one on this show steals focus, all working together to make the world around the Rez Dogs feel complete. The characters in this comedy feel like they exist between episodes, not just sent in by writers to sell a laugh or make a point.

Simply reuniting with the likes of Big (Zahn McClarnon), Bev (Jana Schmieding), Mose (Lil Mike), Mekko (FunnyBone), and the rest is a joy. Mark Schwartzbard’s cinematography enthralls as usual, portraying everything from Los Angeles to Okern to an unidentified desert with lush color.

The final season of Reservation Dogs looks like it’s going to take some creative risks, which is going to make a pretty damn good series even better.

Throughout the four episodes made available for review, the primary cast of young actors are still consistently amazing, but further extension of the cast has solidified the heart of the series.

Despite an uneven first episode, the first mini arc of the season resolves many dangling storylines while nudging the Rez Dogs forward on their individual journeys towards adulthood.