Countless studies show that Native/Indigenous Americans remain one of the most underrepresented in media (with a lack of diversity even in those representations). Countless studies have also shown that media can have a significant impact on public perceptions of various communities. Enter Rutherford Falls, a series that not only features two actors with verified Native heritage but half of the writers room also claim Indigenous heritage. Peacock’s newest not only endows its Native characters with long-overdue humanity but non-stereotypical flaws. Sure, the characters are in a heightened comedy world and can’t possibly represent the myriad number of diverse tribes + Nations. However, like with any marginalized community, this is but one portrayal, and series like this one that afford new perspectives only demonstrate that the world needs more. The conflict between the white “founders” of the town + fictional Minishonka tribe takes a somewhat soapy turn in a power struggle that could easily play dramatic. Tearing down Confederate statues remains a thorny issue for some, refusing to recognize the enduring effects of racism + imperialism literally embodied in the statues. Part of the series’ game is in the white protagonist slowly untangling his once-storied family history + the hard-fisted legacy of his white privilege, an intriguing conceit that thus far has been slowly examined. Lest this all feel like a big inclusion lesson, the hallmark rapidfire joke humor of co-creator Michael Schur of NBC’s The Good Place is in full effect, bringing a steady stream of giggles. 

Ed Helms is a good lead as Nathan Rutherford, bringing an awshucksness + tame white maleness with plenty of room to grow + learn. Dustin Milligan plays to type as attractive journalist Josh who ends up pursuing not just the Rutherford Falls drama but another character. Non-binary Jesse Leigh plays non-binary assistant Bobbie, who gets a lot of hilarious one-liners (the “social security number” line got me good), while Dana L. Wilson’s Mayor Deidre puts in nice deadpan appearances. Kiawentiio, Jason Grasl, Bobby Wilson, Geraldine Keams, Julia Jones, and Paul F. Tompkins also put in good appearances. Best of all are Jana Schmieding + Michael Greyeyes as museum docent Reagan + casino CEO Terry. Schmieding absolutely breaks through with her sniper comedic timing + complex characterization (Native person with education, bigger woman with an active sex life), while Greyeyes, recently in HBO’s True Detective season three, adds a lot of gravitas to the role, while his dressing-down he gives to Josh about his place as Native American man in modern society was epic.

The fourth episode (“Terry Thomas,” *****) turned the focus more onto Terry, to the series’ advantage, as it not only explored his familiar family concerns with his daughter Maya but also Terry vs. Josh led to a potent convo. The pilot (“Pilot,” ***) set up everything okay, with nice character intros, simplistic conflicts, and cute jokes. The second episode (“Buckheart Lodge,” ****) removed a bit of the rose-colored glasses Nathan has about his ancestors, but the more compelling story was Reagan learning some business savvy from Terry, making them an awesome team. The third episode (“Aunt Ida’s 90th Birthday,” ***) sent Nathan to New Jersey where he learns some sad family news, while Reagan ends up connecting with Josh while she tries to distract him from digging into Nathan.

The focus on Nathan is fine, and Helms is a charismatic actor (and co-creator), but in 2021, a series more centered on Reagan and/or Terry would’ve been far superior. Reagan + Nathan have nice friend chemistry, even though it’s clear the relationship is slightly lopsided more towards Reagan helping Nathan, but the interludes featuring just Nathan, like in the third episode, felt less compelling. The burgeoning team-up between Reagan + Terry in episode two also felt more intriguing as an in-community cultural conflict. Josh also really only came into the story in episode three + while his romance with Reagan is unexpected + welcome, his role as a disruptor, despite Milligan’s restrained nerdiness, doesn’t feel particularly essential just yet. Rutherford Falls is a fun small town comedy that represents an enormous step for Native/Indigenous American portrayals with humanizing representation on both sides of the camera with a side of white privilege confrontation. Despite some characterization preferences, I have fallen for this series.