Is it possible for a show to jump the shark when it’s almost over? For all its incredible moments, “Barry” season 4 seems poised to be remembered for its polarizing time jump, a stunning surprise that the show delivered without much ado midway through season 4. There’s nothing wrong with the show’s decision to jump eight years ahead after Barry (Hader) escapes from prison, and it’s a creative decision that benefits the show’s endgame in several key ways. Yet “Barry” has always been a character study, and even though the slow burn fifth episode allows viewers plenty of time to get to know the new, depressing, mundane versions of Barry and Sally (Sarah Goldberg), it’s still tough to reconcile these characters with the ones we thought we knew.

Season 4 could have benefited from a longer adjustment period, as its time jump (and the weird “Dogtooth”-like plot that comes follows) may come across as one purposely alienating writing choice too many. Still, by this point, Berg and Hader have proven themselves to be master storytellers with plans worth trusting, and the show’s conclusion does not disappoint. Its finale is sweet and heartbreaking, abrupt and stressful, and, yes, still funny. The episode “wow” rewards repeat viewings and close reads, especially in the epilogue scenes that see Sally safe and content while Hollywood continues to warp Barry’s legacy.

The show’s final season includes some tremendous directorial choices as well, though none are quite as memorable as the season 3 motorcycle chase or all of “ronny/lily.” Hader shoots Barry’s prison escape, his shadowy reunion with Sally, a terrifying “break-in” scene, and much of the finale with the precision of a seasoned filmmaker; time and again, he delivers flawless visuals that create a delicious dissonance, as the feelings they (and Barry himself) are meant to evoke grow more and more off-putting.