After finishing this first season of Fallout, I was struck by how many parallels one could draw to Jonathan Nolan's similar hot TV property Westworld. Western-esque setting, gunslinger-like compelling character, themes of corporate greed/malfeasance, etc. The biggest difference between Fallout and Westworld? Whereas the latter was always dark and super-serious, the former is (for better or worse depending on personal taste) much more fun and accessible to a wider audience.
For a very basic overview, S1 of Fallout introduces us to the Vaults--where survivors of a future nuclear holocaust bide their time until the Earth's surface is livable. Lucy MacLean (Ella Parnell) and brother Norm (Moises Arias) are the primary focus--stirred to action when father Hank (Kyle MacLachlan) is kidnapped right out from under them. When Lucy resolves to journey to the surface on a rescue mission, she is introduced to all manner of oddities--largely through interactions with The Ghoul (Walton Goggins), a creature somehow alive through the nuclear fallout about whom we get flashbacks to help explain what caused the bomb to be dropped in the first place. Meanwhile, Maximus (Aaron Moten) is a member of the Brotherhood of Steel--a military-like organization that gives surface-dwellers purpose and goals--but also mistreatment and cruelty. When his path also intersects with Lucy's, he must make a choice of which direction to follow.
Though based on a popular series of video games, I had no previous experience playing those--so I cannot comment on anything in that realm but to say that the series can still be enjoyed with zero knowledge of the games.
What is likely to hit viewers right away when beginning Fallout is the tone of the endeavor. It is filled with black humor, sight gags, and snappy dialogue. Such an approach may or may not be for you. The good news? Either way, the content moves fast enough that I don't think anyone will be too turned off by the lighter, more comedic stylings. Generally-speaking, if you don't like something here it isn't a problem because the characters are onto a new scenario pretty quickly.
Thematically, Fallout has a lot of interesting things to say about corporate culture and its intrusion upon society (to say more would venture into major spoiler territory). Again, akin to Westworld--just in different ways. In typical fashion, it takes until the end of the season's final episodes to truly contextualize what is going on, but overall it not only ties the mysteries up nicely but also dangles some very intriguing morsels for a confirmed second season.
Not to be lost in the discussion is the visual/auditory spectacle of the series--a Nolan linchpin. From the camera shots to the tech to the absorbing musical montages, there's never a lack of sensory stimulation here!
Overall, I settled on a solid 8/10 ranking for Fallout's inaugural slate. Were it not for a couple of late-season episodes I felt to be more at 7/10 caliber, it could have fairly easily garnered a 9/10. This season is highly dependent upon The Ghoul's (and thus Goggins') charisma and backstory, so when that takes a back seat things can wane just a bit. But I enjoyed watching the concepts and characters play out and will definitely be returning to see what season two has in store.
For a very basic overview, S1 of Fallout introduces us to the Vaults--where survivors of a future nuclear holocaust bide their time until the Earth's surface is livable. Lucy MacLean (Ella Parnell) and brother Norm (Moises Arias) are the primary focus--stirred to action when father Hank (Kyle MacLachlan) is kidnapped right out from under them. When Lucy resolves to journey to the surface on a rescue mission, she is introduced to all manner of oddities--largely through interactions with The Ghoul (Walton Goggins), a creature somehow alive through the nuclear fallout about whom we get flashbacks to help explain what caused the bomb to be dropped in the first place. Meanwhile, Maximus (Aaron Moten) is a member of the Brotherhood of Steel--a military-like organization that gives surface-dwellers purpose and goals--but also mistreatment and cruelty. When his path also intersects with Lucy's, he must make a choice of which direction to follow.
Though based on a popular series of video games, I had no previous experience playing those--so I cannot comment on anything in that realm but to say that the series can still be enjoyed with zero knowledge of the games.
What is likely to hit viewers right away when beginning Fallout is the tone of the endeavor. It is filled with black humor, sight gags, and snappy dialogue. Such an approach may or may not be for you. The good news? Either way, the content moves fast enough that I don't think anyone will be too turned off by the lighter, more comedic stylings. Generally-speaking, if you don't like something here it isn't a problem because the characters are onto a new scenario pretty quickly.
Thematically, Fallout has a lot of interesting things to say about corporate culture and its intrusion upon society (to say more would venture into major spoiler territory). Again, akin to Westworld--just in different ways. In typical fashion, it takes until the end of the season's final episodes to truly contextualize what is going on, but overall it not only ties the mysteries up nicely but also dangles some very intriguing morsels for a confirmed second season.
Not to be lost in the discussion is the visual/auditory spectacle of the series--a Nolan linchpin. From the camera shots to the tech to the absorbing musical montages, there's never a lack of sensory stimulation here!
Overall, I settled on a solid 8/10 ranking for Fallout's inaugural slate. Were it not for a couple of late-season episodes I felt to be more at 7/10 caliber, it could have fairly easily garnered a 9/10. This season is highly dependent upon The Ghoul's (and thus Goggins') charisma and backstory, so when that takes a back seat things can wane just a bit. But I enjoyed watching the concepts and characters play out and will definitely be returning to see what season two has in store.