Fallout - A witty post-apocalyptic triumph
THIS superbly crafted and delightfully witty postapocalyptic drama stands out as another exceptional video game adaptation. It’s humorous, self-aware, and gripping—a remarkable balancing act.
Firstly, akin to The Last of Us, familiarity with Fallout—the latest hit video game adaptation by Amazon—isn’t a prerequisite for viewers (although, I’m assured by a fellow gamer that there are additional joys beyond the core narrative for fans).
For newcomers like myself, this intelligent, dryly witty, meticulously structured series within the Fallout universe is wholly captivating and entertaining in its own right. Set in 1950s America amid the Cold War and the “red scare,” it introduces Cooper Howard (played by Walton Goggins), a former TV star ostracised as a “pinko,” reduced to performing at children’s parties. As a mushroom cloud looms on the horizon, signalling apocalypse.
Those who could afford it sought refuge in secure vaults they had prepared. Fast forward two centuries to Vault 33, thriving under a preserved 50s innocence— politely, cooperatively, with modesty and restraint, yet with added quirks like daily weapons training and a proactive approach to avoiding cousin marriages.
This underground sanctuary is shattered by a brutal raid from surface-dwellers led by Moldaver (Sarita Choudhury). Vault Overseer Hank MacLean (Kyle MacLachlan) is kidnapped; his daughter Lucy (Ella Purnell) defies the Council’s orders and ventures out to rescue him. A staunch believer in the Golden Rule, she’s unprepared for the harsh realities above ground. As one resident remarks, “Clean hair, good teeth, all 10 fingers. Must be nice.”
Above ground threats include giant cockroaches, sea monsters (the Gulper’s innards haunt me), radiation, survivors, fanatics, puppy incinerators, and cannibalistic Fiends. The Brotherhood of Steel strives to control the Wasteland, though the odds seem against them. Divided into Lords, Squires, and Aspirants, we follow Aspirant Maximus (Aaron Moten) on his journey from bullied victim to rogue Lord.
The main antagonist is a ghoul resembling Cooper Howard, hunting for the same head that Lucy seeks, harboring a sought-after chip. The encounters between Lucy and this ghoul are both harrowing and entertaining. Geneva Robertson-Dworet and
Graham Wagner deftly blend post-apocalypse tropes with 50s motifs, B-movie flair, and horror elements, sprinkling in Easter eggs for gamers.
The story unfolds at a perfect pace, combining humour and self-awareness without breaking immersion. Emotional investment in characters deepens as their layers unfold. Notably, the organharvesting robot voiced by Matt Berry, the poignant meeting between the ghoul and his colleague, and the cohesive blend of elements attest to the series’ triumphant balancing act.
It’s an absolute blast—Goggins excels as both Cooper and the ghoul, Moten brings depth to his role, and Purnell shines in portraying Lucy’s loss of innocence. Meanwhile, back at Vault 32, Norm (Moises Arias) unravels the truth behind the raid, adding layers of mystery and tension.