IR TV Review: FALLOUT [Prime]
The trajectory of a story like "Fallout" is the parameters that it exists in. The games create a certain context but it is about showing the progression of what the characters need to do to get to where they need to go. Like any video game structure, it is about the choices we make. Here the story follows three specific people in Lucy, Maximus and the Ghoul. The Ghoul (as played by Walton Goggins - both in the apocalypse and flashbacks) is the most dynamic by far simply because through the course of the season you see both his grit, darkness, empathy and humor. As the show goes on, specifically with him, one gets a sense that this is what "The Gunslinger" (at least in reference to his character) should or could have been. The world created interestingly enough reflects that "Westworld" wistfulness (Westworld's Jonathan Nolan is a showrunner) with utter contempt of humanity that made that show work.
Lucy (Ella Parnell) does an exceptional job in creating an optimist than comes to bear from an exception to what she was taught. Kyle MacLachlan plays a periphery within the story and comes to bear as the series moves forward. He however is a main catalyst in many ways. Aaron Clifton Moten plays Maximus who represents the war element with the Knights which are the major visual reference people will recognize. For fans of the video game, the odes to 50s propaganda abound and the use of music (specifically 50s ballads) are phenomenally placed and programmed. Now granted the build is off the art deco/50s post war/nuclear edge idea (with a little more edge as far as language and such). The series does bounce back and forth in time (mostly with Cooper/The Ghoul). His introduction makes sense but the reality of why and how it happened are left a little quieter on purpose though more information would be welcome (and possibly forthcoming).
The essence of Filly is well realized but it one of the only places that is almost fully practically realized. The vaults work in a similar way but the basis of that structure is given a little more exposition. The reality of why "Fallout" happened and how it continues to happen works at the basis of human greed and consequence (not unlike "Westworld"). Maximus is built as a character on a need for order after losing everything. Lucy is built on a need for love and acceptance and yet her evolution is very specifically regimented with a sense of optimism even in the face of reality. A specific scene later on in the series (actually a quiet moment with Maximus) proves this. The Ghoul is just about existence (though we do see that there is somthing more to it than that). The journey quotient across Los Angeles is interesting to many who have lived there because between the pier and how it progresses eastward. Two specific stops during the series tend to be not what one initially thinks they are and those sequences are well realized to say the least (though at times a bit over the top).
The progression and discovery process in the original vault is necessary but not as full of dread as it could have been. The "Starship Troopers" balance of comedy and violence doesn't work as well there as it does in other segmentations of the series. There are a bunch of guest stars/cameos that certain keen eyes will reciognize that are likely fans of the game.As far as big set pieces (beyond the expanse of the wasteland), the series waits until the last episode to really shine in that regard. Like "The Last Of Us", it picks and chooses its battles. However, unlike that series, especially that heartbreaking 3rd episode of "Us", there is not as much emotional resonance. The closest is The Ghoul but we still need to learn more of his transition and loss. It is there and that is what makes one (at least the viewer) want to continually watch the show. "Fallout" plays well but it in many ways is only the beginning of the story since, like "The Last Of Us", it goes in many different directions, and each game here does something different. It is just a matter of interpretation and exposition. B+
By Tim Wassberg
