Adapted from the video game, the tone of “Fallout” is cheeky and satirical and filled with gore, but eventually has something to say about capitalism’s endgame.
If fears about “the bomb” permeated life in the mid-20th century, the video game “Fallout” takes that premise to its worst conclusion. In a post-nuclear wasteland, some survivors have been recreating their 1950s-era idyll underground in elaborate bomb shelters called vaults. Those less lucky have been eking out a life on the surface, where it is dusty and brutal, and nasty oddities abound in the form of ghouls, who exist in a liminal space between human and zombie.
Played by Ella Purnell, Lucy is perky and naive but exceptionally skilled with a weapon. Her trek on the surface is one long rude awakening, but what do you expect? She’s literally been sheltered all her life. She’s more or less introduced as a character worthy of “Leave It to Beaver” who is unceremoniously yanked into a darker show by the end of the first episode.
But it is Walton Goggins, with his ever-present drawl, who gives “Fallout” its real reason for being. He is the third main character and arguably the most important because his arc serves as a throughline. In the 1950s, he is a Hollywood star named Cooper Howard who is famous for his good-guy roles in Westerns. In the future, he has transformed into a leathery, noseless, centuries-old survivor who has shed the moral compass of his former self.
Production designer Howard Cummings gives distinctive looks to each time and place, and the vaults in particular aim to recreate a sunny normality with a hermetically-sealed twist. But nothing about the show, from creators Geneva Robertson-Dworet and Graham Wagner, has a light touch. “Westworld” creators Lisa Joy and Jonathan Nolan are executive producers here and you can sense some of that show’s DNA here as well.The storytelling doesn’t fully gel at first.
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