Fallout on the TV: Small Big Worlds
The Good
It's something to watch. And I wouldn't want to understate this. Fallout is most definitely a show. It has characters, those characters have motivation, things happen and action is joined up mostly by "therefore" and "but" not "and then" making it a succession of scenes. Nor is there any arbitrary mystery box or sexual tension to maintain interest.
What I'm weighing it up against, as I struggle through episodes of season 2. Is whether it is better than a watchable show like Prison Break.
Fanservice
At some time now relatively early in the history of Fallout, Bethesda acquired the Fallout IP from Interplay in a distressed sale. Bethesda, probably best known for creating the Elderscrolls DnD based RPGs then created Fallout 3 and 4, '76 and possibly newer titles. I have not played any games in the Fallout franchise since Fallout: New Vegas which was made using Bethesda's engines and many assets from Fallout 3, by the creative team that did Fallout 1 & 2, as in the original team.
The most pronounced difference in vibes, between Bethesda's creative teams and the original creative team is fanservice.
This carries through to the show, and my overwhelming impression of the show, is that the story beats are built around introducing stuff from the video games that I feel I am supposed to be excited by.
Recognizable IP, appears to be the Sugar, Salt and Fat of the Fallout TV show.
However, it is done in a clumsy way, even with an impressive budget, the fallout world doesn't really work. For example, Bethesda has been obsessed since acquisition with the Brotherhood of Steel and Power Armor, much like fans, and Bethesda has been very happy to service them.
Where the original creative team always kept the Brotherhood a small faction, Bethesda has almost always centered them, appeasing the fans insatiable desire to know more.
As such, a competent way to get fans excited would have been to write a first season where the finale revealed a single Knight in power armour intervining in the climactic confrontation. Bethesda and other production companies responsible for this series, created a deuteragonist who like the fans, rushes into a suit of power armour.
This means, the Fallout TV world, suits of power armour occur more frequently than giant cockroaches, and season 2 introduces the rad scorpion.
It is like if Spielberg had taken the approach to Jaws of "it's all about the shark, the shark is in every frame to ensure we don't reveal the boat too soon."
Cosplaying
Good as Walton Goggins is, he is not as good as Baby Billy in the righteous gemstones. His character some goul called Hank is easily the best character but fairly trite. He plays the guy who is really cool in every scene and is a super badass with almost every scene he is in involving him killing everyone while being really cool and looking really cool and getting off cool lines like the scene where he kills this surfer by shooting him through the digestive track of a shark in a bullet time sequence where the bullet he fires goes in slow motion through the shark into the surf pipeline, shattering the bong and blowing the surfer dude's head off but not before Goggins can say "surf's up."
That's not a scene in the actual series, but it may as well be, and they can have it for season 3 if it doesn't already crop up somewhere, somehow in season 2.
All the characters in the Vault are cosplaying as naive and stupid 50s people with forced smiles and positivity while being totally out of touch with reality and chewing through the playlist of 50s pop songs by Billy Holiday, Perry Como etc.
The knights are cosplaying as larpers who somehow graduate into frat bros.
The point being, that sadly, every character feels like a caricature that could have been written by me and my idiot friends when we were 15 in the 90's playing the original fallout games.
The last episode I watched, was basically a plagiarism of Adventure Time episode "Business Time" where they thaw out a bunch of business men and motivate them using arbitrary corporate esteem.
It's All Very Stupid, but not wonderfully Stupid
For me, none of the jokes land. What gives me the impression that the showrunners prioritise fanservice, are all the stupid scenes. Mr House is introduced in season 2 in a sequence where he sits alone at a bar and picks a fight with some construction worker heavies. It's civilized enough for them to step outside before fighting before Mr House, a character from the New Vegas game whose motivation was to live forever and control everything, invites a big bruiser to punch him in the mouth, taking incredible and unneccessary risk.
He then opens the trunk of his car to reveal what he claims is 31 million dollars in cash, that he will give to a construction worker if he agrees to let Mr House fit an experimental device to his neck. The whole scene is very stupid.
Another scene involves some drug dealers that have a bunch of zombies in cages. The protagonist gets the drop on them and demands they release the zombies. They do, then she demands they release all of them, and the guys initially are reluctant to release the feral zombies, then are like 'oh well she's pointing a gun at us' release the feral zombies who kill them in a way that is probably worse than being shot.
Another scene has important characters meeting, and two bros in power armour start playing with a plasma grenade. This connects to an earlier scene where the secondary protagonist told guys not to play with plasma grenades.
It might be clearer to understand the stupidity of this scene with some simple substitution. Imagine there is a meeting of generals of the army to plot a conspiracy, and all the troops under their command are standing around watching. Then while the generals are negotiating an alliance, two random soldiers take out a grenade, one pulls the pin out of the grenade and they both start giggling.
In a scene after this scene that does not bode well for season 2, the secondary antagonist is challenged to fight club by an MMA fighter cameoing. He tries to turn down the challenge, then has to look at his leader who gives him a meaningful nod, from which a fan of the show might infer that they are telepathically communicating "it's alright, we both know you are secretly the best MMA fighter ever, even though you don't look it."
Anyway, the fight club fight happens, and its pretty stupid in and of itself, because the MMA fighter has total dominance over the fight and almost immediately has the 2nd protagonist beaten into submission, but then introduces a knife to the fight that could be used to kill the MMA fighter even though clearly there's no way for the smaller weaker protagonist to dominate him physically.
But that's not the stupid part, the stupid part is that the fight club is being overseen by the four generals on an elevated dias. I believe the showbiz term is "business" referring to what an actor does in a scene, like shuffle a deck of cards or water a plant so they look natural and aren't just standing around. Done badly, or stupidly, this might result in having a scientist pour blue liquid from a full test tube into an empty one, then pour that same liquid back into the now empty test tube and repeat until the scene is done.
The camera keeps cutting to the generals and we see that one smokes a cigar, another points or waves a hand, the one that is the boss of the secondary protagonist gives meaningful looks, and whatever, there's four but the two that are memorably stupid are meaningful look general and smoke a cigar general.
This is the stupidity that permeates the show. It is not stupid like "Inside Man" was stupid were a friend of a kidnapped woman travels from the UK to the US to meet with a man on death row to get help in locating her missing friend and the help is to go to the missing woman's house and wait until either she returns or somebody who knows about her kidnapping returns. It's plot, characters, everything was stupid.
Fallout is stupid in terms of making the depth of field paper thin, giving everything despite the production values that cosplay fanservice feel. Like direction is "okay in this scene everybody stands around this guy in the circle and cheers and you all say 'yes' repeatedly for a slo-mo shot so everybody watching can see that you extras have been directed to stand around wave your arms in the air and mindlessly repeat the chant 'yes'"
It's very interesting to me, that a production with CGI to digitally remove an actors nose seamlessly for every scene, and have beautiful looking costumes including practical effect power armour, can still come together like a public broadcast show where you put a fern between two plastic outdoor chairs in the hope that the audience won't find the production so bare boned.
Protagonist for a Reason
In the David Mitchell dromedy Ludwig which is a well written show, there's an episode where he goes out looking for three coincidences, claiming three shortens the odds so significantly that "coincidence" becomes less plausible. It appears to derive from Ian Fleming and his Bond novel "Goldfinger" one is an event, two is coincidence, three is enemy-action.
Now whip your head around to LOTR, I don't like LOTR largely because it is so boring. Something JRR did not do poorly though, was coincidence. Frodo is the main character because he is a relative of Bilbo who was the main character of the Hobit because effectively Odin set him up to be the main character as a bit of mischief. Odin does so again in LOTR. The hobbits go to the Prancing Pony where they meet Strider, who turns out to be someone central to the geopolitics of Middle-Earth. This is non-arbitrary however. Gandalf sets up Frodo to meet a king in disguise, he's like "go to the Prancing Pony and ask for Strider" so it isn't a coincidence at all. The fellowship of the ring is a deliberate conspiracy.
Bringing us back to the Fallout TV series. Walton Goggins is a movie star famous for Westerns who happens to be married to and have a daughter with the evil corporation executive. Fallout writers are following the CW's Arrow formula of mixing pre-and-post action via flashbacks between zombie Goggins and actor Goggins, so we know from the opening sequence Goggins was outside a bunker when the bombs went off and was last seen trying to rush his daughter via horse to some kind of safety as a camera zooms out to show multiple nuclear warheads detonating over Los Angeles.
We know Goggins becomes an immortal zombie that has been alive for 200+ years, that he believes his wife and daughter to be alive somewhere and his motivation is finding them, although he's become really really cool over 200+ years and says things like "Sting to meet you!" before shoving a grenade into the mouth of a gigantic scorpion and kicking it away before it explodes, or "Time to drop some turds in the punchbowl" before shoving a grenade down a raiders shirt back before kicking him and his buddy into a drained swimming pool before they explode.
Also Goggins was a military veteran that once fought in power army for the USMC in Alaska and witnessed maybe the prototype Deathclaw before the nuclear winter, before going back to being a movie star with mad cowboy skills.
So in the past, Goggins was proximate to everything through his military service and then marrying someone who put him in touch with all the evil corporate conspirators.
Then there's the main character who enters the wasteland because she was daughter of the overseer of a set of 3 vaults, and she applied to marry someone from the neighbouring vault as part of a tri-annual trade arrangement between vaults. By happenstance season 1s morally ambiguous protagonist has managed to invade the vault the trade is with and has a bunch of desperate raiders impersonate people who have been living underground for 200 years, in order to abduct her father because he is needed for a code to unlock the series McGuffin.
These events already exceed the three coincidences - the raiders infiltrate a vault using a key from the protagonists mother who left the vault is one, they are there in time for a tri-annual trade and after everyone in the neighbouring vault had already gone crazy and killed themselves makes 2, the third is that the antagonist is a contemporary of the overseer both having in the past been in possession of the McGuffin.
All those event lead to the protagonist going out into the world, where she stumbles upon the McGuffin at the same time the secondary protagonist and Goggins stumble upon the McGuffin. Yes the McGuffin unites them, but it is largely coincidental that in a vast post-apocalyptic world, three (two really as at season 2) people who basically are connected to everyone who is anyone for 200 years keep bumping into each other.
Cliched dialogue would be "President Nixon, small world." When moviestar soldier Elvis Presley runs into Richard Nixon 200 years after a nuclear apocalypse and then we flashback to when Elvis was married to Oppenheimer who had quit academia and military service to work for IBM.
The problem being, this is not a small story, but one at least as large as California and Nevada. Yet two people know all the players and their lives happen to coincide. Goggins is not playing the part of Odin either, he happens to be sought out as a bounty hunter to collect the reward on the McGuffin, but not before he says this cool thing about "anyone who says one last job is planning to die" and kills everyone because he's so cool, in his very first scene as a cowboy zombie.
This is coincidental. I would also assert that there are writing solutions to get around needing a once-every-three years or three-times-a-year (I am not sure) trading window between two vaults, for one of those vaults to have gone crazy and murdered themselves in order to be infiltrated by outsiders in order to kidnap a guy with the key to the McGuffin.
Particularly in season 2, which is largely set in Nevada, great effort has been taken to pretty much recreate locations from Fallout: New Vegas at almost 1:1 scale. I suspect in the development of the game actual Nevada topography was used, so the locations were already there needing just a few CGI assets. Creating the impression of a large world populated by all sorts.
Yet season 2 has the problem of coincidently an extra with lines from the first series "Chicken fucker" who already happened upon another character by coincidence in season 1 sparing him from committing suicide, has him travel an incredible distance to Nevada Las Vegas by foot from Hollywood Hills, Los Angeles California in order to go on a date with a particular robot he is in love with, in order to be kidnapped and experimented on by the overseer.
What I assume is happening are focus groups, where certain extras test well from season 1 so they are recycled into season 2. Giving us the appearance of a really big world with only 12 people in it.
In comedy series Detroiters there's an episode where the security guard is robbed, so he sets up an elaborate plan to catch the robber and unmask him which succeeds. When he unmasks the criminal, the security guard remarks "I knew it! Some guy I've never seen before."
Detroiters is deliberately insane, yet this punchline is much realer than all the converging and diverging A plots, B plots, C plots and D plots of Fallout. In all the games, I've played, this is never a problem because they are RPGs the protagonist always plays a mercenary and vagabond that gets drawn into plots much bigger than themselves. In TV and film, it doesn't work, because you have three, maybe four protagonists all individually piecing together a grand plot I don't really care about.
Compare it to Mad Max franchise, where Mad Max travels the wasteland and meets various warlords. Each a microcosm, with their own particular problem - Biker gang harassment in Mad Max, siege of petrol plant in The Road Warrior, control of Methane production in Mad Max 3:Beyond the Thunderdome, and human trafficking in Mad Max: Fury Road.
I'm going to compare Fallout favorably to both Prison Break and Apple Tvs Invasion, even though they all make the same TV mistake regarding these big small worlds. Had Prison Break been but one season, it would be quite watchable television for the archives. The first season works because everything makes sense and builds to a satisfying climax with real stakes. The second season falls off a cliff, even though there's something to work with in that despite the prison break being successful the ensemble cast are fugitives.
Unfortunately, there are characters lazily written out of the show because I assume they got bigger and better opportunities. There are characters kept in the show despite making no sense (like a pedophile) no doubt because they tested well with audiences. There are characters that become more or less entirely redundant but cannot be written out of the show. There are characters that are given stuff to do even though it makes no sense, like prison guards, even though all the action now is outside the prison.
Invasion was the same thing, the premise of the first season is a global alien invasion, all the ensemble class are located around the world and their individual responses to the invasion converge into a satisfying climax. Season 2 then begins and most of the characters from the ensemble cast have nothing to do and no motivation, yet the show goes on and they are still in it.
Fallout does better, but this aspect is still bad. Season 1 concludes with a twist that causes the protagonist to question who is good and who is evil, discovering that her father the overseer actually committed an act of genocide that included killing her own mother in order to bring his kids back into the vault he was in charge of. He flees and is pursued into Season 2.
In season 2, we get some familiarity like a sequel where the journey to track down the father continues. But the father is given stuff to do, and that doesn't make sense. Why was he running a vault if he could have been in an entirely different bunker running a more important project he was in charge of?
This would be like Spielberg agreeing to do Jaws 2, and having an opening sequence where Jaws' son discovers his exploded father or mother's carcass and retreats from feeding on drunken night swimming beachgoers and decides instead to finally phone up Pablo Escobar and inform him he is going to get to work on narcotics trafficking for the Medellin cartel.
We know from Goggin's flashbacks that the overseer father is an underling. We know from developments in late Season 1 and early Season 2 that the overseer was cryo-frozen in vault 31 and revived to live out his days overseeing an experiment conducted on vault 33 like his colleagues Betty and eye-patch lady. It is disrupted by the raiders, and even though presumably he was intended to live and die underground, he then goes to an abandoned facility and promotes himself into being in charge of a wholly different project.
Which means his wife initially shacked up with someone incredibly central and important, learned too much, became disillusioned and left with her children, where she appears to have shacked up with someone else incredibly central and important, causing an important location to be destroyed - which becomes the origin story of another of the three main characters, when then via pure coincidence winds up drawn into the same pursuit of the McGuffin.
I feel this is where paying actors to have speaking roles on prestige television collides with large fantasy worlds, such that people travel hundreds of miles and bump into the same travelling salesmen, the same nefarious supervillains, people who were part of a sacred order turn up in the darndest places as an icecream maker or a cobbler and so on.
The End Result
Is spending $153 million dollars to make me feel like I'm watching some larpers on a fallout themed cruise. I think its a candidate for a better result being achievable by spending less money, though I do not know if restraining the budget causes restraints in writing. Certainly a low budget in season one might inspire the showrunner to say "we'll tease power armour in a first episode flashback, then only show it in the finale."
The other thing is that the Franchise IP is very 90s. A weird thing happened in the 90s which was a recession in the late 80s and instead of producing ultra-processed pop culture, record labels and TV production took small bets on independent/alternative art, facilitating the sale of this to the mainstream.
Some of the acts and IP that made it big in the 90s and endured, transformed after Y2K. Notably in bands we have acts like Red Hot Chilli Peppers and Greenday that have two distinct eras, and overlapping but distinct fanbases. Greenday were big in the 90s with Dookie and Nimrod where they were a punk powerhouse with walking baselines, then release American Idiot post GW Bush in the 2000s and add a synth and become kind of new romantic or something, RHCP were frenetic rock-rap-funk act from late 80s to 90s peaking with Blood Sugar Sex Magick, then got a second wind and a very very different vibe with the release of Californication.
Fallout had a large and devoted fanbase that came from games 1&2 in the franchise, a decade later and Bethesda released Fallout 3 and created a new generation of fans that were drawn to the very Bethesda feel. I'm sure there's some substantial overlap, but for me, the end result is a mess of a show that is watchable but I'm not sure it has 3 seasons in it before it becomes stupid crazy.
By the midpoint of Season 2, a character sits down at a piano, and then for no real reason at all it goes into a fantasy sequence where he's playing saloon style piano and extras are doing a choreographed dance number, all as a weird simulacrum of the retrofuturistic vibe that is iconic in the Fallout series, but serves no real purpose. When the camera goes back to non-fantasy ratio, it is revealed that he is using one finger to incompetently tap out "Mary had a little lamb" and all we have learned is that the character kind of wishes everyone was really into the event he was throwing.
It is one of the more on-the-nose examples of the vibe that permeates the whole show, which is just strange and kind of interesting, but in an autopsy kind of interest, not a compelling show kind of interest.
It may be one of the best adaptation of a video game IP ever made, but that is a tallest pygmy trophy. I also think Amazon are probably just not very good at producing television.
