Meredith Woerner Deputy Editor, Variety.com While breaking down Prime Video’s “Fallout,” showrunners Graham Wagner and Geneva Robertson-Dworet recognized that they were headed straight toward a “whopper pileup” in their finale.
With three main characters — Lucy (Ella Purnell), Maximus (Aaron Moten) and the Ghoul/Cooper (Walton Goggins) — barreling toward the climactic showdown housed inside a burned-out, post-apocalyptic Griffith Observatory in Los Angeles, the duo realized they had three major narrative reveals about to collide. “We talked briefly about spreading the gravy a little thinner, as you spread gravy, of course,” jokes Wagner. “And at some point, there was a moment we were like, ‘Fuck it, it’s whopper city.’” That creative chaos — the balance between the somber and the surreal — is where “Fallout” found its sweet spot.
The TV series’ ability to distill the quirks from the video game’s retro-futuristic wasteland and dig into a deeper story while maintaining its signature (be it very morbid) sense of humor was a knockout for fans, bringing in 65 million views within the first 16 days of its release.
But the real test would be pulling off a finale that could weave together the bizarro storylines between a vault dweller, a knight and a ghoul.
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