The scope of the series is massive. When the narrative stalls in the sixth episode, recounting Cooper’s life in the months and weeks before the bomb drop, the visuals led by production designer Howard Cummings and art and set direction led by Ann Bartek and Regina Graves keep the audience engaged. Joy and Nolan give their audience intricate looks into various aspects of this universe. From different vaults run by various overseers to the endless deserted sands of California and into the lawless city of Filly, the artisans worked tirelessly to ensure no detail was left unattended.
The first half of “Fallout” is undoubtedly the strongest, as Lucy tries to grapple with the lies she’s been told about the world while barely keeping herself alive. Still, even as the storylines linger too long in less exciting places, viewers are eager to see how the varied mysteries and secrets of the surface and the dwellers will reveal themselves. Bizarre but intensely fun, “Fallout” is like nothing you’ve ever seen; for that reason alone, you won’t be able to turn away.
