Fallout Season 2 Premiere Review

While Lucy and Ghoul’s journey does eventually stumble into more interesting territory (more on that later), it’s by visiting the past that this premiere episode is able to establish more compelling stories for the show’s future. The pre-war flashbacks return, picking up just seconds after The Ghoul’s former self, Hollywood actor Cooper Howard, eavesdropped on Vault-Tec’s diabolical plans in the Season 1 finale. I’m pleased to see that Sarita Choudhury’s Moldaver is back as part of all this, and that her first task is pressuring Howard into becoming a cold-blooded killer. While it seems like she’ll be no more than a shadowy figure on the sidelines, at least she gets to be the person that kickstarts Cooper’s descent into becoming a frequent creator of bloody messes.

Cooper’s involvement with Moldaver, Vault-Tec, and attempting to prevent armageddon puts him in the fascinating position of being on the frontlines of what has previously only ever been Fallout’s distant backstory. Season 1 used Cooper as a lens through which to truly live the kind of pre-apocalypse existence that the games have only hinted at through shattered retrofuturistic kitchens and rusted robot butlers, but we’re going somewhere very different now: right into the middle of the events that caused Fallout. It’s sacred territory, the stuff I’d usually say should be kept perpetually beyond our reach, only ever learned about through notes and audio logs hidden behind a hacking puzzle. But I can’t deny that I’m excited to see where this more hands-on approach takes both Cooper and Fallout as a whole.

Much of that excitement is generated by Moldaver and Howard’s target: Justin Theroux’s Robert House. Or, as the episode’s ominous intertitle credits him as, “The Man Who Knew.” A cold opening provides an impressive look at Theroux’s take on New Vegas’ most important character, who combines immaculate grooming, unbreakable confidence, and a trademark breathy “hw” sound at the start of his “when”, “where”, and “why”s to create a delightfully insufferable upper-class intellectual. His deal with the striking construction worker is a neat demonstration of how he’s able to use that intellect to orchestrate scenarios to optimum outcomes; he uses money to lure the man into becoming his test subject, and then a mind control chip to take total control. He’s a master manipulator who’ll do anything to bend you to his will. If last season’s finale didn’t make it abundantly clear, billionaires are the problem.

The splattery back-alley experiment is a fantastic introduction to House, but one minorly stained by the show’s attempt to create an in-universe explanation for the character’s re-casting. Rafi Silver, who played House for a single scene last season, returns in a retconned role that appears to be the industrialist’s “public face.” In the strikers’ local bar, workers decry the sight of Silver’s face on the TV, but have absolutely no idea who Justin Theroux is. Perhaps this is supposed to be some kind of twist in the making – “Surprise, this guy was House all the long!” But if that’s the case, perhaps they shouldn’t have given Theroux the exact same hair, make-up, and smoking habit that Silver has. The whole sequence had me confused as to if the person who looked like House was actually House, rather than genuinely hoodwinked by a red herring. While the character does admittedly need to sport his iconic moustache, that could always have been added in a later reveal. And, more importantly, if Amazon was shooting for a twist, they shouldn’t have confirmed Theroux was playing House in both trailers and interviews that landed months ahead of this episode.

Despite this rough edge, I’m excited about House’s position in the show and can’t wait to see him butt heads with Cooper. I’m less enthusiastic about the ongoing tale of interconnected vaults 31, 32, and 33, which so far still needs to prove it was worth continuing into this second season. I’ll admit that I was unoptimistic about this storyline in the first season and was eventually proved wrong by the finale, but what we seem to have this time is multiple vault dweller storylines, rather than just the one spearheaded by Moisés Arias’s Norm. His journey is thankfully off to a reasonably strong start that instantly builds on his discovery of the now-thawing 200-year-old battalion of frozen Vault-Tec managers, and I expect things will heat up as soon as they’ve wiped the frost from their eyes next week. But the other vault-based plots already threaten to be inconsequential, such as the broken water chip (which reared its head last season for little more than a single line of dialogue), Steph’s ascent to overseer, and especially the in-breeding social club started by a very bored Reg. While it’s true that these jumpsuited idiots do provide a few good laughs, I think gags are better delivered within the main narrative and not as comedy sideshows. There may be three vaults, but I don’t think there needs to be three stories… although, like with last season, a good final twist may justify the time spent with these vault boys and girls.

When you can see the exciting sparks of disparate plot threads being welded together, though, it really does feel like the best of Fallout is back. The first season eventually wrought many of its ideas into one satisfying, coherent whole, and it feels like this second season is getting started with that process even earlier. Stories from across both the timeline and breadth of the wasteland are stitched together in this episode’s more propulsive second half, as Lucy and The Ghoul discover the abandoned vault that was once used to trial the mind-control chips we saw Robert House testing in the opening sequence. The “turn Americans into communists” theme of the vault’s experiment is a good laugh – not sharp enough to be genuine satire, but enough to colourfully evoke the idea of a mad Vault-Tec scientist creating “monsters,” Clockwork Orange-style. It further enriches Fallout’s shadowy corners, demonstrates that aforementioned understanding of the games’ tone, and hopefully points towards even more messed up experiments in the future. Anyone up for a trip to the “Gary” vault?

Meanwhile, in the metal bowels of yet another underground bunker, we’re treated to a precious few minutes with Kyle MacLachlan to round the episode out on a high. Hank MacLean initially appears to be a dedicated Vault-Tec company man, getting ready to complete his employer’s plans in a fantastically upbeat sequence set to Roy Orbison’s “Working for the Man,” which is only made better by the involvement of a hot cup of coffee and a damn good smile. But that final radio call really threw me for a loop. Hank may be working for the man, but that man certainly ain’t Vault-Tec. Fallout veterans will recognise that all signs point to Robert House, but how are these men connected? What does Hank’s promotion entail? And is House even still alive? There well may be nobody listening to Hank’s report, after all. Whatever the answers, there’s now a clearly defined web of intrigue that links Hank, Lucy, The Ghoul, Cooper Howard, and Robert House all together. And there’s our central throughline established. While this premiere certainly has its struggles, it gets to exactly where it needs to be before everything fades to black.