---
title: "Fallout"
year: 2024
kind: "series"
canonical: "https://film.one/tv/fallout"
fi1m_id: "fallout"
imdb_id: "tt12637874"
tmdb_id: 106379
wikidata_id: "Q113127312"
fi1m_score: 80
critics_score: 79
critics_reviews: 9
published: "2026-09-11"
updated: "2026-09-17T09:48:27.342163+00:00"
region: "ES"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Fallout (2024)

Created by Graham Wagner, Geneva Robertson-Dworet · ICAA 16 · Action & Adventure, Sci-Fi & Fantasy, Drama

## Identity

Fallout

- **Canonical:** https://film.one/tv/fallout
- **Type:** Series
- **Fi1m ID:** fallout
- **IMDb ID:** tt12637874
- **TMDB ID:** 106379
- **Wikidata ID:** Q113127312
- **Same entity:** https://www.imdb.com/title/tt12637874/, https://www.themoviedb.org/tv/106379, https://www.wikidata.org/wiki/Q113127312

**Fi1m score: 80** · Critics 79 from 9 reviews

*In a sentence:* Civilisation has ended, but the sales pitch appears to have survived

> Ella Purnell and Walton Goggins give *Fallout* people worth following through its grotesque wasteland. It is funny, carefully made television, with a wandering plot that sometimes tests the goodwill its cast has earned.

## Synopsis

Nuclear devastation leaves a wasteland shaped by corporate greed, human failings and the struggle to survive. Lucy MacLean (Ella Purnell), Maximus (Aaron Moten) and the Ghoul (Walton Goggins) form the three central strands of a story that mixes action, grotesque violence and dark comedy. The series tells an original story within the universe of the *Fallout* games, rather than retelling their plots. Kyle MacLachlan plays Overseer Hank MacLean, with Moisés Arias as Norm MacLean and Frances Turner as Barb Howard. The setting combines the aftermath of nuclear destruction with retrofuturist design.

## Review

*Fallout* is a rewarding piece of post-apocalyptic television, provided we can forgive some dawdling between its better encounters. It builds a new story inside the games’ universe, a sensible choice that lets the series establish its own people without having to reproduce an existing plot. Nuclear destruction has left a wasteland, and the survivors are still dealing with corporate greed and human foolishness. The ambition is to make that prospect entertaining without making the people caught in it entirely disposable.

Ella Purnell, as Lucy MacLean, makes that possible. Lucy’s likeability could easily become a way of keeping the ugliness at a comfortable distance; Purnell makes her someone whose reactions matter, so the violence retains a cost even when it is being played for laughs. Walton Goggins, playing the Ghoul, gives the nastier comedy its confidence, and the series benefits whenever his presence makes an encounter less predictable. Aaron Moten’s Maximus completes the central trio, though the balance of interest across their three strands is uneven.

Howard Cummings’s production design is the main reason the wandering remains enjoyable. The retrofuturist styling makes this a recognisable society with peculiar tastes, so there is something to examine even when nobody is getting anywhere. Dan Stoloff and Stuart Dryburgh are among the credited cinematographers; the images keep the setting legible even when the violence gets busy. That attention to how this society looks also gives the corporate satire somewhere convincing to happen.

We laughed at the gore, then felt slightly ashamed of ourselves. The bodily damage is presented with such comic relish that the laugh arrives before we have considered what we are laughing at. Ramin Djawadi’s music helps hold together the shifts between danger and absurdity, and contributes to the pleasure of spending time in such an unpleasant place. Sometimes the humour gets juvenile, and the insistence on making another ugly joke can weaken a scene that has already made its point.

The larger reservation is the pace. The three-strand structure repeatedly asks us to transfer our interest, and the people are not developed evenly enough to make that effortless. Ali Comperchio and Yoni Reiss are among the credited editors; the cutting keeps the different strands intelligible, but it cannot make every detour feel necessary. The writing team, which includes Geneva Robertson-Dworet and Graham Wagner, gives us mysteries to follow without always giving the immediate business enough urgency.

Within post-apocalyptic drama, the pleasure here is how much room remains for bad taste and foolishness. The series takes human failings seriously enough to make corporate greed part of the trouble, without requiring every encounter to become a lecture. That gives the jokes something to do beyond interrupting the violence, and keeps the ruined setting from becoming a succession of threats. Familiarity with the games may add recognition, but the people and the place are interesting enough without it.

The uneven momentum matters because Purnell and Goggins have made us care enough to want the next scene to count. Still, their performances and the care taken over this peculiar society make the slower passages worth tolerating. Give it a go if the mixture of gore and comedy appeals, and allow for the occasional stretch when the scenery is doing most of the work.

*Fi1m score 80, published 11 September 2026.*

## What the critics say

Most critics welcome Fallout as a confident adaptation that builds new stories within the games’ world rather than simply repeating their plots. Praise clusters around the detailed setting, retrofuturist production design and soundtrack, with Walton Goggins and Ella Purnell drawing particular attention among the performers. The reviews generally find that grotesque violence, dark comedy and corporate satire work together, though some place more weight on the ideas than the jokes.

Reservations centre on uneven writing, occasional juvenile humour and a narrative strand that proves less compelling than the others. The spread is fairly narrow and largely positive, with The Hollywood Reporter offering the clearest dissent: it admires the sense of place and darkly funny set pieces but finds the plot sluggish and the characters short on depth. The main disagreement is over how much urgency and emotional involvement the series supplies alongside its elaborate setting.

## Straight answers

**Is Fallout worth watching?**

*Fallout* is worth watching for anyone who enjoys post-apocalyptic drama with a strong streak of dark comedy, and we scored it 80. Ella Purnell and Walton Goggins give the wasteland people worth following, and Howard Cummings's retrofuturist production design rewards attention. The plot wanders between its three strands, so expect stretches where the scenery does most of the work.

**How long is Fallout, and what is it rated?**

*Fallout* is rated 16 by the ICAA in Spain. It is an action & adventure and sci-fi & fantasy series.

**Where can I watch Fallout in Spain?**

*Fallout* is streaming on Amazon Prime Video in Spain. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Fallout, and is it suitable for children?**

*Fallout* is certified 15 in the UK and carries grotesque, comically presented violence throughout, so it is not suitable for children. The gore is played for laughs but arrives with real bodily damage, and the humour is sometimes juvenile. Older teenagers and adults who can stomach that mixture will manage; the squeamish should look elsewhere.

**How does Fallout compare to Brazil?**

*Fallout* and [*Brazil*](https://film.one/film/brazil) both find comedy in a grotesque society, but the series is a violent wasteland adventure while Terry Gilliam's film is a bureaucratic nightmare set inside daily life. *Brazil* is the more frightening and the more exhausting; *Fallout* is the easier company, with Ella Purnell and Walton Goggins carrying its slower passages. Both lose shape in their storytelling.

**What should I watch after Fallout?**

After *Fallout*, try [*Brazil*](https://film.one/film/brazil) (1985, Fi1m 83): A grotesque bureaucracy makes daily life almost as dangerous as open rebellion. Then [*Delicatessen*](https://film.one/film/delicatessen) (1991, Fi1m 83): Scarcity, grotesque appetites and physical comedy in a carefully built ruined society; and [*Station Eleven*](https://film.one/tv/station-eleven) (2021, Fi1m 84): For a gentler aftermath, where rebuilding a life matters more than surviving.

### Reviews we read (10)

- **Variety**, Aramide Tinubu (85/100, inferred): The critic hails the series as bizarre but intensely fun and an ultra-violent, twistedly enjoyable adaptation that constructs an original story within the game universe. It singles out the massive scope, intricate world-building, and sensory feast from stylistic choices like the soundtrack and grotesque violence. [Read](https://variety.com/2024/tv/reviews/fallout-tv-series-review-prime-video-1235964070/)
- **Radio Times**, George White (4/5): The critic calls it a truly enjoyable romp through the post-apocalyptic wasteland that leans into the franchise's freakiness with three narrative strands. Ella Purnell's Lucy stands out as instantly likeable and the visual feast and soundtrack are highlights, though some writing and one plotline fall short. [Read](https://www.radiotimes.com/tv/sci-fi/fallout-review-ella-purnell-prime-video/)
- **The Telegraph** (80/100, inferred): Nuclear annihilation shouldn't be this much fun. Fallout marks a stark shift: the tone is playful, the gore gratuitous, and its bouncy, eye-popping energy makes for perfect bingeing. [Read](https://www.telegraph.co.uk/tv/2024/04/10/fallout-amazon-prime-video-review-jonathan-nolan-vault/)
- **Vulture**, Roxana Hadadi (80/100, inferred): The critic sees it as a cerebral extension of Westworld themes about humanity and constructed realities, praising the adaptation's world-building, performances (especially Goggins), and score while noting it leans more into dark ideas than comedy. They single out the thematic depth on human flaws and capitalism for praise. [Read](https://www.vulture.com/article/fallout-amazon-prime-series-review.html)
- **The Hollywood Reporter**, Angie Han (65/100, inferred): The critic finds it heavy on vibes but light on narrative stakes, excelling at capturing a giddily realized world and grotesque humor while struggling with urgency and character depth. It singles out the strong sense of place and darkly funny set pieces but notes the plot can feel sluggish. [Read](https://www.hollywoodreporter.com/tv/tv-reviews/fallout-review-amazon-1235867482/)
- **The Guardian**: The critic finds it an immaculately made, supremely witty post-apocalyptic drama and brilliant video game adaptation that is funny, self-aware and tense. It balances humour, gore and emotional investment in characters through strong performances and pacing. [Read](https://www.theguardian.com/tv-and-radio/2024/apr/11/prime-fallout-review-an-absolute-blast-of-a-tv-show)
- **The Ringer**, Miles Surrey (85/100, inferred): The review finds the series a wacky, wonderfully immersive success that deserves to continue, praising its accessible take on the post-apocalyptic world and confident genre execution after the showrunner's prior missteps. It singles out the blend of humor, immersion, and thematic depth around corporate greed and nuclear fallout for particular note. [Read](https://www.theringer.com/2024/04/11/tv/fallout-show-review-amazon-prime-jonathan-nolan-ella-purnell)
- **Paste**, Elijah Gonzalez (8.1/10): The review commends the adaptation for faithfully translating the game's aesthetic and tone while expanding on its satirical elements and worldbuilding through strong characters and mysteries. It notes some overly juvenile humor as a minor flaw but overall finds it a confident expansion that captures the essence of the franchise. [Read](https://www.pastemagazine.com/tv/amazon-prime-video/fallout-tv-series-review)
- **Den of Geek**, Bernard Boo (4/5): The critic praises the show's faithful recreation of the Wasteland and its compelling new storytelling and complex characters over the games' approach. They single out the strong performances, especially Walton Goggins, and the balance of violence, humor, and emotional depth for praise. [Read](https://www.denofgeek.com/tv/fallout-review-the-best-wasteland-story-yet/)
- **/Film**, Rafael Motamayor (8/10): The series is a stunning video game adaptation that captures the tone and world of Fallout by focusing on its unique setting and characters rather than adapting existing plots. The critic praises the production design, retrofuturist style, and blend of dark comedy with violence as standout elements. [Read](https://www.slashfilm.com/1556383/fallout-review-stellar-video-game-adaptation/)

## Details

- **Created by:** Graham Wagner, Geneva Robertson-Dworet
- **Creator:** Graham Wagner, Geneva Robertson-Dworet
- **Director:** Fred Toye, Jonathan Nolan, Liz Friedlander, Clare Kilner, Stephen Williams, Lisa Joy, Daniel Gray Longino, Wayne Che Yip
- **Writer:** Graham Wagner, Geneva Robertson-Dworet, Chaz Hawkins, Kieran Fitzgerald, Karey Dornetto, Chris Brady-Denton, Dave Hill, Owen Ellickson, Jane Espenson, Gursimran Sandhu, Carson D. Mell
- **Cinematography:** Stuart Dryburgh, John Conroy, David Franco, Teodoro Maniaci, Jonathan Freeman, Alejandro Martínez, Dan Stoloff, Bruce McCleery
- **Editor:** Ali Comperchio, Yoni Reiss, Micah Gardner, Daniel Raj Koobir, Andrew Groves
- **Music:** Ramin Djawadi
- **Production design:** Howard Cummings
- **Costume design:** Amy Westcott, Dayna Pink
- **Producer:** Crystal Whelan, Halle Phillips, Skye Wathen
- **Cast:** Ella Purnell as Lucy MacLean; Aaron Moten as Maximus; Moisés Arias as Norm MacLean; Frances Turner as Barb Howard; Kyle MacLachlan as Overseer Hank MacLean; Walton Goggins as The Ghoul / Cooper Howard; Leslie Uggams as Betty Pearson; Michael Cristofer as Elder Cleric Quintus
- **Certificate (ICAA):** 16
- **Release (Spain):** 10 April 2024
- **Genres:** Action & Adventure, Sci-Fi & Fantasy, Drama
- **Also in:** [Emmy Outstanding Drama Series winners](https://film.one/collections/emmy-drama.md) (Nominee, 2024)
- **Trailer:** https://www.youtube.com/watch?v=0kQ8i2FpRDk

## Where to watch in Spain

- Amazon Prime Video: streaming, uhd

*Checked 2026-09-11.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, TH, TR, UA, US, ZA. Add `?region=XX` to this URL for another country.

## Awards

- The Game Awards − Best Adaptation 2024: The Game Awards − Best Adaptation (won)

## If you liked this

- *Brazil* (1985), Fi1m 83: A grotesque bureaucracy makes daily life almost as dangerous as open rebellion. — [Fi1m page](https://film.one/film/brazil.md)
- *Delicatessen* (1991), Fi1m 83: Scarcity, grotesque appetites and physical comedy in a carefully built ruined society. — [Fi1m page](https://film.one/film/delicatessen.md)
- *The Host* (2006): A monster story where institutional incompetence is as alarming as the creature.
- *Dorohedoro* (2020): An animated series with bodily horrors, grimy surroundings and unexpectedly companionable characters.
- *Station Eleven* (2021), Fi1m 84: For a gentler aftermath, where rebuilding a life matters more than surviving. — [Fi1m page](https://film.one/tv/station-eleven.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/tv/fallout