I have the taste in video games of an 11-year-old. All versions of Mario Kart, the Super Mario traditional, old Punch-Out! and the good Zeldadon’t leave me on Zelda of the Nintendo Switch console, because I could gas you for hours with the Korogus (I hate their baby bawling) or the Gorons (my favorite chubby ones).
At the moment, I refuse to even complete the latest adventure of The Legend of Zelda: Tears of the Kingdom because once this quest is completed, the game will be over and there won’t be another one for several years. Yes, I reject mourning and the great emptiness that will result from it. Fearful and foreseeing alike.
I clearly don’t have fun with the adult video games that inspire high-end television creators. Before engulfing The Last of Us on the Crave platform, I didn’t know that its scenario was inspired by a very popular game. Same thing for the post-apocalyptic superseries fallout from Amazon Prime Video, which can also be played on a computer or console, before being devoured on TV.
It’s really very good, fallouta sort of cross between Silo from Apple TV+, Westworld (from the same creators) and The Last of Us, exactly. And there is no need to know the video game world of fallout to fully embark on this retrofuturistic western, which includes eight episodes of more than an hour, offered in English and French, in a version dubbed in Quebec, well done.
This choral series, both comical and violent, begins in a children’s party in Los Angeles, in an aesthetic ofRock epic modeled on that of the 1950s. A gigantic nuclear attack then leveled the planet and the wealthiest managed to hide in enormous anti-atomic shelters, where they lived in complete self-sufficiency. Exactly as in Silo.
More than 200 years after the mushroom cloud, radiation levels are decreasing on the planet’s surface, which would allow the wealthy and privileged shelter dwellers to finally emerge from their underground bunkers. But no one knows what life on Earth is like. What was once lush California is now called the Wasteland, a vast desert where there are mutant bears, giant cockroaches, shantytowns Mad Max and also poor and resourceful humans.
In quick summary: underground, it is the Pleasantville wealthy people. On Earth, there is anarchy for the poor.
fallout follows three main characters on their quests that will eventually cross paths, I’m not giving anything away here. Lucy MacLean (Ella Purnell) Yellowjackets), a naive and enthusiastic young woman, leaves her comfortable shelter (number 33) to find her father Hank (Kyle MacLachlan), kidnapped by a mysterious mercenary who lives outside, in this hostile and dangerous world.
Maximus (Aaron Moten) is a soldier in the Brotherhood of Steel, a militia that was founded from the ashes of the former U.S. Army and is trying to regain control of the wasteland. And there’s the Ghoul (Walton Goggins), a deformed man with no nose or hair, who has resisted every attack imaginable.
PHOTO PROVIDED BY AMAZON MGM STUDIOS
Walton Goggins in fallout
You have to jump in fallout with detachment and letting go. It’s 100% normal to suddenly not understand the codes of this vast and complex universe. Resist, unlike me, the urge to Google and Wikipedia everything while watching the episodes. It’s okay to not know who dropped the atomic bomb or how many total shelters there are in history. The answers will come later, when they prove absolutely necessary. Otherwise, progress in fallout and let yourself be caught in its multiple ramifications.
It is through the character of Lucy, the heroine who grew up in the downy cocoon of Vault 33, that the viewer discovers how life has been reorganized outside of underground societies. And what Lucy discovers “outside” shatters her idealism. People shoot each other, steal from each other, fight, cheat each other and die in atrocious conditions. There is even a live puppy incinerator!
We see in fallout decapitation with an electric kitchen knife and heads exploding under bullets. It’s okay, we endure and we swallow. But as soon as we touch a dog, my heart aches.
It’s still a strange reaction. A human dies in terrible suffering? Ugh, there’s nothing there. A dog gets stabbed in the same sequence? Leave this poor creature alone, my % gang? & *@, I’m going to rip your head off!
I levitate
The Pays d’en Haut ad by Miralis
Donatienne (Kim Despatis) visits Donalda (Sarah-Jeanne Labrosse) and brings her a little ketchup. Surprise: Séraphin took out his “cennes” to redo the kitchen – in 2024 fashion – with a hidden fridge and even a hot air fryer, which cooked pickles for the aperitif. The gap between the end of the 19th centurye century, where Donalda and Donatienne live, and the modernity of today’s household appliances is delicious. It’s the kind of ad that you watch again without getting tired of it and without skipping it, which is rare in Rybelsus!
I avoid it
The thunderous IKEA ad
We understand what the Swedish furniture giant is trying to do: break its neat image, inject color into dull homes, as well as attract a younger, rock’n’roll clientele, who think that a Tertial lamp at $18.99 will turn an ugly office into a Brooklyn apartment. Result ? The song Come on by the garage punk band The Hives, another Swedish pride, ends up attacking us. Solidly. And no one wants to play air guitar on a $299 Malm bed anymore.