‘Fallout' Season 2 sneak-peek photos, release date: Everything to know about the show's return to Prime Video
Here's what you need to know about Fallout ahead of its December return.
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Where we left off
The eight-episode freshman season followed Purnell's Lucy MacLean as she abandoned her life in a fallout shelter beneath a nuclear bomb-ravaged Earth and returned to the surface world in the far-off year of 2296 to find her father, Hank (Kyle MacLachlan). There, she crosses paths with Goggins's ex-Hollywood icon Cooper Howard, who has mutated into the gunslinging Ghoul. The duo navigate a treacherous terrain filled with marauders and murderers — as well as a handful of allies — without any cheat codes handy. Along the way, they discover the truth about what sparked the world-ending conflict and Lucy agrees to help the Ghoul on his personal mission to get intel on his missing family. Meanwhile, Hank makes tracks for New Vegas — one of the only surface cities still standing.
Where we're going
Season 2 will start in the immediate wake of the Season 1 finale and split its focus between the dusty plains of the Mojave Desert and the spires of New Vegas. Expect to learn more secrets about the Vault-Tec, the corporation responsible for the bunkers that have kept humanity alive — and subjugated to the ruling classes. Moisés Arias returns as Lucy's brother, Norm; Frances Turner is back as Barb Howard, Cooper's wife and a muckety-muck at Vault Tech; and Aaron Morten reprises his role as Lucy's ally, Maximus.
What awards has Fallout won?
Overseen by Westworld masterminds Jonathan Nolan and Lisa Joy alongside Athena Wickham, Fallout catapulted Prime Video into last year's Emmy race with nominations for Best Drama Series, Best Actor nod for Goggins and Best Writing for its series premiere. The series also received 13 below-the-line nominations, winning a statuette for Best Music Supervision. Look for Season 2 to be an Emmy player in next year's cycle.
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Los Angeles Times
25 minutes ago
- Los Angeles Times
‘& Juliet' euphorically turns Shakespeare's tragedy into a Max Martin dance party
Everyone can use an editor, and Shakespeare is no exception. Fortunately, he married one. Tired of being cooped up with the kids in Stratford-upon-Avon, Anne (Teal Wicks), wife of the great playwright, pops down to London to see the first performance of 'Romeo and Juliet.' The new tragic ending that Shakespeare (Corey Mach) proudly previews to the company strikes her as completely wrongheaded. 'What if … Juliet doesn't kill herself?' she proposes. As strong-willed as her husband, she doesn't wish to argue the point. She merely wants to put her idea to the test. Behold the premise of '& Juliet,' the euphoric dance party of a musical that updates Shakespeare with a dose of 21st century female empowerment. The production, which opened Friday at the Ahmanson Theatre under the fizzy direction of Luke Sheppard, reimagines a new post-Romeo life for Juliet while riding a magic carpet of chart-toppers from juggernaut Swedish producer Max Martin, who has spun gold with Katy Perry, Britney Spears and the Backstreet Boys, among other pop titans. This good-time jukebox musical relies as much on its wit as on its catalog of pop hits. The show's music and lyrics are credited to Max Martin and friends — which sounds like a low-key cool table at the Grammy Awards. The clever book by Emmy winner David West Read ('Schitt's Creek') creates a world that can contain the show's musical riches without having to shoehorn in songs in the shameless fashion of 'Mamma Mia!' Take, for instance, one of the early numbers, 'I Want It That Way,' a pop ballad made famous by the Backstreet Boys. Anne starts singing the song when Shakespeare initially resists her idea of giving Juliet back her life. She wants him to go along with her suggested changes not because she's sure she's right but because she wants him to trust her as an equal partner. The song is redeployed in a way that has little bearing on the lyrics but somehow feels coherent with the original emotion. Obviously, this is a commercial musical and not a literary masterpiece on par with Shakespeare's tragedy of ill-starred lovers. '& Juliet' would have trouble withstanding detailed scrutiny of its plot or probing interrogation of Juliet's character arc. But Read smartly establishes just the right party atmosphere. Juliet (a vibrant Rachel Webb), having survived the tragedy once scripted for her, travels from Verona to Paris with an entourage to escape her parents, who want to send her to a nunnery for having married Romeo behind their backs. Her clique includes Angélique (Kathryn Allison), her nurse and confidant; May (Nick Drake), her nonbinary bestie; and April, her newbie sidekick out for fun who Anne plays in disguise. Shakespeare casts himself as the carriage driver, allowing him to tag along and keep tabs on the cockeyed direction his play is going. In Paris, the crew heads directly to the Renaissance Ball, which has the look and feel of a modern-day mega-club. Entry is barred to Juliet, but not because she's ridiculously underage. Her name isn't on the exclusive guest list. So through the back door, Juliet and her traveling companions sashay as the production erupts in 'Blow,' the Kesha song that encourages everyone to get their drink on and let loose. The dance setting — kinetically envisioned by scenic designer Soutra Gilmour, lighting designer Howard Hudson, sound designer Gareth Owen and video and projection designer Andrzej Goulding into a Dionysian video paradise — provides the all-purpose license for Martin's music. It's the atmosphere and the energy that matter most. Paloma Young's extravagant costumes raise the level of decadent hedonism. In this welcoming new context — imagine 'Moulin Rouge! The Musical' suffused with girl power — there's never anything odd about the characters grinding and wailing like karaoke superstars. The ecstatic motion of Jennifer Weber's choreography renders dramatic logic irrelevant. But love is the name of the game, and both Juliet and May fall for François (Mateus Leite Cardoso), a young musician with a geeky sense of humor who's still figuring out his identity. May doesn't expect romance to be part of their fate. In the Spears song 'I'm Not a Girl, Not Yet a Woman,' they give powerful expression to an inner confusion this musical romance is determined to sort out with an appropriate partner. Unlike for the original characters, a happy ending is no longer off-limits. Shakespeare and Anne wrestle to get the upper hand of a plot that seems to have a mind of its own. Shakespeare pulls a coup at the end of the first act that I won't spoil except to say that what's good for the goose proves dramaturgically viable for the gander. This spirited competition stays in the background, but their marital happiness matters to us. Mach's Shakespeare has the cocky strut of a rapper-producer with a long list of colossal hits. Wicks gives Anne the heartfelt complexity of one of her husband's bright comic heroines. There's a quality of intelligent feeling redolent of Rosalind in 'As You Like It' in Wicks' affecting characterization and luscious singing. But the musical belongs to Juliet, and Webb has the vocal prowess to hijack the stage whenever she's soaring in song. If Juliet's character is still a work in progress, Webb endows her with a maturity beyond her years. She makes us grateful that the Capulet daughter is getting another crack at life. When the big musical guns are brought out late in the second act ('Stronger,' 'Roar'), she delivers them as emancipatory anthems, fueled by hard-won epiphanies. Allison's Angélique is just as much a standout, renewing the bawdy earthiness of Shakespeare's nurse with contemporary sass and rousing singing. If the supporting cast of men doesn't make as deep an impression, the festive comic universe is nonetheless boldly brought to life. '& Juliet' bestows the alternative ending everyone wishes they could script for themselves — a second chance to get it right. This feel-good musical is just what the doctor ordered in these far less carefree times.

Engadget
an hour ago
- Engadget
First images from Fallout season 2 tease New Vegas
The second season of Prime Video's Fallout is coming this December and the marketing machine is just starting to ramp up. The streamer has released some light plot details and, more importantly, several cool images. Two of these photos reference the franchise's iconic New Vegas location, which was teased at the end of the first season. Prime Video says that season two will take "audiences along for a journey through the wasteland of the Mojave to the post-apocalyptic city of New Vegas." However, we still don't know if the show's depiction will be franchise accurate. The released images show Cooper Howard (Walton Goggins) touring the actual Las Vegas in the before times, long before becoming the Ghoul. (Prime Video) However, one picture does show the Lucky 38 casino, which is extremely important to fans of the games. The remaining images catch up with other major players from season one. There's one of Lucy (Ella Purnell) butting heads with the Ghoul and another showing Maximus (Aaron Moten) back with the Brotherhood of Steel after the events of the season finale. He's back at the Brotherhood. (Prime Video) We don't have a trailer yet, but that should be coming soon. December is just a few months away. The Fallout TV show has proven to be a huge hit, both with fans and critics. Prime Video has already renewed it for a third season.
Yahoo
an hour ago
- Yahoo
Daniel Dae Kim on ‘Butterfly,' the One Stunt He Wasn't Allowed to Do and the Success of ‘KPop Demon Hunters': It Wouldn't Have Been ‘Made Even 10 Years Ago'
SPOILER ALERT: This story contains spoilers from 'Butterfly' Season 1, now streaming on Prime Video. Daniel Dae Kim insists his new Prime Video series, 'Butterfly,' is more than just a run-of-the-mill action spy series. More from Variety 'Drive My Car' Star Nishijima Hidetoshi Leads Prime Video Japanese Mystery 'Human Specimens' Rhea Seehorn Recalls First Time Seeing Sets for Vince Gilligan's New Series 'Pluribus': 'I Was Running Around Crying, High-Fiving Construction People' 'Highest 2 Lowest': A$AP Rocky's 'God-Given Me Away' Says Co-Star Ilfenesh Hadera 'For everyone who loves the action genre and the spy genre, they will get their fill,' Kim says. 'So many of these kinds of shows really lack character development or relationships that you care about. What I love about our show is that even if you took away a lot of the action, it holds up as a relationship drama. It's really an examination of families.' Families with a lot of trauma, dark secrets and deadly intentions, that is. Based on the graphic novel series of the same name, 'Butterfly' stars Kim as David Jung, a former CIA operative who comes out of hiding — he faked his own death years ago when an operation went terribly wrong — to rescue his now adult daughter Rebecca (Reina Hardesty) after learning she has become a ruthless assassin for Juno (Piper Perabo), his power hungry former partner now running a mysterious private intelligence entity in South Korea. With his new family — David has a wife (Kim Tae-hee) and young daughter (Nayoon Kim) — in tow, he tries to convince Rebecca to flee Korea for a new life in Vietnam. I spoke to Kim over Zoom from a hotel room in Washington, D.C., where he was set to host a 'Butterfly' screening for the MPAA and policy makers. You are asking the central question. I will say this, David made certain choices. We've all made certain choices in our lives that we thought were right at the time, and through a little bit of experience, age and wisdom, we realized that that choice that we thought was right was actually the complete opposite. I also know that David got a piece of information about Rebecca's future that really affected his calculus. It's one thing if you feel like the person that you left is doing OK. It's another thing if you believe that they're in danger or they're harming themselves or they're not in a good place. It was a combination of those factors. David hadn't known she had become an assassin and that she ended up liking it. He didn't know the depth of her psychological wound. I don't know. I don't think David knows. He's constantly trying to guess and figure out who she is after nine years. I think he bears a lot of responsibility, and he feels a lot of guilt for the decision that he made, so he wants to try and make it right. You have picked up on everything that we were going for. You not only have David and Rebecca, but you have Juno and [and her son] Oliver (Louis Landau). And if you want to talk about the generational trauma we pass on to our kids, we have two examples of it, and that's the thing we go back to. It's a little bit of Greek tragedy, just the way that Oedipus is trying to figure out how to avoid his fate, he walks right into it. David, in the effort to right his wrongs, inflicts the same pain on the version 2.0 that he was trying to make. These are the questions that we can't wait to get into if we're lucky enough to get a Season 2. You hit on all the things that make this show intriguing to me. Human beings are complex, and no one is black or white. I like the idea that all these characters exists in shades of gray, depending on your viewpoint. For some, David will be very relatable because of the bond he feels for his daughter. But for children who have had some experience with abandonment, I'm going to be the villain. How dare he think he can just walk back into her life, tell her she's got to move to Vietnam with him? It takes a lot of presumption on his part to think that. I love action. I really do. I've done it throughout my entire career. But I'm not going to lie and say that it wasn't harder to recover than it has been in the past. Nothing reminds you of being a certain age than testing your body to its limits. There's no stunt that I didn't want to do. There's a stunt that they wouldn't let me do when David and Rebecca are rappelling down from a rooftop. I was getting set to do it, but then the phone calls started coming in. We don't want to put the cart before the horse or jinx anything because we haven't even dropped yet [This interview took place about a week before 'Butterfly' premiered.] I can't lie and say I haven't thought about what we would like to do. It was really important to us that we not only showed the glitz and glamor of downtown Seoul, but we showed the mountains and the beautiful countryside. We shot in over 20 cities in South Korea, and we traveled something like 234 hours to locations. We wanted to get beyond just the postcard version of Korea and show something that that only someone with experience with the culture can show you. That's one of the things that I'm proudest of, is that this show reflects a Korean American's experience. I'm taking you inside my Korea. I'm just getting used to how successful it is. It's all over my social media feeds. I'm honestly tickled every time I see it. I never would have thought that a show about Korean KPop singers would hit the consciousness of our country as widely as it did, as deeply as it did. I don't think 'KPop Demon Hunters' would have been successful, let alone get made even 10 years ago. But it shows you how far we have progressed as a culture in America that we're accepting now of Asian cinema, Asian content, Asian music, Asian skincare. I'm really happy to be a small part of that movement. Just last night, I went to see a dress rehearsal of 'Twelfth Night' at Shakespeare in the Park in New York City. I was so inspired by it because I love Shakespeare, and my training is in classical theater so if and when I go back to stage, it might be to do some Shakespeare. Most young actors always want to play Hamlet. I always wanted to play Henry V. I've always been interested in politics and leadership, and that play is a referendum on leadership. Given the times we live in now, I think reminders of how we can be kind, inclusive and compassionate leaders is a message worth revisiting. This Q&A has been edited and condensed. 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