Ben Lindbergh

When Fallout wants to kind of drive in the Pluribus lane too, you know, where we have this meditation on identity and free will, can that work as well in a show like Fallout as it does in a show like Pluribus where you're interspersing that with, you know, lower brow humor, I guess you could say, in Fallout?

It's like that constant tension between...

just the different tones of fallout which which works well for me i think like the darkness and the kind of the comic relief and the gallows humor and all of that but also when it wants to get kind of deep and and profound i don't know if it's as natural a transition maybe because like whenever we see these fallout figures on the surface they are kind of

cartoonish caricatures in a way, you know, just like fixing flea soup or whatever.

So it's like, are they leading a really actualized life up there that makes you feel that bad for them?

Because like in Pluribus, you know, the others, the hive mind, they don't really have a choice, right?

They're just compelled to

they get taken over and absorbed and assimilated.

Here, at least with the snake oil salesman, he's on board, right?

Because his life sucks and he wants to be assimilated.

So I don't know, it hits a little bit different for me here.

Yeah, it is funny, these similar themes and overlap and questions.

But on a week-to-week, moment-to-moment basis, it's hard to come up with two shows that are sort of different as a spectator experience.

You know, Fallout and Pluribus, as you said, slow burn where you're following one character the vast majority of the time, you know, maybe two tops in a typical episode.

And here you're jumping around constantly.

And in Pluribus, there's just so much time to breathe.

Yeah.

Whereas in Fallout, yeah, you're constantly in some other setting or some other timeline or there aren't flashbacks in Polar Bus 2.

But yeah, everything is a lot slower paced.

Whereas, you know, there's always something happening in Fallout and more action, quote unquote.