this post was submitted on 19 Apr 2024
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That's not plot, those are premises. Premises are fine at the beginning of a series but they need to do something interesting with those premises.
For example, lawyers starts a new office and falls in love with secretary is just a premise, a starting point. But it turns out that said lawyer has a strong imposter syndrome that makes him doubts everything he does despite his externally cocky attitude, while the secretary is actually a down on her luck law student who got emotionally abused by her previous boyfriend who is now the new hire on a high tier firm that is the main competitor of the protagonist's firm. Main guy shows interest on the secretary but they have a fallout due to her wariness and his insecurity. Then the opposing firm starts a hostile takeover by stealing clients and lawyers. Main guy is on the brink of bankruptcy which throws him into a spiral. So he concocts a crazy plan that involves a dangerous representation of the local mafia, to which one of their big players are the estranged family of the secretary who she tried to abandon to run away from the insecurity and violent life. So now they find out this facts about each other when the mafia accidentally kills one of the lawyers of the opposing firm under weird circumstances and both the lawyer and the secretary end up hashing their deep emotional baggage on a road trip to another district and find their respective strengths, her to confront her criminal father and him to stand up for his employees, then…
You get the idea, that is plot. Things that happen to the characters or that the characters do, that fundamentally changes them and the context. A cool premise can only get you so far. In Fallout things barely happen and the characters end up more or less at the same place they started in, emotionally speaking.
see my reply here for further explanation about what I meant: https://sh.itjust.works/comment/11015082
In dramaturgical terms I'd define what you say here as
it's a plot summary or precis.
And then to take a few of your points:
these are character attributes and are not necessarily writer-controlled and could vary wildly between the writers' intent, the directorial notes and the actor portrayal.
debatable about whether this is plot. If we see (or hear about) this happening relative to a turn of a beat or a block of the objective to a character in a beat - then, that's plot otherwise its exposition
If we see the main guy making a move, this is plot, the reason for her rejection is an attribute or expository, but is not specifically dramaturgical
Technically this wouldn't actually be plot without us seeing the opposing firm (presumably by synecdoche of seeing a character from the firm). So if we meet people from the competition firm it's plot, but if we don't then the plot would be more accurately described as "characters X, Y and Z leave the firm" and less accurately that "the competitor steals the characters"
the reason for being this specific is a) artistic - that drama (including comedic drama) relies on character relationships and dialogue and b) the process of turning writing to performance to product is a large and refined one that requires adherence to these principles to function
While I can surely appreciate a technical breakdown, that was still a lot of hot air. That doesn't change the fact that, whatever your want to technically call what happened in Fallout, it was not interesting. It was flashy, it was pretty, but it was not interesting. Thus bland, like rice without seasoning. It's there, it fills a stomach, it has nutrients. But ultimately it is boring and inconsequential.
I think you and I watched different shows. It was very interesting to find out what's going on with these vaults. With this ghoul. With this squire low level grunt in the brotherhood. They all had interssting stories and character traits that played out nicely together into the larger picture/story.
We definitely watched different shows. Matter of taste I suppose. But none of those things were actually interesting. They were set up as mysterious, but were actually telegraphed and predictable. The characters really displayed no depth at all, nothing that happened to them or that they did changed them in any significant way. And the whole thing has massive plot holes and ends in a event that only video game fans would care about but overall, instead of a resolution, leads to a cliffhanger.
Bro what are you even talking about. Lucy and Maximus had their entire world-views turned upside down, completely changing allegiances by the end of the season. Cooper/the ghoul probably had the least development but he did go from bounty hunting for the love of it to trying to find his family again.
I'd swear you never even watched the show, you're just throwing out mindless criticisms with no bearing on the actual plot.