News Science & Society Students’ mental health imperiled by $1 billion cuts to school funding Cutting mental health services will harm students over the long term, educators say The Parent Empowerment Program, or PEP, at La Mesa–Springs Valley School District in San Diego helps caregivers and their children work through various challenges. Here, mother Janet Walton leads a group activity aimed at helping children share. That includes Walton’s son, Elijah, who is passing a toy to a peer. LMSVSD PEP By Sujata Gupta May 29, 2025 at 11:00 am Four-year-old Elijah’s task was to draw a penguin, his favorite animal, and then rip up the paper so the scraps could be used for another project. The adults leading the project hoped that making Elijah uncomfortable would help the preschooler navigate similar tricky situations in his daily life. “He was not having it,” recalls Elijah’s mother, Janet Walton. “He freaked out.” For most toddlers, ripping up a beloved drawing would be a challenging ask. But Elijah’s struggles went beyond the norm. After a particularly bad tantrum at public preschool last year, a mental health expert with the La Mesa–Spring Valley School District in San Diego referred Walton to the Parent Empowerment Program, or PEP. Sign up for our newsletter We summarize the week's scientific breakthroughs every Thursday.

By TREVOR HOGG Images courtesy of Netflix. Unlike North America where episodes tend to be no longer than an hour, it is not uncommon in Britain to have feature-length episodes, which explains why the seasons are shorter. Season 7 of Black Mirror has six episodes with the first sequel for the Netflix anthology series that explores the dark side of technology having a run time of 90 minutes. “USS Callister: Into Infinity” comes eight years after “USS Callister” went on to win four Emmys as part of Season 4 and expands the tale where illegally constructed digital clones from human DNA struggle to survive in a multiplayer online video game environment. Returning creative talent includes filmmaker Toby Hayness, writers Charlie Brooker and William Bridges, and cast members Cristin Milioti, Jimmi Simpson, Osy Ikhile, Milanka Brooks, Paul Raymond and Jesse Plemons. Stepping into the Star Trek-meets-The Twilight Zone proceedings for the first time is VFX Supervisor James MacLachlan, who previously handled the digital augmentation for Ted Lasso. “[For the planet where the digital clone of James Walton is found]… We got on a train and went to the middle of Anglesey [island in Wales] to a copper mine. The copper mine was absolutely stunning. … You’re a good 50 meters down, and there were little tunnels and caves where over the years things have been mined and stopped. … It was shot there, and we augmented some of it to help sell the fact that it wasn’t Earth. We put in these big beautiful arches of rock, Saturn-like planets up in the sky, a couple of moons, and clean-up of giveaways.” —James MacLachlan, Visual Effects Supervisor Taking advantage of the reflective quality of the bridge set was the LED wall utilized for the main viewscreen. Dealing with a sequel to a critically-acclaimed episode was not a daunting task. “It’s almost like I have a cheat code for what we need to do, which I quite like because there’s a language from the previous show, so we have a certain number of outlines and guidelines,” MacLachlan states. “But because this was set beyond where the previous one was. it’s a different kind of aesthetic. I didn’t feel the pressure.” No assets were reused. “We were lucky that the company that previously did the USS Callister ship packaged it out neatly for us, and we were able to take that model; however, it doesn’t fit in pipelines anymore in the same way with the layering and materials. It was different visual effects vendors as well. Union VFX was smashing out all our new ships, planets and the Heart of Infinity. There was a significant number of resources put into new content.” Old props were helpful. “The Metallica ship that shows up in this episode is actually the Valdack ship turned backwards, upside down, re-textured and re-modeled off a prop I happened to wander past and saw in Charlie Brooker’s and Jessica Rhoades’ office.” MacLachlan notes. Greenscreens were placed outside of the set windows for the USS Callister. “USS Callister: Into Infinity” required 669 visual effects shots while the other five episodes totaled 912. “Josie Henwood, the Visual Effects Producer, sat down with a calculator and did an amazing job of making sure that the budget distribution was well-weighted for each of the scripts,’ MacLachlan remarks. “We shot this one third and posted it all the way to the end, so it overlapped a lot with some of the others. It was almost an advantage because we could work out where we were at with the major numbers and balance things out. It was a huge benefit that Toby had directed ‘USS Callister’. We had conversations about how we could approach the visual effects and make sure they sat within the budget and timeframe.” Working across the series were Crafty Apes, Jam VFX, Jellyfish Pictures, Magic Lab, One of Us, Stargate Studios, Terraform Studios, Union VFX, and Bigtooth Studios.  “We had a spectrum of vendors that were brilliant and weighted so Union VFX took the heavy load on ‘USS Callister: Into Infinity,’ One of Us on ‘Eulogy’ and Jam VFX on ‘Hotel Riverie’ while the other vendors were used for all the shows.” “[W]e had a matte painter at Territory Studio create some generic space looks like exteriors of planets in pre-production. We gave those to Union VFX who animated them so the stars gently drifted and the planets would slowly rotate. Everything in that set was chrome, so no matter where the camera was pointing, when we went to hyperspace, outside planets or in space, there were all of these beautiful reflections all over the surfaces of the USS Callister. What I did not anticipate is when the actors came onto the set not knowing it was going to be a LED wall. Their reaction was enough to say that we had made the right choice.” —James MacLachlan, Visual Effects Supervisor Miranda Jones looked after the production design and constructed a number of practical sets for the different sections of the USS Callister. A clever visual effect was deployed when a digital clone of Robert Daly (Jesse Plemmons) is in his garage crafting a new world for Infinity, which transforms from a horizontal landscape into a spherical planetary form. “A lot of it was based off current UI when you use your phone and scroll,” MacLachlan remarks. “It is weighted and slows down through an exponential curve, so we tried to do that with the rotational values. We also looked at people using HoloLenses and Minority Report with those gestural moments. It has a language that a number of people are comfortable with, and we have gotten there with AR.” Union VFX spent a lot of time working on the transition. “They had three levels of detail for each of the moments. We had the mountain range and talked about the Himalayas. Union VFX had these moments where they animated between the different sizes and scales of each of these models. The final one is a wrap and reveal to the sphere, so it’s like you’re scaling down and out of the moment, then it folds out from itself. It was really nice.” For safety reasons, weapons were digitally thrown. “We had a 3D prop printed for the shuriken and were able to get that out in front of the camera onstage,” MacLachlan explains. “Then we decided to have it stand out more, so as [the Infinity Player] throws it, it intentionally lights up. On set we couldn’t throw anything at Cristin, so some tracking markers were put on her top where it needed to land. Then we did that in CGI. When she is pulling it off her chest with her hand, the shuriken is all CGI. Because of the shape of the shuriken, we were able to have it poke through the fingers and was visible, so it worked well. Cristin did a convincing job of yanking the shuriken out. We added some blood and increased the size of the wound on her top, which we had to do for a couple of other scenes because blood goes dark when its dry, so it needed to be made redder.” Nanette Cole (Cristin Milioti) throws a ceremonial knife that hits Robert Daly directly in the head. “That was a crazy one. We had the full prop on the shelf in the beginning that she picks up and throws. The art department made a second one with a cutout section that was mounted to his head. Lucy Cain [Makeup & Hair Designer] and I constructed a cage of hair clips and wire to hold it onto his head. Beyond that, we put tracking markers on his forehead, and we were able to add all of the blood. What we didn’t want to do was have too much blood and then have to remove it later. The decision was made to do the blood in post because you don’t want to be redressing it if you’re doing two or three takes; that can take a lot of time out of production.” “USS Callister: Into Infinity” required 669 visual effects shots. A digital clone of Robert Daly placed inside the game engine is responsible for creating the vast worlds found inside of Infinity. “We had a 3D prop printed for the shuriken [hidden hand weapon]… Then we decided to have it stand out more, so as [the Infinity Player] throws it, it intentionally lights up. On set we couldn’t throw anything at Cristin, so some tracking markers were put on her top where it needed to land. Then we did that in CGI. When she is pulling it off her chest with her hand, the shuriken is all CGI. Because of the shape of the shuriken, we were able to have it poke through the fingers and was visible… Cristin did a convincing job of yanking the shuriken out.” —James MacLachlan, Visual Effects Supervisor A cross between 2001: A Space Odyssey and Cast Away is the otherworldly planet where the digital clone of James Walton (Jimmi Simpson) is found. “We got on a train and went to the middle of Anglesey [island in Wales] to a copper mine,” MacLachlan recounts. “The copper mine was absolutely stunning. It’s not as saturated. You’re a good 50 meters down, and there were little tunnels and caves where over the years things have been mined and stopped. We found moments that worked for the different areas. It was shot there, and we augmented some of it to help sell the fact that it wasn’t Earth. We put in these big beautiful arches of rock, Saturn-like planets up in the sky, a couple of moons, and clean-up of giveaways.” The blue teleportation ring was practically built and digitally enhanced. Set pieces were LiDAR scanned. “What was interesting about the ice planet [was that] the art department built these amazing structures in the foreground and beyond that we had white drapes the whole way around, which fell off into darkness beautifully and naturally because of where the light was pulled by Stephan Pehrsson [Cinematographer],” MacLachlan states. “On top of that, there was the special effects department, which was wafting in a lot of atmospherics. Some of the atmospherics were in-camera and others were augmented to even it out and boost it in places to help the situation. We did add foreground snow. There is a big crane shot in the beginning where Unreal Engine assisted in generating some material. Then we did matte painting and set extensions beyond that to create a larger scale and cool rock shapes that were on an angle.” The jungle setting was an actual location. “That’s Black Park [in England], and because of the time of year, there are a lot of protected plants. We had a couple of moments where we weren’t allowed to walk in certain places. There is one big stunt where Nanette steps on a mine, and it explodes her back against a tree. That was a protected tree, so the whole thing was wrapped in this giant stunt mat while the stunt woman got thrown across it. Areas would be filled in with dressed plants to help the foreground, but we got most of the background in-camera. There were bits of clean-up where we spotted crew or trucks.” Large-scale and distinct rock shapes were placed at an angle to give the ice planet more of an alien quality. An exterior space shot of the USS Callister that is entirely CG. Twin versions of Nanette Cole and James Walton appear within the same frame. “Literally, we used every trick in the book the whole way through. Stephan and I went to see a motion control company that had a motion control camera on a TechnoDolly. Stephan could put it on his shoulder and record a move on a 20-foot crane. Once Stephan had done that first take, he would step away, then the motion control guys would do the same move again. You get this handheld feel through motion control rather than plotting two points and having it mechanical. You get a wide of a scene of clone Nanette in a chair and real Nanette standing in white, and you’ll notice the two Waltons in the background interacting with one another. Those shots were done on this motion control rig. We had motion control where we could plot points to make it feel like a tracking dolly. Then we also had our cameraman doing handheld moves pushing in and repeating himself. We had a wonderful double for Cristin who was excellent at mirroring what she was achieving, and they would switch and swap. You would have a shoulder or hair in the foreground in front of you, but then we would also stitch plates together that were handheld.” The USS Callister approaches the game engine situated at the Heart of Infinity. A homage to the fighter cockpit shots featured in the Star Wars franchise. USS Callister flies into the game engine while pursued by other Infinity players. A major story point is that the game engine is made to look complex but is in fact a façade. A copper mine served as the location for the planet where the digital clone of James Walton (Jimmi Simpson) is found. Principal photography for the jungle planet took place at Black Park in England. The blue skin of Elena Tulaska (Milanka Brooks) was achieved with practical makeup. Assisting the lighting were some cool tools such as the teleportation ring. “We had this beautiful two-meter blue ring that we were able to put on the ground and light up as people step into it,” MacLachlan remarks. “You get these lovely reflections on their visors, helmets and kits. Then we augmented the blue ring in visual effects where it was replaced with more refined edging and lighting effects that stream up from it, which assisted with the integration with the teleportation effect because of their blue cyan tones.” Virtual production was utilized for the main viewscreen located on the bridge of the USS Callister. “In terms of reflections, the biggest boon for us in visual effects was the LED wall. The last time they did the big screen in the USS Callister was a greenscreen. We got a small version of a LED screen when the set was being built and did some tests. Then we had a matte painter at Territory Studio create some generic space looks like exteriors of planets in pre-production. We gave those to Union VFX who animated them so the stars gently drifted and the planets would slowly rotate. Everything in that set was chrome, so no matter where the camera was pointing, when we went to hyperspace or outside planets or in space, there were all of these beautiful reflections all over the surfaces of the USS Callister. What I did not anticipate is when the actors came onto the set not knowing it was going to be a LED wall. Their reaction was enough to say that we had made the right choice.”

Mark Whaling and a crew raced up and down a hill in a tanker truck as they battled a wildfire in Los Angeles County, scrambling to get water from a street hydrant in time to stay ahead of flames moving up a ridge. A helicopter flew in to drop water, but it had to fly a long distance to refill—and a fire that might have been stopped went on to destroy homes. As they fought that early 2000s blaze, Whaling says, he spotted a sealed, million-gallon water tank nearby that firefighters had no way of accessing. He thought that was ridiculous. “We don’t tell fire engines, ‘Protect the city and go find your own water.’ We put fire hydrants every 600 feet all around cities,” said Whaling, who has since retired from the county fire department. “But when it comes to the helicopters, we weren’t supporting them as robustly as we should.” His frustration sparked an idea: the Heli-Hydrant, a relatively small, open tank that can be rapidly filled with water, enabling helicopters to fill up faster for urban fires rather than flying to sometimes distant lakes or ponds. As wildfires become more frequent, Whaling’s invention is getting the attention of officials eager to boost preparedness. First used for the 2020 Blue Ridge Fire in Yorba Linda, 10 Heli-Hydrants have been built across Southern California and 16 more are in progress, according to Whaling. Helicopters are essential for firefighting. They can drop 1,000 gallons (about 3,785 liters) of water at once—some much more. That is far more than hoses can get on a fire all at once, and can be the best way to attack fires that are difficult for ground crews to reach. But pilots sometimes have to fly a long way to scoop up water. And in drought-prone areas, natural sources can sometimes dry up or diminish, so they’re hard to draw from. In Southern California’s Riverside County, helicopters have had to fly up to 10 miles (about 16 kilometers) to find water, eating critical time from battling fires. An innovative solution On a remote plot in the Southern California town of Cabazon, contractor Glenn Chavez stood on a ladder and peered into an empty Heli-Hydrant. A radio in hand, he clicked a button to activate the system and watched as water roared into the tank. In about six minutes, it filled with 8,500 gallons (32,176 liters). Chavez, a general contractor, was testing the Cabazon Water District’s latest investment—a second Heli-Hydrant that local officials are counting on to help protect the town. At $300,000, it cost slightly less than the average price of a single home in Cabazon. “Living in a beautiful desert community, you’re going to have risks of fire,” said Michael Pollack, the district’s general manager. “And to have these Heli-Hydrants is a major advantage. People will have a little bit of comfort knowing that they have another tool for fighting fires in their community.” Pilots can remotely activate the tanks from half a mile away, with the tank typically filling quickly from a city’s water system. Helicopters can fill up in less than a minute. Once it’s activated, solar panels and backup batteries ensure the system can still be used during power outages. And at night, lights from the tank and a tower nearby guide pilots toward it. In November, fire responders in San Diego put the product to the test when the 48-acre Garden Fire in Fallbrook, a community known for its avocado groves, prompted evacuation orders and warnings. Helicopters tapped the tank nearly 40 times. Pilot Ben Brown said its proximity to the fire saved not just time but fuel. “They’re great for when you don’t have other water sources,” he said. “The more dip sites, especially in some of the more arid environments in the county, the better.” But they don’t always help Heli-Hydrants have raised some concerns about their placement in urban areas where houses, buildings, and power lines can be obstacles to flight and they might have to squeeze into tighter spaces. In those cases, firefighters may choose to fly farther to a natural source that gives the helicopter more room, said Warren Voth, a deputy pilot with the San Diego County Sheriff’s Department. A pilot’s goal is to always to face the wind while entering and exiting an area, for safety, and they need room to accomplish that. In some cases, the municipal systems needed to fill Heli-Hydrants could go empty during major fires. As the Palisades Fire in Los Angeles burned, three 1-million gallon tanks that helped pressurize city hydrants in the Pacific Palisades ran dry as demand soared and burning pipes leaked water. Other times, helicopters just can’t access them. When winds are fierce, flying is nearly impossible; hurricane-force winds that supercharged the Los Angeles infernos initially grounded firefighting aircraft. When multiple helicopters respond to large blazes, they can’t all use the Heli-Hydrant. And smoke can make it hard to see it. Portable water tanks can accomplish some of the things that Heli-Hydrants do, but can require time, people, and equipment to set up. A Heli-Hydrant gives one community hope Areas where wildland vegetation intersects with human development have always been vulnerable to fires, but more people are living in them today, and climate change is creating conditions that can make these regions drier and more flammable. Jake Wiley has seen intensifying wildfires devastate his community. Two blazes—in 2007 and 2017—collectively scorched more than 400 structures in San Diego. The last one forced Wiley, now general manager for the Rainbow Municipal Water District, to evacuate. That fire also prompted local agencies to install a Heli-Hydrant—and when the Garden Fire erupted in November, it played a big role helping firefighters protect homes. “It seems like when you’ve seen the worst, you haven’t yet,” Wiley said. “Anything we can do helps.” The Associated Press receives support from the Walton Family Foundation for coverage of water and environmental policy. The AP is solely responsible for all content. For all of AP’s environmental coverage, visit https://apnews.com/hub/climate-and-environment. —By Dorany Pineda and Brittany Peterson, Associated Press

Prime Video has renewed its hit series Fallout for a third season, ahead its Season 2 premiere slated for December of this year. The upcoming season will pick up in the aftermath of the Season 1 finale, and travel into the post-apocalyptic city of New Vegas. “We are absolutely thrilled that our global Prime Video customers will be able to delve deeper into the wonderfully surreal and captivating world of Fallout,” said Vernon Sanders, global head of television, Amazon MGM Studios. “Jonah, Lisa, Geneva, and Graham have done an exceptional job bringing this beloved video game franchise to vivid life on Prime Video. Together with our amazing partners at Bethesda Games and Bethesda Softworks, we are delighted to announce a third season of Fallout, well ahead of the much-anticipated debut of Season 2.” “The holidays came a little early this year - we are thrilled to be ending the world all over again for a third season of Fallout,” said executive producers Jonathan Nolan and Lisa Joy. “On behalf of our brilliant cast and crew, our showrunners Geneva and Graham, and our partners at Bethesda, we’re grateful to our incredible collaborators at Amazon MGM Studios and to the amazing fans as we continue our adventures in the wasteland together.” Based on Bethesda’s beloved video game series, Fallout tells the story of haves and have-nots in a world in which there’s almost nothing left to have. 200 years after the apocalypse, the gentle denizens of luxury fallout shelters are forced to return to the irradiated hellscape their ancestors left behind - and are shocked to discover an incredibly complex, gleefully weird, and highly violent universe waiting for them. The series stars Ella Purnell (Yellowjackets, Sweetpea), Aaron Moten (Emancipation, Father Stu), Walton Goggins (The White Lotus, The Righteous Gemstones), Kyle MacLachlan (Twin Peaks), Moisés Arias (The King of Staten Island), and Frances Turner (The Boys). Fallout is produced by Kilter Films, with executive producers Nolan, Joy and Athena Wickham. Geneva Robertson-Dworet and Graham Wagner also serve as executive producers, creators, and showrunners. Todd Howard, Bethesda Game Studios, executive produces along with James Altman for Bethesda Softworks. Amazon MGM Studios and Kilter Films produce in association with Bethesda Game Studios and Bethesda Softworks. BlackGinger, CoSA VFX, Framestore, FutureWorks Media Ltd., Important Looking Pirates, Magnopus, Mavericks, One of Us, Refuge, and Yafka collaborated to create the VFX for Season 1. Grant Everett served as visual effects supervisor, with Brannek Gaudet as visual effects supervisor for Mavericks, Fred Ruff for Refuge, and Antonis Kotzias for Yafka. No word yet on Season 2 work. Fallout Season 1 is now streaming on Prime Video. Source: Prime Video Journalist, antique shop owner, aspiring gemologist—L'Wren brings a diverse perspective to animation, where every frame reflects her varied passions.

Krysten Ritter will reprise her role as Jessica Jones in season 2 of Daredevil: Born Again, Disney announced Tuesday at its upfronts presentations, according to Variety report from the event. The return of Ritter’s version of Jones will come nearly a decade after her most recent on-screen appearance as the character in Netflix’s The Defenders. Ritter starred as Jessica Jones, a former superhero with PTSD who starts her own detective agency, Alias Investigations, for three seasons when Netflix was making street-level Marvel superhero shows. Ritter’s Jones also appeared in The Defenders, a mini-series that brought together Daredevil, Jessica Jones, Luke Cage, and Danny “Iron Fist” Rand to battle criminal organization the Hand. “It’s so great to be back, returning to Jessica after three seasons and ‘The Defenders’ and now joining the MCU,” Ritter said, according to Variety’s account of Disney’s presentation. “I’m so excited to bring back this iconic character, and without giving too much away, there is much more in store for Jessica Jones. This is going to be an incredible season!” Daredevil: Born Again season 2 will see Matt Murdock/Daredevil rallying an army of vigilantes and police officers to take down mayor Wilson Fisk and his anti-vigilante task force. Having the super-powered Jones on his side would obviously be a boon for Murdock; he’ll likely have Frank Castle/Punisher at his disposal, but whether any other Defenders are available to pitch in is unclear. Luke Cage actor Mike Colter has said he “would love to explore” a return to the MCU, as has Iron Fist actor Finn Jones. “I’m very aware of the critiques of the character and my role in it. My response to that is, ‘Give me a f*cking chance, man,’” Jones reportedly said earlier this year. “I’m here and I’m ready, and I wanna prove people wrong.” Season 2 of Daredevil: Born Again is expected to debut on Disney Plus in early 2026. Confirmed to return in the second season are Charlie Cox’s Daredevil, Vincent D’Onofrio’s Kingpin, Deborah Ann Woll as Karen Page, Wilson Bethel as Bullseye, Clark Johnson as Cherry, Genneya Walton as BB Urich, and Michael Gandolfini as Daniel Blake. Elden Henson will also return as Foggy Nelson… somehow.

A brief teaser for Fallout Season 2 has hit the internet, showing a new look at New Vegas.The clip, shown during the Amazon Upfront livestream overnight, was captured and uploaded on reddit. It shows Lucy (Ella Purnell) and The Ghoul (Walton Goggins) 50 miles out from what was Las Vegas. We hear the famous Geiger Counter sound, signifying radiation is in the air. The Ghoul and Lucy look at each other before heading towards New Vegas, and we get a good look at the post-apocalyptic city skyline.New Vegas is of course the setting for the Obsidian-developed Fallout: New Vegas, and the setting for Season 2 of the Fallout adaptation.So, what can we learn about the show's take on New Vegas from this teaser? Well, it’s more detailed than the brief look we got at New Vegas at the end of Season 1, which stands to reason. It will look familiar to anyone who's played New Vegas, although it appears more densely packed with buildings (the video game New Vegas was a relatively sparse location).The standout is of course the Lucky 38 Resort and Casino, which is on the New Vegas Strip. In the New Vegas video game, the Lucky 38 is the pre-War casino from which Mr. House runs the city. Fans also believe they can make out the Ultra-Luxe, but in truth it’s hard to discern individual video game locations from the shot here.PlayWarning! Potential spoilers for the Fallout TV show follow.The show is confirmed to be heading to New Vegas for Season 2, and it's not just about the location itself. Mr. House is set to be a part of the new season, though how involved he'll be is unclear. We've already seen the tease of some familiar sights thanks to previous set leaks, including this video that shows part of New Vegas and the iconic Lucky 38 resort and casino, all bright and lit up. It's certainly far from the rusty place you might expect.It’s worth remembering where we are in the Fallout timeline: the TV show is set in the year 2296, after all the Fallout video games. Fallout 4 takes place in the year 2287, while Fallout: New Vegas is set in the year 2281, a full 15 years prior to the events of the show.So, what happened in the 15 years since we last saw New Vegas? Co-showrunners Graham Wagner and Geneva Robertson-Dworet have said the setting has changed, and explained why that is important for fans to note.“All we really want the audience to know is that things have happened, so that there isn't an expectation that we pick the show up in Season 2, following one of the myriad canon endings that depend on your choices when you play [Fallout: New Vegas],” Wagner said last year.“With that post-credits stuff, we really wanted to imply, guys, the world has progressed, and the idea that the wasteland stays as it is decade-to-decade is preposterous to us. It’s just a place [of] constant tragedy, events, horrors — there's a constant churn of trauma. We're definitely implying more has occurred.”But what will happen when the Power Armor-clad Overseer Hank, played by Kyle MacLachlan, turns up (potentially after a dustup with a Deathclaw)? Some speculate Mr. House, the enigmatic ruler of New Vegas in the video game and dastardly boss of RobCo Industries in the TV show’s flashbacks to before the bombs fell, may enlist the help of Hank to restore New Vegas to its former glory. Perhaps, if that’s the way the story goes, the forces of Mr. House and New Vegas will end up taking on the Brotherhood of Steel in yet another Fallout faction battle, with Lucy, Maximus, and The Ghoul caught in the middle.Overnight, Amazon announced a December 2025 release window for Season 2, and confirmed Season 3. Last week, Aaron Moten, who plays Brotherhood of Steel hopeful Maximus, said the “endpoint” of the Fallout TV show has it running until Season 5 or Season 6.We had a great time with Season 1, writing in IGN's Fallout The Series review that the show is "a bright and funny apocalypse filled with dark punchlines and bursts of ultra-violence [and is] among the best video game adaptations ever made," slapping it with a well-earned 9/10.To help tide you over until Season 2, here's our interview with Todd Howard and Jonathan Nolan covering all our burning questions after the end of Season 1.Wesley is the UK News Editor for IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.