Everyone seems entranced by Jesse Lyu, the new AI prophet.

Clad head to toe in black, Lyu stands on stage and fires off live demo after live demo using a bright orange-colored AI gadget called the R1. He speaks to the pocket-sized device and the AI voice assistant responds back.

At first, Lyu starts with some easy requests like looking up the weather and basic search questions. Next, he demonstrates the R1’s computer vision for identifying and describing what’s in front of him and then dives into more advanced functions. He uses the R1’s camera to convert a hand-written chart into a spreadsheet that’s then emailed to him. It happens instantly over a 4G LTE connection.

The crowd of several hundred early adopter techies explodes with cheers at the speed and perfect conversion from the AI. Lyu streams music from Spotify, orders McDonald’s via DoorDash, calls an Uber, generates images from Midjourney — all using his accented English (no wake words like “Hey Siri” or “Alexa”) which could typically trip up other voice assistants.

Fallout is more or less synonymous with its many classic, crooning needle drops, but the score that supplements it is equally crucial. It’s these moody, synth-driven sounds that first clue us into the vice within the Brotherhood of Steel, and the same could be said for the unsettling yodel that plays whenever the Ghoul (Walton Goggins) appears.

That’s all the work of Ramin Djawadi, the composer behind Fallout and many of the most iconic genre scores of the past decade. It was Djawadi who crafted the theme for HBO’s Game of Thrones; ditto for the cerebral sci-fi epic Westworld. The latter kickstarted a years-spanning partnership with Jonathan Nolan and Lisa Joy, the co-creators of Westworld and executive producers of Fallout.

“Now that we’ve worked together for such a long time, there’s this friendship and trust that starts building,” Djawadi tells Inverse. “They’ll throw ideas at me and then they’ll just let me run wild with it.”