With tech bros investing in vast underground homes to shield them from future horrors, a slew of ‘bunker-buster’ dramas like Paradise and Silo are asking: do they know something we don’t?

Sam Altman’s got one – although Mark Zuckerberg’s is, apparently, bigger. Peter Thiel’s is described as “mega” and located in New Zealand. These days, a doomsday bunker (or, in Elon Musk’s case, an “apocalypse resort”) is de rigueur for any self-respecting billionaire – enough to make you wonder if they know something we don’t.

A slew of recent dramas suggests that we are fascinated by such impressive underground real estate. Most audacious is Paradise on Disney+, in which tech-billionaire Samantha Redmond (Julianne Nicholson) funds a staggeringly elaborate building project under the not-so-subtle codename “Versailles”. Unlike Clive Owen’s Andy Ronson in A Murder at the End of the World, saving a few hand-picked individuals isn’t enough for this girl-boss-cum-tech-bro. Instead, Redmond has gone a step further, building “the world’s largest underground city”, an ersatz all-American suburb, accommodating 25,000 people while a climate catastrophe plays out above their heads.

The video game-derived thriller series should be terrifying, but it’s often side-splitting. Its second outing adds excellent guest spots from Justin Theroux, Kumail Nanjiani and Macaulay Culkin

The west doesn’t get much wilder than in Fallout. The show takes place 200 years into a post-nuclear apocalypse where most humans are scratching out an existence in a stricken wasteland California of sand dunes, outlaw gangs and mutated monsters. Resources are scarce. Life is cruel. Death is a constant. It should be terrifying. Instead, it’s often hilarious.

A wicked sense of humour elevated the first season of Prime Video’s well-received, no-expense-spared adaptation of the long-running video game franchise. An early episode opened with one faction dumping newborn pups into an incinerator – in case you were wondering who the bad guys were – and those flashes of satirical glee gave Fallout an edge over gloomier post-apocalyptic shows such as The Walking Dead or The Last of Us.