When Allan Cubitt’s intense British-Irish psychological crime drama The Fall arrived in 2013, its initial five episodes proved darkly compelling and intelligent. It was so sophisticated that French television snapped it up for a remake, so creepy it won an Edgar Allan Poe award. Gillian Anderson, hypnotically cool as Dsi Stella Gibson, arrived in Belfast styled in pristine white shirts unbuttoned to the precise point at which her seductiveness undid some male colleagues. She was seconded by the Met to the Psni (Police Service of Northern Ireland) to review the progress – or lack thereof – in a murder investigation and quickly deduced that several unsolved rapes and murders were connected.
This was not a whodunnit but a whydunnit; we knew from the outset that the killer was handsome family man