Sometimes the scariest villain is the guy next door.
The Big Picture We can joke that Christian Grey belongs in prison for his maximalist creeper vibes, but years before Fifty Shades of Grey's morally dubious Red Room hit the mainstream, Jamie Dornan played one of the most disturbing fictional murderers in recent memory. Dornan, much like his Fifty Shades co-star Dakota Johnson or the Twilight cast, brings far more to the table than his tedious, talent-suppressing movie trilogy allowed.
This, right here, is The Fall's thesis statement. In a media landscape proliferated with psychologically-based crime dramas trying to sympathize their villains, Spector exists to profoundly disturb. His isn't an overly complex character portrait. The Fall seeks to understand how a man can attend to his wife's needs and pack his daughter's pink lunchbox before strangling women to death, but the reasons are baked into society's inherently broken framework.
When Spector's free to unleash the beast, Dornan's performance remains just as precise, sinister, and oddly hypnotic. The only time emotion sparks in Dornan's eyes is when Spector's on the hunt. A self-satisfied smirk suggests glee. He doesn't hover in the shadows like Michael Myers; he lounges, his body language somewhere between a loping predator and a lion flaunting its claws.
Then there's the stroke of genius: pitting Spector against the ferocious, flinty Stella Gibson. Gillian Anderson's repertoire doesn't allow for poor performance, and she's rarely been in finer form. Between the clack of her high heels, the perfect blonde hair, and conducting herself at a remove, Stella hits the marks of a stereotypical ice queen. The script, and Anderson, show the human woman within.
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