That’s what Amy Sullivan calls The Fall:
The show, which stars Gillian Anderson in her first major television role since The X-Files went off the air in 2002, came under heavy criticism when the first season aired in 2013 for complaints that it glamorized violence against women. Serial killer Paul Spector (Fifty Shades of Grey’s Jamie Dornan) revels in the “aestheticism” of posing the nude bodies of his victims, washing their skin and painting their nails after he’s killed them. Some critics thought the show went beyond simply telling a story to the point of sharing Spector’s obsession with the women’s bodies.
I can certainly sympathize with fatigue over the seemingly endless tally of dead women on television. … But the debate over The Fall’s first season obscured the show’s revolutionary treatment of women and the topic of sexual power. In fact, I haven’t seen another program that so directly challenges and rewrites the traditional conventions of crime dramas, starting with Anderson as DSI Stella Gibson, a highly-regarded London cop who gets called to Belfast because investigators there need her expertise on a murder case.
Refreshingly, none of the tropes we’ve been trained to expect in a story about a powerful woman play out. Nobody resents Gibson’s appearance on the scene or questions her authority. Her gender is a non-issue; subordinates hop to when she enters a room and they follow her commands without question. Gibson doesn’t try to submerge her femininity and stomp around barking out orders. In Anderson’s restrained yet compelling performance, Gibson is cool, calm, and always chic, with the most fabulous coat in detectivedom.
I discovered it a couple weeks ago and now just have the final episode to watch. I can’t express how smart the series is, and how superb and commanding Gillian Anderson is as Stella Gibson. This is the feminism I believe in: a woman totally in charge of her life and of her career, whose authority is unquestioned, whose complexity and brilliance are celebrated, who utterly owns her sexuality and deploys it as coolly and as aggressively as any man would. At no point did I fear for a vulnerable Stella Gibson, even as I was deeply moved by her own female take on the victims of rape and murder, and even though she was obviously at times in great danger. I saw instead a master investigator whose nail-biting duel with a disturbed (and way hot) serial murderer became gladiatorial. Somehow gender slipped away from relevance, even as Anderson’s gender was absolutely integrated into her entire character. That’s new and powerful. It makes Girls seem as adolescent as it actually is.
Charlotte Alter is also a fan of the BBC series, now available on Netflix streaming:
[T]here’s little doubt that The Fall is great for women. …