The Fall

At first sight, The Fall seems like a classic crime series with the usual characters: the criminal, the victim and the detective. It has a long introduction, where nothing is really going on, and therefore it already seems quite dull. Suddenly it turns really interesting, because the creepy stalker guy, who’s been walking around a woman’s home, isn’t what you would typically expect from a criminal. He turns out to be a father; happily married with two children, and works as a couple’s therapist. What went wrong?

In the introduction we find out that a young woman has been murdered, and Special Agent Stella Gibson (Gillian Anderson) has been sent over from London to Belfast to take on the case. Unfortunately, her character is a bit stereotypical. She’s a young hardworking woman, who’s extremely good at what she does, and of course she has chosen her career over having a family.

However, we will not only get to see her solving crimes, but different scenes will explore her mental state, for instance while she’s having a glass of wine she tells a journalist to “f**k off”. It’s the same case with Paul Spector (Jamie Dornan), the criminal who walked around the house of a woman, whom, the attentive viewer will find quite similar to the one who has been killed. The viewer won’t see just see him in these stalking-scenes, but will get the chance to explore his mind, while he’s a father or when he draws inappropriate sketches in his couple’s sessions.

The Fall is a puzzle, where the viewer slowly puts all the pieces together. It’s not a classic crime whodunnit, as first stated, but more of a “how did he do it?”, and “why did he do it?”. The first episode ends with a cliffhanger, which will make the viewer instantly want more. Even if it had a slow beginning, The Fall will definitely surprise you with its interesting characters, particularly Paul Spector.

Our regular column ‘The Netflix Fix’ celebrates the increasingly important medium of television streaming – in truth though, Netflix is only one of many intriguing technological advancements that have changed the way consumers  enjoy their required dosage of entertainment in recent years.

Perhaps overlooked in this regeneration of the media industry is the move that British radio has made to make content more accesible and indeed, more innovative via the smartphone and tablet friendly app.

Radio has always been the most portable device: cars carried the soundwaves, builders brought it into freshly plastered bathrooms and it’s always been on summer lawns – informing the hips of teens which way to sway.

The iPlayer Radio App, which encompasses all BBC Radio stations (including local radio) entitles the audience to download shows for on-the-go listening, to devour  podcasts and archived shows and find brand new content that daytime radio generally leaves to the black hole of the internet.

It really is an exceptional example of the type of development (long overdue) that will give radio the respect it deserves and has lost in the wake of television’s “Third Golden Age” and film’s continued dominance.

Whether you’re wanting to tune into old episodes of the delicious Goon Show or ready to become embroiled in the maddening beauty of Mark Gatiss ‘s (Yes, Mycroft from Sherlock) Black Butterfly – which is a geniunely unique take on detective fiction starring his brilliant protaganist Lucifer Box (imagine an even more ostentatious Holmes and you’re somewhere close) then this is a must have app.

The times they are a’ changing and radio is changing with it – perhaps though, as rugged builders and sunsoaked teenagers proved, it was always going to happen.

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