This article discusses the depiction of the serial killer, Paul Spector, in the BBC/RTÉ television series The Fall (2013–2016). It complements existing scholarship on the series’ female detective by considering how Spector’s construction as a Gothic villain and victim of institutional abuse inflects The Fall’s positioning as a transnational genre production. It focuses on the use of Belfast as a setting, taking into account its historical positioning as a “Noir” city, and discusses the series’ spatial politics in the context of the city’s more recent history of sectarian divisions. It places the “explanation” for Spector’s criminal activities in the context of the narrativization of clerical sexual abuse as specifically associated with the Irish Catholic church, and outlines the narrative turns the series is forced to take to reach its generically inflected conclusion. The discussion focuses on seasons one and two of The Fall as the most significant in terms of meaning-making.

中文翻译：

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秋天的创伤、动机和后麻烦精神病患者

本文讨论了 BBC/RTÉ 电视连续剧 The Fall (2013–2016) 中对连环杀手 Paul Spector 的描述。它通过考虑斯佩克特作为哥特式恶棍和制度虐待的受害者的建构如何影响《堕落》作为跨国类型作品的定位，补充了关于该系列女侦探的现有学术研究。它侧重于贝尔法斯特作为背景的使用，考虑到其作为“黑色”城市的历史定位，并在该城市最近的宗派分裂历史背景下讨论了该系列的空间政治。它将对斯佩克特的犯罪活动的“解释”置于与爱尔兰天主教会特别相关的教职人员性虐待的叙述背景中，并概述了该系列被迫采取的叙事转向以达到其通用的变形结论。讨论的重点是《秋天》的第一季和第二季，因为它们在意义制定方面最为重要。