Critics are giving marks for originality, acting, photography and scripting, while mass audiences are more drawn to familiarity of genre, stars they would like to have sex with or plots that are more likely to make their dates have sex with them. Reviewers are doing their day's work, cinema-goers are escaping from theirs: this leads to an inevitable difference of response. It is, though, wrong to conclude that reviewers are completely useless. Books, movies and shows may be critic-proof, but the egos and psyches of the people who make them very rarely are.

One of the things which separates British and American culture is the reverence for the flag in American culture.

Office tends to confer a dreadful plausibility on even the most negligible of those who hold it.

Critics are giving marks for originality, acting, photography and scripting, while mass audiences are more drawn to familiarity of genre, stars they would like to have sex with or plots that are more likely to make their dates have sex with them. Reviewers are doing their day's work, cinema-goers are escaping from theirs: this leads to an inevitable difference of response. It is, though, wrong to conclude that reviewers are completely useless. Books, movies and shows may be critic-proof, but the egos and psyches of the people who make them very rarely are.

I have a confession to make. Yesterday, I was responsible for the deaths of millions of Britons. What happened is that MI5 asked me to trail Mehan Asnik, a suspected terrorist, through the streets of London. He had escaped from our security services while infected with a plague virus. Tracking him on CCTV, I swear I had him but then, in the rush-hour bustle, lost him. When the secure mobile rang, it was Harry Pearce at Thames House, chewing me out for the slaughter that had been caused by my mistake.