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And even if it isn't, you may well have ended up feeling more partial, more stirred in unexpected areas, than you'd thought possible. Margaret (Anna Madeley) is a young woman in Victorian London who decides to become a prison visitor after the death of her father.'Perhaps it will put me on the path to new happiness,' she says.The result was taut, touching and pervasively creepy.As Selina, Zoe Tapper managed to be both innocent and faintly sly – a very tricky combination to pull off, or so I would have thought (never having had any call for it myself).At the time I just sat back and marvelled at the ingenuity with which it managed to conjure a rational explanation for the apparently quite irrational events that had preceded it.One of the things that made Affinity stand out was that it assumed a high degree of alertness and sophistication among its audience. More and more, viewers are reckoned to be so thick that they can't follow the simplest plot points without the way being pointed by honking klaxons and flashing lights.

Poor Hannay, of course, was heartbroken, but it turned out that Victoria wasn't dead at all. On this occasion my credibility didn't just whimper; it gave out a great yelp of affront.Richard Hannay (Rupert Penry-Jones) finds a terrified British spy on the doorstep of his London flat.Soon the spy is dead and Hannay is suspected of his murder.'Suddenly, I was facing the hangman's noose,' declared the voice-over.There was a lot more in similar vein: 'I had to get out of London quickly…', 'I had to find the keyword of the cipher…', 'I needed evidence...' When it stopped bashing its audience with a mallet, this adaptation wasn't too bad.

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