ER is now on Netflix in the UK and like anyone else, I ran first to watch season 5, episode 1, “Day for Knight” by Lydia Woodward.

The thing is, until I saw that smash to titles and heard that theme there on episode 92 of the show, I had forgotten that ER is absurdly linked to my own career. Not that Woodward or any other writer on the series would know this, but I do, except that I’d forgotten.

There’s a decent argument that I owe my work on Radio Times to ER. Or at least to my work on the Radio Times website. Because either at the application stage or possibly during the interview, I was required to critique any other online TV guide and it was so easy. For, as I pointed out to Radio Times, Sky’s website let you search for shows but, for some unfathomable reason, at the time required you to type in at least three letters. I said this was a problem, since Sky’s most popular and so presumably most searched-for series then was ER.

I got the job.

But as is the way of what any chronology would call messy, if it could be bothered to call it anything, this was happening when I was also pursuing work at BBC Ceefax. I can’t tell you how much I’m enjoying just typing “BBC Ceefax” and “Radio Times” like this. Well, I can, but you’d be bored at my gushing. Instead, let me just say “anyway” and get on to “Day for Knight”.

Anyway.

I’m doing all these things I do at RadioTimes.com but at the same time I was writing TV reviews for BBC Ceefax in BBC Television Centre. And I think you see where this is going. Yes, “Day for Knight” was one of the very first reviews I wrote.

Now, I’m minded of how the sports team at BBC Radio WM were very proud of the row of tape reels they had that featured their radio commentary on famous sporting events. I’m afraid I looked at it as a set of recordings of someone watching something. It was like saying something was a show because you had a Gogglebox recording of someone watching it.

In the same way, I see that my having reviewed a show is of course meaningless next to the show itself. The job, as I saw and still see it, is to help people find something good to watch. That’s a reviewer’s sole purpose and their sole reason for getting to do it is that they have seen the show first. Screenings, preview tapes, whatever. They’ve seen it so you can get an idea of whether it might be worth your time.

“Day for Knight” was absolutely worth your time, according to me, but a reason for remembering it so vividly — after forgetting it for decades — is that the received opinion at the time disagreed with me.

Nobody complained that I was wrong, I wasn’t remotely significant enough for anyone to bother or really even notice. But at the time, the overall consensus about the episode was that it was less than the tremendous thing I thought then, and think now, it is.

But that criticism was for a really specific reason that has only become more prevalent in television drama. It was that the vocal fans didn’t like the episode. This is like the way you read online that Star TreK: Enterprise only got good in its later seasons, when the truth is that the only people writing about it are fans and by the end the show had given up trying to appeal to anyone else. It became a show that served its fans and that’s nice for them, I suppose, but to me it meant Enterprise stepped off a cliff.

And if the reason for criticism of “Day for Knight” was only that the ER fans didn’t like it, they didn’t like it for one specific reason. It happens to be the reason I most enjoyed the episode, so of course I remember it. “Day for Knight” is the introduction of Lucy Knight (Kellie Martin) and after 91 episodes, this one is seen from her point of view instead of the regular cast. The regulars are all there, but the episode is from Knight’s perspective and what I adore is that from that view, the regulars don’t look quite as great as usual. It’s fantastic: you’re seeing familiar characters from a different angle and I loved it.

I’d rather love something than hate it, so what I’ve taken from that moment is that your enjoyment of anything includes the baggage you bring to it. Sometimes there’s more baggage on you than there is anything in the show.

And I did not realise until this moment that what I’m actually talking to you about is Bad Bunny and all the bollocks around his half-time Super Bowl show. There isn’t any — not any — criticism of his performance that doesn’t tell you more about the critic than the show. I suppose you can argue that the praise for his show also reveals something of the critic, but that one I’m okay with because they’re celebrating something well done and also they are not talking bullshit.