Ridiculously long Old Skool Who post
May. 13th, 2006 10:45 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
icepixieSo I watched a whole lot of TV last week. Sunday night, we showed Kate and Meg "The Empty Child/The Doctor Dances," because everyone needs to see those. I showed them the Fifth Doctor two-parter (only 20 minutes each, thank God) "Black Orchid," then I showed it to Chandra. (Ellen couldn't take the eightiesness of it and had to leave partway through. Silly girl.) So...lots of TV. Followed by lots more TV, with a side helping of audios.
And here's lots of commentary. Lengthwise, it's the equivalent of a ten-page essay. Yeah. Amazing what a bit of NO MORE SCHOOL EVERuntil grad school/library school will do for one's time and inclination towards fannish activities. Now I just need to put some of this energy towards finding a job...
Black Orchid
Hee! SO EIGHTIES! Well, twenties by way of 1982, but whatever. The credits amuse me so, and I've even seen "Kinda," so I already knew how cracktastic they were.
This episode is so incredibly amusing. I love all the costumes (way beyond gay pants), particularly Tegan's. Nyssa/Ann's is also very pretty. Everyone looks like they're enjoying themselves so much--the Doctor with the cricket (OMG, the flailing! Hee!), Tegan with the Charleston, Adric with the food (...so a 15-year-old boy), Nyssa with the whole atmosphere...it was nice to see. I like the outdoor setting of a lot of Classic Who episodes; wish they'd do more of it in the new series.
Blatant ripoff of Jane Eyre with the resolution, but ehhh, who cares. George the Mutilated Brother was so Phantomy it wasn't even funny. He even had a mask on! And he gurgled!
Adric and Nyssa don't have a thing going on, do they? I remember him being a bit of a twit in "Kinda," but both of them were kind of cute in this episode. I want to read fic now. Hey, quit backing away like that! Hey! Her asking him to dance was rather sweet, as was all his goggly-eyed staring at her.
On Monday (or possibly it was Tuesday) I also watched Earthshock. The Cybermen aren't as cool as the Daleks, but that was still pretty awesome. The fourth episode was particularly good. The silent credits over Adric's star were very effective. Poor Adric. :( And poor effects people--those "laser beams" looked like shoddily-animated MS Paint jobs. I know, I know, low budget, but I was laughing at inappropriate moments because of it.
I definitely noticed some evidence of what people in, for example,![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-community.gif)
davison_era have said about Peter Davison being completely unable to keep his hands off Janet Fielding. Hee. I enjoyed their reunion scene when Tegan came bursting onto the freighter and was so glad to see the Doctor, and he seemed completely uninterested in letting go of her shoulders. Not to mention his willingness to take a bullet (or badly-done MS Paint laser beam, as the case may be) for her. *g*
I also got my hands on a copy of the parody, The Curse of Fatal Death. BRILLIANT. I think the best moment was the Master hobbling after the Daleks with his walker, calling, "Wait for me!" Lumley!Doctor would win, except some for of girl!doctor was kind of expected. I liked Emma; she got some good lines.
On a completely different note, after rewatching TEC/TDD and hearing the Doctor declaim about how "there isn't a little boy born who wouldn't tear the world apart to save his mummy," coupled with the whole "lonely childhood" thing from TGitF, I'm laying money on the Doctor's mother dying when he was but a Time Tot. Or on Stephen Moffat believing that, anyway.
And finally, some completely random notes on the various Eighth Doctor Audios. I've listened through Neverland, with three brief detours through Scherzo, Caerdroia, and Other Lives. My other post, concerning primarily Scherzo and The Chimes of Midnight, is here.
- Still massive love for Charley. Yay for snark mixed with a propensity for asking Excellent Questions! Although one thing about her that does get grating is that whiny tone of voice she has sometimes when she wants the Doctor to actually make sense: "Doctor!" Ack. It gets old. Although of course she's a 1930s girl, and probably has The Perils of Pauline and things like that as her guides for this kind of thing (I think she actually mentions Pauline at one point; perhaps that was Rose), so it's understandable. Just annoying.
- Still massive love for Eight/Charley. They manage to be shippier than Doctor/Rose, and I thought I was going to go into 'ship overload for them at one point (TPTB actually supporting my 'ships? AMAZING!), so that's saying a lot. I am totally imagining them engaging in all kinds of gratuitous hand!porn, particularly right after their reunion in Neverland.
Speaking of Neverland, I thought a certain event in it was very interesting in light of Girl in the Fireplace.
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There, the Doctor does sacrifice something personal to him--whether it's 3,000 years on "the slow path" or Rose's and Mickey's lives or both remains to be debated, I suppose--to keep history intact. Here, when faced with the same choice, he can't do it. He can't kill Charley. It's both more sentimental and more selfish at the same time. Centris is probably right that he doesn't want to get blood on his hands, and the Doctor was probably flashing back to, say, Adric's death, where he certainly okayed the actions which led to it, even if he wasn't the direct cause. And at the same time, it's like he says--she's a little human girl who's come to mean the world to him, and he can't kill her even to save the universe. He loves her too much. There's a parallel with the "I could save the world, but lose you" line in WWIII as well.
Apparently Eight is supposed to be the most emotional of the Doctors--at least of One through Eight--from what I've heard, anyway. He's Byron-esque and passionate and also, perhaps, the one who lives the most in the moment, who gives the least consideration to the future consequences of his actions. (I haven't seen the movie, but this is what I've gleaned from those who have.) I could absolutely get behind this. He doesn't need Charley like Nine does Rose--he isn't clinging to her like a lifeline or anything--he just loves her because a.) she's Charley and b.) he got hormones this time around. *g* He even admits it in Scherzo: "I didn't expect to care for you as much as I did," and "To find myself finally loving a friend, someone who meant that much more to me..." He can and does love whole-heartedly in this incarnation--not just abstract concepts like "time" or "life" or even "the entire human race," but one person. Charley.
I can't see this Doctor saying, "You can spend your whole life with me, but I can't spend the rest of mine with you," as Ten did in School Reunion. Maybe he would think it, but I'm not even sure about that. This, I think, must have been the carefree existence (at least with regards to companions and their comings and goings) that got blotted out of existence with Sarah-Jane's return and Ten having to face certain consequences of his previous actions. I can see Eight not even contemplating Charley's leaving and his existence afterward, and when she does inevitably say goodbye, it's going to be that much more painful.
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Other random bits and bobs about Neverland:
- "Abydos"? Did I hear that correctly? *sporfles* Someone's an SG-1 fan...
- Lalla Ward/Romana has an interesting accent. She pronounces terminal "r"s, but doesn't sound Scottish/Irish/other rhotic accent-y.
- Aw, the Doctor's so happy and relieved to see Charley! Hee! He totally grabbed her and lifted her off her feet and spun her around a couple times when he ran over to her.
- "You're my friend, and I love you" is LOVE. OTP 4EVER OMG.
- Hey, this makes tons more sense after actually listening to the preceding two "seasons." Note to self: continuity is good. Although I admit to skipping Minuet in Hell, since everyone seemed to hate it. Everyone hated Time of the Daleks as well, and I was sorry I didn't skip it. (I think I actually fell asleep for part of the third episode. Whoops.)
- Storm Warning isn't a very good story on its own, but Charley and the Doctor's first meeting is absolutely magical. Ramsey is also awesome. I want a vortisaur. Or I at least need to name my next pet after a British prime minister.
- The Stones of Venice doesn't always make the most sense, but is so colorful and pretty that I forgive it just about anything. I'm glad I saw Casanova before listening to this one, since that meant I had some version of the city in my mind's eye.
- I love the Doctor/Charley banter in pretty much everything, but particularly in Seasons of Fear and Living Legend.
- What was the point of Invaders from Mars? It was very "eh." Beyond the obligatory meta of using The War of the Worlds, what was it doing?
- C'Rizz in Caerdroia: "Love's always dangerous. Just ask Lida." Did he actually mean Leda? (Do you British types pronounce it "lie-da" instead of "lay-da"?) If he did...augh. LEDA AND THAT GODDAMN SWAN WILL NOT STOP FOLLOWING ME AAAAIIIIEEEE. [1]
Um. Yes. Unadulterated love for that little conversation between him and Charley, where she's all, "we love each other, but it's hard to explain why we aren't acting on it, blah blah blah," and he's over there going, "Riiight. I believe you. Sure. *rolls eyes*" "Like an oubilatt," indeed. Also much love for the conversation between Charley and Irritable!Doctor after she nearly falls to her death in the cuckoo clock:
Doctor: Thank goodness. I don't know what I'd have done if you'd--if you'd...
Charley: You're really upset.
Doctor: I'm still him, you know? Still me. I still...
And he doesn't have to complete that sentence because Charley (and the audience) knows exactly what he was going to say, and the fact that they've reached that point with each other is BEAUTIFUL.
- Loved Francesca Hunt in Other Lives. She and India really do sound very much alike, don't they? I'd noticed a similarity from when I first started listening to these audios, but this one made it very clear. I wish they'd had a scene together. :( (They didn't, did they? It's been a while.) Also, Victorians = love. They equal so much love that I periodically give serious consideration to getting an MA in Victorian Studies at one of the several English universities that offer it.
I reread Tom Stoppard's play Arcadia last week. We read it and saw a performance of it at the Bristol Old Vic in October 2004, and I think it's great. I don't like much of Stoppard's work, but this is fabulous. It's kind of Who-ish, in a way--rather, a lot of the themes it deals with would not be totally out of place on DW. For those unfamiliar with it, the action takes place at an English country house in two time periods, 1809 and the present day (well, present as of 1993). In 1809, Septimus Hodge is the young tutor to the daughter of the house, Thomasina Coverly, and he gets himself into an abortive duel over some literary criticism he published, as well as over the views of his friend, Lord Byron. In 1993, the descendants of the Coverlys are living in the house, and have allowed two academics, Hannah and Bernard, to come investigate the records for their various Byron projects. As the dual action of the play unfolds, we learn what happened one night when part of the house burnt, killing young Thomasina. Much of the philosophy discussed/revealed through the events concerns chaos theory and higher level mathematics. It's really quite brilliant. At the end, scenes from the two time periods are taking place onstage simultaneously, with most of the characters from the present day dressed up in Regency costume for a party (this allows the same actor to play Augustus Coverly, heir apparent in 1809, and Gus Coverly, younger son of the present day). There is Viennese Waltzing involved. (You all probably know why I love it so now.) I wish I'd suggested using it when I wrote my evaluation for my Practice & Theory of History class; it sums up practically everything we talked about all semester: the past being unknowable except through what survives, the perils inherent in having to speculate on limited evidence, etc.
Even though the Septimus and Thomasina from our production were perfectly respectable, I couldn't help but hear PMG and India Fisher in the roles as I was reading it, though. She would make an especially good Thomasina, I think.
Anyway, despite all the lovely ways it can be related to DW, what's the section that inspired me to start my first Eight/Charley fic? This:
Trust me to take the most superficial bit for inspiration. If I can de-cheesify what I have and write an ending, it might actually see the light of day at some point. I'll leave the two people who might still be reading at this point to ponder over what that fic might entail. Shockingly enough, it's not about dancing. (Or "dancing," for that matter. Not technically, anyway.)
Oof. The end. If you made it this far, I tip my hat to you.
[1] I did a paper two years ago which I really liked about swans in the poetry of W. B. Yeats. Leda, obviously, was a big part of that one. I drew really cracktastic conclusions about Yeats's feelings of guilt over his perceived role in the Easter Rising via his use of the myth in "Leda and the Swan," since one of her eggs hatched Helen, over whom the Trojan War was fought, etc. etc., and thus concluded that Yeats considered himself Zeus. Yeah, cracktastic. The prof really liked it, though. Anyway, swans and Leda have kind of been following me around ever since, or so it seems.
And here's lots of commentary. Lengthwise, it's the equivalent of a ten-page essay. Yeah. Amazing what a bit of NO MORE SCHOOL EVER
Black Orchid
Hee! SO EIGHTIES! Well, twenties by way of 1982, but whatever. The credits amuse me so, and I've even seen "Kinda," so I already knew how cracktastic they were.
This episode is so incredibly amusing. I love all the costumes (way beyond gay pants), particularly Tegan's. Nyssa/Ann's is also very pretty. Everyone looks like they're enjoying themselves so much--the Doctor with the cricket (OMG, the flailing! Hee!), Tegan with the Charleston, Adric with the food (...so a 15-year-old boy), Nyssa with the whole atmosphere...it was nice to see. I like the outdoor setting of a lot of Classic Who episodes; wish they'd do more of it in the new series.
Blatant ripoff of Jane Eyre with the resolution, but ehhh, who cares. George the Mutilated Brother was so Phantomy it wasn't even funny. He even had a mask on! And he gurgled!
Adric and Nyssa don't have a thing going on, do they? I remember him being a bit of a twit in "Kinda," but both of them were kind of cute in this episode. I want to read fic now. Hey, quit backing away like that! Hey! Her asking him to dance was rather sweet, as was all his goggly-eyed staring at her.
On Monday (or possibly it was Tuesday) I also watched Earthshock. The Cybermen aren't as cool as the Daleks, but that was still pretty awesome. The fourth episode was particularly good. The silent credits over Adric's star were very effective. Poor Adric. :( And poor effects people--those "laser beams" looked like shoddily-animated MS Paint jobs. I know, I know, low budget, but I was laughing at inappropriate moments because of it.
I definitely noticed some evidence of what people in, for example,
davison_era have said about Peter Davison being completely unable to keep his hands off Janet Fielding. Hee. I enjoyed their reunion scene when Tegan came bursting onto the freighter and was so glad to see the Doctor, and he seemed completely uninterested in letting go of her shoulders. Not to mention his willingness to take a bullet (or badly-done MS Paint laser beam, as the case may be) for her. *g*I also got my hands on a copy of the parody, The Curse of Fatal Death. BRILLIANT. I think the best moment was the Master hobbling after the Daleks with his walker, calling, "Wait for me!" Lumley!Doctor would win, except some for of girl!doctor was kind of expected. I liked Emma; she got some good lines.
On a completely different note, after rewatching TEC/TDD and hearing the Doctor declaim about how "there isn't a little boy born who wouldn't tear the world apart to save his mummy," coupled with the whole "lonely childhood" thing from TGitF, I'm laying money on the Doctor's mother dying when he was but a Time Tot. Or on Stephen Moffat believing that, anyway.
And finally, some completely random notes on the various Eighth Doctor Audios. I've listened through Neverland, with three brief detours through Scherzo, Caerdroia, and Other Lives. My other post, concerning primarily Scherzo and The Chimes of Midnight, is here.
- Still massive love for Charley. Yay for snark mixed with a propensity for asking Excellent Questions! Although one thing about her that does get grating is that whiny tone of voice she has sometimes when she wants the Doctor to actually make sense: "Doctor!" Ack. It gets old. Although of course she's a 1930s girl, and probably has The Perils of Pauline and things like that as her guides for this kind of thing (I think she actually mentions Pauline at one point; perhaps that was Rose), so it's understandable. Just annoying.
- Still massive love for Eight/Charley. They manage to be shippier than Doctor/Rose, and I thought I was going to go into 'ship overload for them at one point (TPTB actually supporting my 'ships? AMAZING!), so that's saying a lot. I am totally imagining them engaging in all kinds of gratuitous hand!porn, particularly right after their reunion in Neverland.
Speaking of Neverland, I thought a certain event in it was very interesting in light of Girl in the Fireplace.
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There, the Doctor does sacrifice something personal to him--whether it's 3,000 years on "the slow path" or Rose's and Mickey's lives or both remains to be debated, I suppose--to keep history intact. Here, when faced with the same choice, he can't do it. He can't kill Charley. It's both more sentimental and more selfish at the same time. Centris is probably right that he doesn't want to get blood on his hands, and the Doctor was probably flashing back to, say, Adric's death, where he certainly okayed the actions which led to it, even if he wasn't the direct cause. And at the same time, it's like he says--she's a little human girl who's come to mean the world to him, and he can't kill her even to save the universe. He loves her too much. There's a parallel with the "I could save the world, but lose you" line in WWIII as well.
Apparently Eight is supposed to be the most emotional of the Doctors--at least of One through Eight--from what I've heard, anyway. He's Byron-esque and passionate and also, perhaps, the one who lives the most in the moment, who gives the least consideration to the future consequences of his actions. (I haven't seen the movie, but this is what I've gleaned from those who have.) I could absolutely get behind this. He doesn't need Charley like Nine does Rose--he isn't clinging to her like a lifeline or anything--he just loves her because a.) she's Charley and b.) he got hormones this time around. *g* He even admits it in Scherzo: "I didn't expect to care for you as much as I did," and "To find myself finally loving a friend, someone who meant that much more to me..." He can and does love whole-heartedly in this incarnation--not just abstract concepts like "time" or "life" or even "the entire human race," but one person. Charley.
I can't see this Doctor saying, "You can spend your whole life with me, but I can't spend the rest of mine with you," as Ten did in School Reunion. Maybe he would think it, but I'm not even sure about that. This, I think, must have been the carefree existence (at least with regards to companions and their comings and goings) that got blotted out of existence with Sarah-Jane's return and Ten having to face certain consequences of his previous actions. I can see Eight not even contemplating Charley's leaving and his existence afterward, and when she does inevitably say goodbye, it's going to be that much more painful.
E
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Other random bits and bobs about Neverland:
- "Abydos"? Did I hear that correctly? *sporfles* Someone's an SG-1 fan...
- Lalla Ward/Romana has an interesting accent. She pronounces terminal "r"s, but doesn't sound Scottish/Irish/other rhotic accent-y.
- Aw, the Doctor's so happy and relieved to see Charley! Hee! He totally grabbed her and lifted her off her feet and spun her around a couple times when he ran over to her.
- "You're my friend, and I love you" is LOVE. OTP 4EVER OMG.
- Hey, this makes tons more sense after actually listening to the preceding two "seasons." Note to self: continuity is good. Although I admit to skipping Minuet in Hell, since everyone seemed to hate it. Everyone hated Time of the Daleks as well, and I was sorry I didn't skip it. (I think I actually fell asleep for part of the third episode. Whoops.)
- Storm Warning isn't a very good story on its own, but Charley and the Doctor's first meeting is absolutely magical. Ramsey is also awesome. I want a vortisaur. Or I at least need to name my next pet after a British prime minister.
- The Stones of Venice doesn't always make the most sense, but is so colorful and pretty that I forgive it just about anything. I'm glad I saw Casanova before listening to this one, since that meant I had some version of the city in my mind's eye.
- I love the Doctor/Charley banter in pretty much everything, but particularly in Seasons of Fear and Living Legend.
- What was the point of Invaders from Mars? It was very "eh." Beyond the obligatory meta of using The War of the Worlds, what was it doing?
- C'Rizz in Caerdroia: "Love's always dangerous. Just ask Lida." Did he actually mean Leda? (Do you British types pronounce it "lie-da" instead of "lay-da"?) If he did...augh. LEDA AND THAT GODDAMN SWAN WILL NOT STOP FOLLOWING ME AAAAIIIIEEEE. [1]
Um. Yes. Unadulterated love for that little conversation between him and Charley, where she's all, "we love each other, but it's hard to explain why we aren't acting on it, blah blah blah," and he's over there going, "Riiight. I believe you. Sure. *rolls eyes*" "Like an oubilatt," indeed. Also much love for the conversation between Charley and Irritable!Doctor after she nearly falls to her death in the cuckoo clock:
Doctor: Thank goodness. I don't know what I'd have done if you'd--if you'd...
Charley: You're really upset.
Doctor: I'm still him, you know? Still me. I still...
And he doesn't have to complete that sentence because Charley (and the audience) knows exactly what he was going to say, and the fact that they've reached that point with each other is BEAUTIFUL.
- Loved Francesca Hunt in Other Lives. She and India really do sound very much alike, don't they? I'd noticed a similarity from when I first started listening to these audios, but this one made it very clear. I wish they'd had a scene together. :( (They didn't, did they? It's been a while.) Also, Victorians = love. They equal so much love that I periodically give serious consideration to getting an MA in Victorian Studies at one of the several English universities that offer it.
I reread Tom Stoppard's play Arcadia last week. We read it and saw a performance of it at the Bristol Old Vic in October 2004, and I think it's great. I don't like much of Stoppard's work, but this is fabulous. It's kind of Who-ish, in a way--rather, a lot of the themes it deals with would not be totally out of place on DW. For those unfamiliar with it, the action takes place at an English country house in two time periods, 1809 and the present day (well, present as of 1993). In 1809, Septimus Hodge is the young tutor to the daughter of the house, Thomasina Coverly, and he gets himself into an abortive duel over some literary criticism he published, as well as over the views of his friend, Lord Byron. In 1993, the descendants of the Coverlys are living in the house, and have allowed two academics, Hannah and Bernard, to come investigate the records for their various Byron projects. As the dual action of the play unfolds, we learn what happened one night when part of the house burnt, killing young Thomasina. Much of the philosophy discussed/revealed through the events concerns chaos theory and higher level mathematics. It's really quite brilliant. At the end, scenes from the two time periods are taking place onstage simultaneously, with most of the characters from the present day dressed up in Regency costume for a party (this allows the same actor to play Augustus Coverly, heir apparent in 1809, and Gus Coverly, younger son of the present day). There is Viennese Waltzing involved. (You all probably know why I love it so now.) I wish I'd suggested using it when I wrote my evaluation for my Practice & Theory of History class; it sums up practically everything we talked about all semester: the past being unknowable except through what survives, the perils inherent in having to speculate on limited evidence, etc.
Even though the Septimus and Thomasina from our production were perfectly respectable, I couldn't help but hear PMG and India Fisher in the roles as I was reading it, though. She would make an especially good Thomasina, I think.
Anyway, despite all the lovely ways it can be related to DW, what's the section that inspired me to start my first Eight/Charley fic? This:
[Thomasina, sixteen, has just come downstairs in the late evening and reminded Septimus that he had promised to teach her the Waltz.]
THOMASINA: Do not act the innocent! Tomorrow I will be seventeen!
(She kisses him full on the mouth.)
There!
SEPTIMUS: Dear Christ!
THOMASINA: Now you must show me, you are paid in advance.
[Various action and dialogue involving the characters from the modern day who are working in the same room]
(Septimus, holding Thomasina, kisses her full on the mouth. The waltz lesson pauses. She looks at him. He kisses her again, in earnest. She puts her arms round him.)
THOMASINA: Septimus...
(Septimus hushes her. They start to dance again, with the slight awkwardness of a lesson.)
THOMASINA: Am I waltzing?
SEPTIMUS: Yes, my lady.
[Various action in the modern day]
SEPTIMUS: Take your essay....Be careful with the flame [she is taking a candle to her room].
THOMASINA: I will wait for you to come.
SEPTIMUS: I cannot.
THOMASINA: You may.
SEPTIMUS: I may not.
THOMASINA: You must.
SEPTIMUS: I will not.
THOMASINA: Then I will not go. Once more, for my birthday.
[Modern day stuff; dancing between Hannah and Gus]
(Septimus and Thomasina continue to dance, fluently, to the piano.)
Trust me to take the most superficial bit for inspiration. If I can de-cheesify what I have and write an ending, it might actually see the light of day at some point. I'll leave the two people who might still be reading at this point to ponder over what that fic might entail. Shockingly enough, it's not about dancing. (Or "dancing," for that matter. Not technically, anyway.)
Oof. The end. If you made it this far, I tip my hat to you.
[1] I did a paper two years ago which I really liked about swans in the poetry of W. B. Yeats. Leda, obviously, was a big part of that one. I drew really cracktastic conclusions about Yeats's feelings of guilt over his perceived role in the Easter Rising via his use of the myth in "Leda and the Swan," since one of her eggs hatched Helen, over whom the Trojan War was fought, etc. etc., and thus concluded that Yeats considered himself Zeus. Yeah, cracktastic. The prof really liked it, though. Anyway, swans and Leda have kind of been following me around ever since, or so it seems.
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
no subject
Date: 2006-05-14 04:20 am (UTC)Aw, the Doctor's so happy and relieved to see Charley! Hee! He totally grabbed her and lifted her off her feet and spun her around a couple times when he ran over to her.
LOVE!!!!
no subject
Date: 2006-05-14 05:15 am (UTC)Silly Big Finish! Don't they know that everything eventually comes back to Irish Lit? It does in my world, anyway.
I enjoyed reading your thoughts and it pleaseth me to see that there are other huge Eight/Charley shippers. OTP!!
Wheee, OTP! I kind of want to post a link over at
Aw, the Doctor's so happy and relieved to see Charley! Hee! He totally grabbed her and lifted her off her feet and spun her around a couple times when he ran over to her.
LOVE!!!!
Hee! Eight is all about invasion of personal space, at least in my mind.