But engaging with narrative media is distinct from ringtones and wallpapers as it is not just our taste in audio-visual media that is displayed, it is also our emotional reactions to that media; we act out an ‘emotive performance’ whilst watching them. At one point, the advert’s protagonist reacts to the imagined woman sharing his carriage touching him, only for the advert to cut to his hand reaching towards the stranger who is actually sitting in front of him. It is not just his tastes that are displayed but his emotional reaction (his desire for the woman he is seeing on the screen) to them. Traditionally, audio visual fictional content has been watched at home or in the contained space of the cinema where engagement is shared with those around us. As such any unhappiness at a favourite character’s death, or laughter at a particularly funny sitcom, or outburst over the frustration of losing a level of a game, is either confined to the private spaces of the home or part of a communal experience where others are likely to be laughing or crying along with us. Portable, personal media devices take that emotional engagement out into a public space where we are the only ones involved in that engagement. Our emotive performances of audio-visual media engagement then become subject to the observation and judgement of others, something that is potentially discomforting. The question then becomes how these performances play out and how our relationship to both media and shared space may be changing because of them.