We see the majority of the action from the ‘Rear Window’ of L.B Jefferies’ flat. So naturally, we side with him and his point of view on the situation he’s in. In a normal position we would be almost put off by L.B’s stalker-ish nature, but because we’re with him (and he can’t get away from us anyway) we see it as a typical behaviour for someone to do.  After an accident that has rendered him immobile, he’s stuck in his unbearably sweaty and hot apartment in the middle of summer; his only form of entertainment being watching the intimate lives of his neighbours like a TV screen. Switching from channel to channel when he gets bored. There’s Miss. Lonely-Heart, Miss. Torso, The Couple on the Fire Escape, The Newlyweds, The Songwriter, and The Toxic Relationship (who will soon to be known as The Thorwald’s and become the centre of the action).  Or rather the proper centre of the action will be Lisa and Stella, the two women in Jefferies life, the fiancé and the nurse, Hitchcock relieves L.B. of every possibility of heroic action, making sure the two women drive the plot forward. In this way, Hitchcock problematizes gender stereotypes, even while playing with them.