Anthony Lockwood’s MBTI type has quickly become a fan-favorite debate among viewers of Lockwood & Co. In the Netflix adaptation, portrayed by Cameron Chapman, Lockwood shows strong traits of an ESTP personality type and aligns closely with Enneagram 3w2. His bold risk-taking, quick-thinking problem-solving, and obsession with reputation make him one of the clearest examples of an ESTP 3w2 character in modern television.
ESTP 3w2 Characters
Why is Anthony Lockwood from Lockwood & Co. an ESTP? Continue reading to find out. The headers for each section are clickable, so you can easily access more information about the dominant function and the Enneagram type, or discover more characters who share the type.
The only ads you will ever see on this page are for my books. If you want to learn more about MBTI or Enneagram types, please support my work. Book sales are how I keep this site ad-free!
Extraverted Sensing
Anthony Lockwood is extremely opportunistic and reacts in the moment, which means he leaps at the chance to solve mysteries, get into risky situations, and reacts in real-time to threats by sword-fighting ghosts. When he needs to make $60,000 to pay off a debt, he leaps at the chance to make that lump sum in one night by dealing with ghosts in Combe Carey Hall, where previous agents disappeared. Lucy Carlyle is more cautious and wants to “think about it,” but Lockwood agrees to a high-risk, high-reward with almost no prep time because of the payout and reputation boost. He also walks into a criminal black market situation with incomplete information and improvises on the fly when he wants to get the bone glass. Lockwood treats danger as something to engage with directly.
He goes off and forgets important pieces of gear, like ghost chains, because he is too keen to rush out the door. George Karim is forever harping on him because he doesn’t do enough research beforehand and just assumes when they get there, they can deal with whatever ghost pops up in front of them. Lockwood gets an undercover agent killed because he went into a situation where he was uncertain of the outcome and did not think that his actions could have repercussions. Lockwood asks Lucy on the spot to join their agency when he sees how good she is at connecting emotionally to ghost objects. She lies to him about her qualifications, but he says that doesn’t matter, that everyone exaggerates the truth.
He interviews Lucy and tests her psychic abilities by having her hold three objects and tell him what each of them contains on a spiritual level. When she pushes back at him, angry that he was “making fun of her,” he assures her that this was a legitimate test, and he likes to see how people reacts to things in person before making any decisions on their behalf. Lockwood can also be reckless, including needing to show up other agencies and making financially risky bets that they will solve the case “first,” which could put them out of business if he loses (Se/Fe).
Introverted Thinking
Lockwood rejects anything that doesn’t fit his internal model of how things should work. He reframes problems as solvable puzzles, even when others see them as impossible. He creatively thinks his way through situations and assumes there is always a solution or something they can find on-site that no one else has thought about. It does not matter to him that others have failed to liberate Comb Carey Hall from a ghost; he feels confident they can figure it out as they go and is interested in the money they will earn by doing it. Lucy’s “talent” in his eyes is a priceless asset that he is sure will help them achieve success, and he asks her to connect to ghosts multiple times until he sees she is becoming drawn into their emotions.
He started up a ghost-business out of his dead parents’ house, and sneers at the idea it needs to be under any parental supervision, since he doesn’t like limitations of any kind. He dismisses licenses, regulations, and authority (DEPRAC) as irrelevant because they make little sense to him or seems unnecessary. It shocks him when DEPRAC refuses to pay for the damages incurred to a client’s home, incurred by him and Lucy lobbing a fire-salt-bomb at a territorial spirit. It confuses him that the system holds him responsible for the damage, because it doesn’t logically track in his mind.
Having “paperwork” does not impress him, nor does it make him feel anyone is more or less qualified. Lockwood does not require it from his agents, and has no moral opinions on George stealing a ghost head in a jar or experimenting on it.
Several times, he and Lucy butt heads because she becomes invested with a case or a ghost, and he has to remind her to be careful. Lockwood sees her talent as useful but dangerous, because it could compromise her focus; she might get lost in another ghost’s feelings. He remains detached and wishes she could do the same. A few times, he is awkward with her and George, and Lucy actually leaves his agency for a short time because she doesn’t feel as if he takes her feelings seriously enough.
Extraverted Feeling
Lockwood cares a lot about what other people think of him, and leverages whatever fame they get to make a good impression; he puts up newspaper clippings of his successes, hypes them in the press, and doubles down on their overall reputation.
He is warm and amiable most of the time, handling Lucy’s outbursts with calm detachment but a desire to make her feel understood. She instantly likes him, and he can talk his way out of just about any situation. When they first meet, he instantly puts her at ease, smooths over the tension between her and George, and doesn’t mention the “one biscuit rule” until he hires her (an agreed-upon term that ensures all of them get an equal number of cookies).
A few times, Lockwood becomes overwhelmed and emotional, such as when he sees a man killed in front of him because he went into the illegal auction without being prepared or finding out if any Fitts Agents were assigned to the case. His emotional response shocks him because he doesn’t process his feelings on a deeper level. His reaction is not just about his horror, but how this failure reflects on him and shapes Lucy’s responses toward him. Instead of talking through his trauma, Lockwood puts up boundaries (don’t go into this room without an explanation; we learn in the books that it holds a ghost trace of his sister, who was killed years earlier).
Introverted Intuition
An ESTP’s intuition shows up in short bursts of vision, rather than long-term planning, and fixation on a single outcome without considering the consequences. This shows up a lot in the Bone Glass episodes, where he becomes narrowly focused on obtaining it and ignores the mounting risks involved.
He believes that one big success will fix every problem in his life, his finances, future, and his reputation. He also sees Lucy’s potential early, but can’t fully articulate why; she has to tell him she can interact with level three ghosts.
The Enneagram 3
Lockwood is all about managing their image in front of other people, looking competent, and being on top of things. Rather than mope about losing his parents, he turned their house into his home base and launched his own business in which he proudly touts that they need no supervision. It’s even named after him. Lucy’s first night in the house, she wanders downstairs and finds him reading a magazine about what rich people do in London; he is shame-faced to admit he wasn’t at any of the parties “important people” go to, because he’s not as famous as he led her to believe in his advertisement. When she calls him out on lying about how popular his agency is, he says it’s not a crime to stretch the truth, and even she does it.
3s adopt the future for themselves that they want and behave as if it is already real, to help it happen for them. Lockwood does this by pretending he is already successful, even when he can barely pay the rent. He consciously focuses on reputation, for himself and his agents… on how the newspapers talked about them, any press being good press, how this will help or hinder their credibility, how they need to be professional at all times, etc.
The 2 Wing
Lockwood feels he is providing an important service to people and helping them out; he often has to apologize to his friends for being blunt or preoccupied, and tries to make amends with them. When Lucy says she is leaving to work with another group, he becomes insecure and upset until she reassures him that they are still friends. He can be proud, but also aware that it is “cringe” (“oh, you saw that newspaper clipping in the hall, did you? I should probably take it down…”). He wants to take care of his friends in an almost parental role.
