The Aviator: Katherine Hepburn [ESTJ 1w2]

Function Order: Te-Si-Ne-Fi

Katherine is incredibly straightforward, from the moment Howard first meets her – she sizes him up and sums up the Hollywood scene in frank terms – as soon as you get too old, or they don’t know what to do with you, you’re “dead,” and “box office poison.” Oh well, she deems, we must get on with our lives, mustn’t we? She believes that the theater is preferable to the cinema, because it’s more “real” and she can better connect to the audience and innovate as she goes. She also thinks many people are shallow, because there are “more important things to discuss than movies,” such as the threat of Mussolini. She’s quite political and opinionated, and also doesn’t believe in beating around the bush with difficult conversations – “It’s best to just come out and say it.” She is quite fond of her family and falls back into her old routines the minute she gets home, takes an interest in everyone they know and what’s been going on around the place. Katherine enjoys bantering with her family around the dinner table, but also forgot to warn Howard about how they can be – combative, fast-moving conversations, and intense opinions, due to her lower Fi not remembering to factor in his feelings when introducing him to her family.

Enneagram: 1w2 sx/so

Katherine complains that movies have gotten so dirty in Hollywood, and they are “too violent” when remarking on how times have changed. She has a matter-of-fact way of addressing problems as they arise, and doesn’t beat around the bush when talking to Howard about the fact that she has fallen in love with somebody else. When she has been smoozing out in public, she feels bad about having left Howard on his own and not taken better care of him and apologizes for it, as if she feels bad for having drawn attention away from him to her own self. Her 2 wing is prominent in how carefully she looks after and cares for Howard during their relationship; she wants to be the center of his world, and takes good care of him in return – looking after his physical needs, helping him deal with his panic attacks, and trying to smooth the way for him with other actors, producers, and even her own family. But she needs to be needed, and when she feels neglected, goes in search of love somewhere else. She’s also very angry about what she feels are the violations of the press, such as sending reporters to take photos of her family at her brother’s funeral (“there’s no decency to it!” she huffs). She also calls herself a vain, preening idiot.

Oscar and Lucinda: Lucinda Leplastrier [ESFP 6w7]

Function Order: Se-Fi-Te-Ni

Even in childhood, Lucinda is highly active and industrious, choosing to swim and climb trees rather than hang around the house. She does not want to explode her Prince Rupert’s drop, a piece of glass, because then it will be gone and she can no longer marvel at its beauty. She nurses this love of glass into her adulthood, when she impulsively decides to purchase a glass works company, without knowing anything about how to run that business. She then seeks out people who can help her, and falls into addictive gambling behaviors. Lucinda cannot stand being alone on the boat, so she goes in search of someone to spend time with her and winds up pretending to need confession just to talk to Oscar. They then happily play cards together. She sets up a card game to ‘trap the stewards’ into gambling, and admits she went on a train for the express purpose of playing dice. Lucinda often stays out all night socializing. Left together at the house after her maid leaves, because she considers Oscar being there scandalous, Lucinda challenges him to floor-cleaning contests. She at first thinks his idea about a glass church is ‘impractical,’ but then gambles her entire inheritance on whether he can do it. Lucinda, the narrator admits, lives so much in the moment, she doesn’t think about how her habit is destroying the foundation of her wealth ‘brick by brick.’ She is quite assertive to other people when she feels threatened, refusing to leave home, wearing pants underneath her skirts (and shorter skirts) despite the Sydney fashions of the time period, purchasing a glass works company as a working woman, and intending to run it herself. Lucinda doesn’t like to talk about her feelings, and will simply flee the situation to avoid being direct about them; she doesn’t want to sacrifice who she is to please other people, and objects to them doing that themselves (she doesn’t like the idea of her minister friend preaching anything he doesn’t believe is true). Lucinda doesn’t seem to mind that everyone thinks she’s in a sinful relationship; she knows she isn’t, so she doesn’t want their approval. When she embraces the idea of the church, others call her ‘impractical’ and point out the logistics of it being bad (it will be hot as hell; she retorts that they will build it beneath a nice, cool tree).

Enneagram: 6w7 sp/so

Lucinda admires Oscar, because he is willing to do things despite his fears. She can be impulsive, but also admits she feels ‘scared’ about her commitments. She doesn’t like people to disapprove of her, and tries to either win over their approval through being charming and sweet, or asserts herself against them, or chooses to avoid the situation altogether. Lucinda is easily flustered and intimidated by people, and also seeks out those who can counsel or help her in her business. She places a great deal of faith in her reverend friend, and trusts him to help her figure out how to run her new business. It upsets her when he must leave on her account, because of the scandals surrounding her. Lucinda says she wishes she could assume that ‘people are just good, simple chaps’ instead of being critical and judgmental of them. Her 7 wing is playful but also avoidant. She runs away from confrontation and any discussion of her irresponsible behaviors, choosing to scurry away from her minister friend rather than face his serious questions about her gambling addiction and inappropriate behavior. She questions and challenges his willingness to leave for the outback, accusing him of blindly going along with something he does not believe. Lucinda has a playful, childish side to her nature and seeks stimulation wherever she can find it.

The Gift: Annie Wilson [INFJ 9w1]

Function Order: Ni-Fe-Ti-Se

Annie calls her intuitive impressions a “gift” she inherited from the women in her family. She receives flashes of things, incomplete pictures and symbols (such as seeing Jessica floating in her tree, wrapped in chains and half naked), has prophetic dreams, and it takes her a long time to piece together her impressions into a coherent whole. She has an especially hard time focusing when there is more than one person in the room, since she is trying to pick up very specific things off the vibes someone is giving her, and interpret them through her cards. She just knows things about people (have you been bleeding recently? You need to go to the doctor… it isn’t serious, but it will be unless you do something about it…). Even though all the evidence points to her nemesis being responsible for a woman’s death, Annie knows he did not do it after a time, and stakes her reputation and her life on it (she says “I see it,” his innocence). She poses a lot of her insights as questions to prompt people to think, and becomes singular minded, so focused on Jessica’s murder and the trial that she fails to put together the pieces around Buddy in order to prevent him from having a violent nervous breakdown. Annie had a bad feeling about her husband going to work, after she had a dream about her being alone in his absence, but could not prevent him from leaving the house—and he died as a result. She has a gentle, compassionate way about her, often puts other people and their emotional needs ahead of her own, knows how to tailor her language to other people so they will accept what she has to say, but is also firm on her convictions (she tells Valarie there is not much else she can do for her, other than to tell her to leave the bastard who beats her up for good). When her son asks her what the f-word means, she even tailors it into polite terms (“it’s a very bad word for something nice, making love… how your daddy and I made you”). She makes time for people even when she is short on it herself, and finds it hard not to care about them or their needs. Annie has cleverly gotten around the laws against fortune telling in her state by asking for donations instead of charging them a set price; it keeps her poor, but also helps her pay the rent. Annie tends to be easily distracted in her environment and has poor sensory awareness; she does notice strange things about her house that cause her anxiety (she knows someone has broken in, and who did it), but she fails to notice her child eating an entire tub of frosting, and slips and falls in paint that has been spilled in her front room, as she runs to the door to make sure a woman who has been dragged out of her home by her abusive boyfriend is all right. She makes a clumsy attempt to get away from a murderer, and might have failed if not for supernatural intervention.

Enneagram: 9w1 so/sp

Annie has a warm and generous heart and expects nothing in return for her good deeds; she makes time for Buddy even though he frequently scares her with his violent outbursts and fits of tears. She becomes clearly anxious around him, nervous about how upset he is, and eager to calm him down, and often succeeds. She wavers between being too trusting and suspicious of people she knows to be dangerous—she allows Donnie into the house to “talk to her” despite her better judgment because he asks politely, but then threatens him to get out of her house after he calls her a witch and threatens her children if she does not stop talking to his abused wife. When he arrives home to find the police combing his pond, she is visibly afraid of his temper. She hates being the center of attention and is so distraught after an intense trial scene, she rushes out of the courthouse back to her car. Annie needs to recalibrate herself so much, she ignores Buddy’s very real need to talk to her and have her figure out a serious problem in his mental life. She often reassures people and tells them that it is “okay” even when it is not, and both tries to abide by their wishes and finds it hard to tell other people no. Annie doesn’t want to be seen as doing the wrong thing, for her kids to think of her in a negative light, or to have shirked her responsibilities to other people. She is crushed to think that her distraction has allowed a man to snap and hurt someone else.

Thor Ragnarok: Hela [ESTJ 8w7]

Function Order: Te-Si-Ne-Fi

Hela bases her entire assessment of herself on how utterly efficient she was in the external world – her dominating of other cultures, her work alongside and for her father as they conquered worlds, her efficiency as an “executioner,” and her ambition, which became “too ambitious for Odin,” so he cast her aside. Though she mentions how her father did not have enough vision, all of Hela’s strong beliefs are formed in her past. She is the firstborn, so she believes she deserves to rule. She talks about how her father became ashamed of his past and tried to hide it with lies, and that she wants to continue what they started. Hela references the worlds they conquered together, how she felt to rule at his side and be his Executioner. When she resurrects her dead army and brings her enormous wolf back to life, she says how much she has missed them all. Hela expects people to welcome her and bow to her authority because she has a long history with them, and is angered when they do not want her or accept her as their Queen. She self-references a lot even when offering other people opportunities, reminding them of what an honor it is to stand in her previous shoes. In short, her fascination with power is all rooted in past archetypes, the belief that the oldest child rules regardless of their temperament, and in the betrayal of her family. Once she returns to Asgard, she sets about securing her power, bringing an army into being, and returning to her initial intention of galactic domination – all the while, in true unhealthy inferior Fi fashion, feeling angry, misunderstood, and resentful that her father “erased” her from the history of Asgard, thus devaluing her, denying how useful and proactive she was, and hiding “the truth” of their history. She cares less who people are, than what they can do for themselves; she wants to learn their ambitions, not their history.

Enneagram: 8w7 sx/so

Hela scorns her father for his weakness in becoming ashamed of how he conquered worlds and obtained power, because in her mind, they are there to be conquered and there’s no reason to apologize for your actions, no matter how ruthless they are. She demands that her Executioner be brutal and give her a show of strength; when her father’s armies refuse to bend the knee to her authority and challenge her instead, she eradicates them and then remarks, ironically, how tragic it is to waste their lives like this. Her 7 wing is funny and full of sarcasm, often making mean and off-handed jokes, such as when she burns Thor’s eye out and then snarks that now he really reminds her of their father.

The Missing: Maggie Gilkerson [ISTJ 1w2]

Function Order: Si-Te-Fi-Ne

Maggie is a sensible, level-headed woman who earns her living ranching and tending to folks’ medical needs. She knows a great deal about medicine, about setting broken bones, removing rotten teeth, and is the person everyone goes to whenever they face a problem. She is also not about to let a bunch of bad guys haul off her oldest daughter and sell her as a slave across the Mexican border. Though she carries a lot of bitterness about her father from his childhood abandonment of her family (leading to her mother and brother’s eventual death), Maggie still trusts him to help her get her daughter back. As they forage rivers, attempt to purchase Lily, battle off Indian curses, and encounter all manner of sinister new things she has never before encountered, she works through her emotional problems and hang-ups in a genuine desire to reconnect with her father. She doesn’t always forgive easily, or talk about her past (her daughter knows “something real bad happened to mama,” but not that she was raped), but she believes in her children behaving appropriately, she uses what she knows about them to reinforce her decisions (“I know my daughter; if we left her behind, she’d just follow us”), and she can easily put aside her personal feelings (the murder of the man she loves and their hired hand, the loss of her father, the absence of her daughter) to do “what needs done.”

Enneagram: 1w2 so/sp

Everyone says that Maggie “does her duty,” and it’s true. She doesn’t want anything to do with her father when he turns up on the ranch, but still doctors him because he needs it, then refuses the money he tries to give her for her children and tells him to “get gone.” Many of her patients aren’t able to pay her for doctoring them up, but she still does it out of a sense of moral obligation to her fellow man. She will help her father with his busted ribs, but not feed him supper, because that goes beyond the nature of her “duty.” Maggie knows that she wants her daughter back, and is willing to compromise to make it happen, by allowing her drifter dad back into her life, temporarily. She can sometimes be cold and unfeeling, such as when she refuses to let her daughter wear moccasins her grandfather gave her, because they belonged to his “other” family. But the more she gets to know him, the more she starts to forgive him for abandoning them, and the more interest she takes in his life, his suffering, the loss of his Indian wife, etc. She just needs to understand him, to forgive him, and make peace with him.

The House with a Clock in its Walls: Florence Zimmerman [ISTJ 1w9]

Function Order: Si-Te-Fi-Ne

Florence is a methodical and precise woman, who does not mind spending each day crawling about in the house in search of the mysterious clock; she also, as she opens up, relates things back to her own personal experiences—admitting to Lewis that she cannot perform magic “properly” anymore since she never “healed inside” from her trauma, and telling Jonathan that he needs to stop being such a coward and do parenting properly, since she found it difficult, but ultimately rewarding and wishes she could have back what she lost; it takes her awhile to grasp the realization that she can have a new family, with Jonathan and Lewis, as the “black swans” (sheep) of the neighborhood. She has an exact manner about her, focused on the facts and on problem-solving, rather than on theoretical speculation or needing to know “why.” She wants to find and stop the clock. Her magic is beautiful – intricate and powerful, and she understands on an intuitive level that it must come from within – and be unique to each person who uses it. Florence has a lot of inner Fi emotional intensity and deep secrets she does not share easily. She refrains from chastising Jonathan for losing his temper, and instead focuses on a deeper truth – that he cannot run away from things when they become hard. She and Jonathan share witty barbs and insults as a way to show affection for one another (“Oh, go braid your back hair!” “Choke and die!”). Her inferior intuition also shows in her lack of speculation on the motives behind the clock’s existence, nor in piecing together that Lewis is the only warlock powerful enough to release an evil sorcerer from his tomb. She seems somewhat fearful of the unknown.

Enneagram: 1w9 sp/so

Florence is a studious and appropriate woman, always calm and in control of her emotions, never allowing herself to show anger or impatience. She needs to be a good person, and perfect, so she won’t allow herself to perform much magic when it matters, due to her fears that she isn’t good enough anymore – that she’s broken inside. She gets on Jonathan for being a bad surrogate parent, kindly but firmly berating him for “cowardice” and reminding him of his responsibilities, telling him he cannot push away from “hard things” but has to go through them, out of duty. Her 9 wing makes her emotionally constrained. She tries to diffuse conflict when Lewis tells them the truth about his mistake with the blood magic.

Where’d You Go, Bernadette?: Bernadette Fox [INTP 5w4]

Function Order: Ti-Ne-Si-Fe

Bernadette is certainly not a people person—in fact, she finds most of them boring, annoying, emotionally erratic, and problematic, and chooses to immerse herself in architecture instead. Or did, back when the world considered her a creative genius who asked the most interesting questions – like, “what are the problems I need my design to solve?” “What are the practicalities involved?” “Can we build this using only raw materials within a twenty mile radius, including rescuing things from the trash?” “What materials can I use that will be sturdy, lightweight, and have no waste?” At her best, Bernadette was an ingenious designer who came up with concepts that no one else had ever imagined, and even when designing the South Pole project, she likes to focus on the big picture, factor in all the immediate and future needs, and come up with ways to prevent any wasted materials. When her daughter was born, and the nurses thought she would not survive, Bernadette looked into her tiny blue face and knew she would not only live, but be her miracle — and she has poured all her love and creativity into her daughter since. She spent two years working on the 20 Mile House, and then quickly shifted her attention to a new project, but after its bulldozing, she lost the will to be creative and became a reclusive shut-in, angry, crabby, and anti-social. Bernadette needs to “see” something before she can begin designing for it, including the South Pole. She often makes accurate predictions or simply believes in them (she suspects her husband will turn against her, since his new assistant is pouring poison into his ear — a metaphorical reference to Hamlet) and uses a lot of metaphors and peculiar turns of phrase to express herself. It takes a change of environment and the recognition of a new possibility to make her excited again, and get her out of her depressive slump. Bernadette spends years doing the same things, going through the same motions, and simply being a “mom” (and largely content with it), entering a kind of Si grip where she thinks she can no longer be creative, that her daughter was her “last” miracle. She is happiest when working on a project and being an artist; the rest of the time… she is inferior Fe crabby in her avoidance of people, her purposeful antagonizing of them, and her refusal to accept responsibility for any of her mistakes. Bernadette neither knows how to make her neighbors like her, nor cares, but becomes defensive, apologetic, and emotional under stress or whenever someone confronts her. She passive-aggressively irritates her neighbors with an offensive sign in her yard, but then offers to pay for “everything” the mudslide destroyed. She has no real ability to know her own feelings or process her miscarriages, and winds up spewing all this information onto a former colleague, who feels shocked by it. She admits that when she isn’t being creative, she turns her restless energy into complaining about where they live and Seattle in general.

Enneagram: 5w4 sp/sx

Bernadette … is not a people person. In fact, she has no real interest in leaving her house. The notion of spending five weeks in total isolation appeals to her so much she blurts out, in total joy, “I have been training for this for twenty years!” She is socially awkward, detached, and does not like having anything to do with people – she avoids going to the pharmacy, she has a meltdown at the idea of having to rub shoulders with new people (she’s delighted that the tables on the small cruise ships only seat four; so if they all block the extra seat, no strangers can sit with them). Bernadette has always had fearful responses to things, and been hard to get to know – even when she was healthy and successful, nobody knew anything about her, and since then she has dropped off the grid. She avoids participating in anything, and sees the attempts of her neighbors to involve her as intrusive. Rather than confront or talk to people in person, Bernadette would rather put up a sign that keeps them out of her yard and peel out of a parking lot to avoid speaking to someone. She also tends to be a snob, who looks down on the common horde for their pedantic interests, who becomes emotional and reactive under stress, and who can be melodramatic on a daily basis.

The Hobbit / The Lord of the Rings: Galadriel [INFJ 1w9]

Function Order: Ni-Fe-Ti-Se

Galadriel relies heavily on her intuition and what she foresees into the future – beyond her skills with Nenya, her ring of power. She sees through Gandalf’s façade at the White Council and correctly suspects he stalled for time to allow the dwarves time to escape Rivendell. She senses a “shadow and a threat” growing in Mordor, and anticipates and provides for each hobbit what they will need on their journey (for Merry and Pippin: identifiable daggers whose sheaths will lead Gimli, Legolas, and Aragorn into Fangorn; for Sam, elven-rope that unties itself; for Frodo, the light of their “most beloved star” to ward off Shelob). She remains speculative on the future for Gandalf (“Needless were none of his deeds in life, we do not yet know his full purpose”) and encourages Elrond to send reinforcements to Helm’s Deep for the greater good of humanity, even though the elves will soon leave these shores (“Should we let them stand alone?”). Her morality is not focused on what is best for herself, but in looking after the greater interests of the inhabitants of Middle-earth. She believes it is morally wrong to let humans and hobbits and other creatures fall prey to evil, where the Elves could have intervened; that it is upon them to do one last good act, even if it means their death, before they leave Middle-earth. She reads and gives insights into the emotions of the Fellowship, offering each in turn words intended to condemn or encourage them toward their better self. Galadriel has a gentle and generous nature, but is also determined not to fall to evil, for the harm she might inflict upon the world. She can be wise and sensitive, but also withdrawn and fierce. She believes in her own conclusions and attempts to gently persuade others to agree with her. She even tells Aragorn she has no gift to give him which can match that of the Evenstar, and that she fears its loss will cause her granddaughter to “fade” – a subtle moral judgment intended to make him question their bond to each other.

Enneagram: 1w9 sp/so

Galadriel speaks in moral terms, urging Elrond to do what is right for the fate of all, but also governing herself. She welcomes the Ringbearer to her woods by reminding him that he “brings a great evil here.” She allows herself to be tempted by the Ring (“long have I desired this”) in order to defeat it; she sees what she could be, a great and terrible queen, stronger than the foundations of the earth, one to whom all people bow in submission, and has the moral fortitude to reject it, in favor of being herself, “I will diminish and go into the West,” she says with a grateful sigh, “and remain Galadriel.” She welcomes the pure in spirit, such as Sam, and comforts Gollum in his grief for Gandalf, but is cold to Boromir – warning him that his city will fall and his people fail, if he falls prey to temptation. Galadriel is an idealist, who does not over-extend herself, who remains peaceful, tranquil, and calm, and who uses gentle methods of persuasion to convince others to do what is right.

Mrs. America: Phyllis Schlafly [ESTJ 3w2]

Function Order: Te-Si-Ne-Fi

Phyllis is an extremely intelligent, competent woman whose main interests are not housework, but in shaping and organizing the world around her. She has a heavy interest in nuclear defense and hopes to convince lawmakers of the rationalities of listening to her arguments. She edits the work of esteemed politicians in her down time. Though she initially ignores the feminist movement, once it draws her attention, Phyllis organizes a counter-organization of conservatives against it. She does things that frustrate or alarm her Fe-dom members, such as ignoring personal biases in favor of presenting a united front (though she does not like the racism one member espouses, she also knows that she needs to use her influence to win over that state’s legislature). When an opponent in a debate attacks her for not having a law degree, she decides to go out and get herself one, easily acing the entrance exam. In school, she asks more pressing, “interesting” legal questions in her search for immediate answers and evidence. Phyllis keeps a firm hand on everything going on in her life at once, from her children’s’ schedules to knowing the value of her mailing list (“It took me years to build that up, it’s valuable, and he just wants me to give it to him?”). She has a strong will and though she ‘acts’ submissive to her husband in public, playing the role of a housewife, she fails to realize that she is not what she espouses—a woman dedicated only to her children. She knows a great deal about her chosen fields of nuclear power and warfare, of grassroots campaigning, and of what it takes to be a wife and homemaker. Somehow, Phyllis juggles the responsibilities of home and work at the same time, showing an astounding ability to retain information and put it to use. She knows how to get around people and recruit them to her side, using what they have in common, and male / female stereotypes. (She and the other Eagles win over congressmen’s votes to her side using homemade bread and jam.) Phyllis does not like change and fears the inevitable outcome—she latches onto tert-Ne arguments without fully researching them herself, which can make her look foolish in the eyes of her opponents, due to her broad generalizations. She creates straw men arguments to mobilize people, all based in an uncertain future (women in foxholes). But as others point out that she doesn’t always know what she’s talking about when debating, Phyllis digs deep into her Si need for total authority and chooses to widen her knowledge base through law school. Phyllis often ignores her emotions and those of other people, in pursuit of her goals; at a luncheon, oblivious to the presence of an unmarried woman near her 40s, she insists all feminists must be “old and angry unmarried women, envious of what they do not have, who could convince no one to marry them.” Often, if a situation involves delicate discussion and emotional ground, she’ll ask one of her ESFJ friends to do it for her, “since you are so much better with people than I am.”

Enneagram: 3w2 so/sp

Phyllis is ambitious and driven. She has tried a number of times to achieve public office and blames herself for her losses, although to save face she will say “my husband days if this hadn’t happened…” She has a strong sense of what she can do, and an over-inflated tendency to believe she should make all the important decisions and be in charge. But there’s a “split” between who she actually is… and how she sees herself. Phyllis is at constant war with her fake self (a submissive wife and mother) and her true self (a woman who wants to win, who wears the pants in the family, but doesn’t like people to know it). She 3ishly re-frames things in her favor (loses are wins, if you look at them right) and cannot stand being humiliated or shown up or having her image dented. When her husband says she’s “submissive at home,” she is obviously angry about it in an interview, but covers it up with a smile. Phyllis feels pumped up about being included in an all-male meeting in Washington, only to feel angry when they ask her to take notes like a secretary. Her 2 wing turns its attention to social improvement, to helping bring others together (she tries to introduce a single friend to eligible men and get her husband to make the introduction), but also shows a bit of vanity in her role as a “homemaker.”

Elizabeth I / The Golden Age: Elizabeth I [ISFP 6w7]

Function Order: Fi-Se-Ni-Te

Elizabeth has a difficult time stepping away from her sense of autonomy and self; even when her life is on the line, she chooses to mislead and deflect with her words by arguing moral semantics (“I have no desire to make windows into men’s souls”) rather than agree to anything she doesn’t like. With her sister, Mary, she refuses to promise to keep England Catholic, even to please her; rather she says she promises to rule according to her “conscience.” When her cabinet pressures her to get married, she resists them by deflecting all her suitors, and dancing publically with her favorite, Robert Dudley, instead. Her need to stay queen and be held back by her status constantly frustrates her, as she asserts to Sir Walter Raleigh that she would follow him anywhere, even across the sea, if it were allowed. She does not like to force others to embrace her religion, and instead seeks “uniformity, through a common prayer book.” Elizabeth is quick to reassure others on an emotional level (“Do not think we do not care for your children”) and to embolden them in public speeches (her fiery, emotional speech to her troops) and seeks love from the men she encounters, often, as Walsingham says, “ruling with her heart, not her head.” Elizabeth is torn between her desires and interests in the present, and her more philosophical musings about the future. She loves to dance, and spend time with her ladies, but also to sit in solitude and contemplate. She shows an adventurous spirit in her confession that she would love to become a ship’s captain and sail away across the sea. She tends to react in the moment, finding it easy to adapt, even when confronted with the sight of a cross-dressing duke. Elizabeth has enough wisdom and foresight to use trickery and verbal manipulations to keep her head off the chopping block when she’s interrogated in the Tower. But she pays little attention to court gossip and is shocked to discover her lover’s trysts with Sir Robert might threaten her hold on the throne. Later, she decides to become a symbol of England, by modeling herself after the Virgin Mary – a tactic to unite England behind her, and make her seem “divine.” She thinks ahead but also frets and trusts others’ intuitions more than her own – turning to an astrologer to foretell her future and that of her country. In conflict, she becomes authoritative and commanding – lashing out and attempting to control her underlings, laying out her ambitions, shouting at the Spanish ambassador, and making detailed war plans against the Armada. But left to her own devices, she would choose the path of lenience rather than come down hard on her enemies (sparing the traitor Sir Robert, to “remind me of how close I came to danger,” and wanting to spare her cousin, Mary Queen of Scots).

Enneagram: 6w7 sp/so

Elizabeth admits to Sir Walter, “I am always afraid.” It has made her cautious – in the first film, she deals with her sister’s accusations and those of the priests with anxious pessimism but also cunning, cleverly thinking her way around their questions and answering with subtle defiance. Elizabeth knows how to win people over to her side, appealing to the hostile bishops with humor to deflect their anger and bring them to peace; she uses similar tactics at court, and even handles the shock of the duke’s sexual proclivities with politeness. She can aggressively seek others under stressful situations, finding it frustrating when told to make instant decisions, and instead polling her council to decide on a course of action. She can also be reactive, paranoid, and suspicious, while trusting a few people (like Sir Robert) too much. Her 7 wing shows in her volatile nature, as well as her enjoyment of pleasures and fun. She has a witty side that does not like to dwell too much on pain.