Paid Request: Hidalgo: Sheikh Riyadh [ESFJ 3w2]

Function Order: Fe-Si-Ne-Ti

Sheikh Riyadh’s relations accuse him of allowing his emotions to guide him, and his enemies use this against him by kidnapping his daughter and demanding his finest racehorse, the pride of his bloodline, unless he wants her head delivered in a bag. Riyadh has been permissive toward her desire to pursue “masculine” interests, but forbids her to do them in public. He is concerned with is reputation and standing, and in being traditional in his values. Because his culture allows for no mercy, he does not want to show any to those who betray his trust, steal from him, or whom he believes has ‘violated’ his daughter – he is willing to lash her a dozen times for going into a man’s tent, because his culture expects it from him. But he is also warm, generous, good-natured, and pleasant to be around. He shows genuine warmth toward Frank when they part, including shaking his hand in farewell (he initially refuses, since it’s beneath him to touch an infidel). Riyadh is highly traditional and obsessed with his horses and their pedigrees. He values the secrets of his forefathers and treasures the book they have passed down, which contains all they have learned about horses, because he knows they have proven their worth across the centuries. The longer something has been established and thought of as good, the more faith Riyadh has in it (Si). He also has a whimsical lower Ne which delights in dreaming about the wild west, in asking questions about Wild Bill Hitchcock, etc. He admits that his intuition is not good; that he cannot ‘see the future… or I would have bet on the Mustang!’ He has a good sense of humor, when his family honor is not involved. Riyadh never questions his own motivations, which means he has certain contradictions within his beliefs that his daughter points out to him (he should not say one thing, and do another).

Enneagram: 3w2 so/sp

Riyadh is concerned about appearances; he initially contacts Frank, because he’s upset that Frank has claimed that Hidalgo is the fastest horse in the world. He takes issue with this, because he considers his own horse to have the honor of that distinction – so he asks Frank to come compete in a race against his bloodline, in the full belief that doing so will prove him right, and Frank wrong. Riyadh allows his daughter to do certain things, up to a point, that aren’t normal for his culture, but he doesn’t want her to be seen doing any of them. He is charming, likable, and good-natured, but also cares so much about what others think, he is willing to hurt people sometimes to maintain his family’s reputation. As the story unfolds, his 2 wing comes into play in how generously he treats Frank, once he and Hidalgo have rescued his daughter. He accepts that he has lost and they won with grace, and invites them to stay in his home as long as they wish. He also has been permissive toward his daughter, allowing her to do the things her brothers would have done in her place.

You’ve Got Mail: Kathleen Kelly [ESFJ 9w1]

Function Order: Fe-Si-Ne-Ti

Kathleen finds it almost impossible to wrap her head around the idea that business isn’t personal; everything, to her, starts by being personal. She’s also incredibly direct in how fast she processes and addresses her feelings – when someone causes her to have doubts about whether her bookstore can survive, Kathleen immediately talks about it to Frank and demands to know his opinion. She’s polite to Joe Fox when they meet at a dinner party (before she knows who he is), and a little offended at how rude he is to her (being brisk) – and then when she finds out his identity, marches up to the buffet table to confront him, where she tells him not to take the caviar, because it’s a garnish and it’s rude to do that. (She then proceeds to take some of it off his plate and put it back, so the hostess doesn’t get offended.) She mobilizes the citizens of New York against him, by using what he told her (comparing cheap books to cans of olive oil) in an interview, and by asking people to support her, as part of the small business owners of New York (“do you want to get off the subway and not even know you’re on the East Side?”). Kathleen shares almost everything with her coworkers, including being stood up (though she’s offended by that phase, since it implies negativity about herself); she asks for reassurance that he didn’t “take one look at me and leave.” Kathleen has a lot of sentimentality about her mother’s store, growing up there, and what it means to her, but is also more willing to move on than Frank – she accuses him of having multiple typewriters rather than moving on to computers. Kathleen cares a lot about the bookstore because it belonged to her mother and by being in it, she has kept a piece of her alive even after losing her. She has no problem going there day after day, building long-term relationships with the children of her customers, and being reliable. She writes mostly about what she sees and experiences to Joe, including one remark about seeing a butterfly on a train and how it reminds me of a book she once read (when shouldn’t it be the opposite; that books should remind me of real life?). She is so knowledgeable about books that she knows what will sell and what won’t, and has “immaculate taste,” as well as can recall details about who wrote what and when, and rattle off a list of books by individual authors. She is also somewhat caught up in what is in front of her – her immediate situation, facing the potential loss of her store, and evaluating Joe Fox based entirely on their previous interactions, which she found charming at first but then became hostile. She also has strong Ne, although it’s not very accurate (she thought Frank was the Unabomber). When Fox Books moves in around the corner, she naively hopes that “this will become the book distinct,” in the assumption that they can all share, that there is enough business to go around, and that her little store will have what the big one doesn’t (and vice versa, as her friend points out). She’s quite insightful in recognizing body language and emotional connections between people, such as when she sees Frank on a television show and notices the hostess coming on to him (“she’s touching herself… she’s sweating!”) and accurately guesses that he has fallen for her on the side, when he tells her he isn’t in love with her. She loves to trade banter and ideas, to think about the many different reasons her date might have stood her up, to speculate on the meaning of his name with Joe Fox… but Kathleen never once even considers the fact that perhaps her date did turn up that night. She has no idea that Joe is priming her to soften the blow, is clueless about why he’s trying to be friends with her, and doesn’t put the pieces together about what’s been happening until the end when he reveals his true intentions. She has separated her internet life from her physical life, and naively allows him to ‘guide’ her. She also never considered writing (unlike her INFP boyfriend) as a career until after she had all this ‘free time’ on her hands (and even then, she admits that Joe gave her the idea). Kathleen tries to understand what’s going on, and feels frustrated that all their campaigning hasn’t made any difference in saving her store. Kathleen also desperately wants answers when her date doesn’t show up, and asks him what happened. Under stress, she becomes way more harsh, judgmental, and nitpicking, being downright rude and even mean to Joe Fox.

Enneagram: 9w1 so/sp

Kathleen is a sweet and mild-mannered woman who hates conflict, and at first, finds it hard to find anything mean enough to say to the “bottom-dweller who recently belittled my existence.” Everyone likes her because she’s so amiable and good-natured; naively, she assumes Fox Books moving in won’t mean the end of her store, ignores the truth of the situation, and keeps insisting they are all right, it’s all going to be fine. Rather than talk about her dangerous financial situation, she distracts herself by putting up more Christmas lights. But she flickers back and forth between moving to 6 and being anxious (“She thinks my store is in trouble… do you think it’s in trouble?”) and remaining optimistic about the entire situation until there’s no solution but to shut her doors. Kathleen tries to be okay with whatever anyone else wants; she cares about politics because Frank does, and only admits that she doesn’t care that much when she’s already upset. She tries to do the right thing, wonders if she’s being a bad person or cheating on Frank with an online relationship, and tries to be firm. She can be ruthless when provoked – pushed too far, Kathleen starts lashing out angrily at Joe, criticizing him, putting him down, and blaming him for the loss of her livelihood (which is fair). She also feels guilty and horrible after being mean to him.

Emily in Paris: Camille [ESFJ 7w6]

Function Order: Fe-Si-Ne-Ti

Camille is a warm, friendly, and social girl who immediately makes Emily feel at home, gives her a job in promoting her father’s brand of champagne (and is delighted when Emily can figure out how to use it – for “spraying” / celebrations), and talks to her about all her feelings, secrets, and thoughts about what’s going on in her life. She likes to pamper her friend and take her places, and sees her misadventures as fodder for hilarious conversations rather than life-altering mistakes. She is both aware of what is socially appropriate and extremely up-front about her true feelings, airing them as soon as things happen – she goes from being happy and supportive of Emily, to finding out about her affair, and then confronting her in front of her guests, breaking her champagne glass, and storming away. When Emily tries to make amends, Camille insults her by telling her that her French is ghastly and to leave her alone… but when her father wants Emily to do their ad campaign and refuses to have anyone else do it for them, Camille puts aside her own feelings for the good of her family and “makes nice.” This eventually leads them to starting their relationship over, and making a pact, that neither one of them will be with Gabriel. But she doesn’t keep it; being around him reminds her of how much she likes him and she falls back into the exact same relationship as before. Camille is very aware of French culture and fine with living inside it; she is somewhat shallow at first, focused only on sensual experiences, but over time, we see more and more how rooted in her history she is. She has fond memories everywhere, habits and routines that she keeps up (even if it’s just to meet her friends in a sauna and hang out, naked), a strong sense of familial obligation and duty, and … low Ne awareness. She says Gabriel is different and that ‘something’ is going on, but she can’t put her finger on what it is. She never even considers that Emily might be involved with him, despite them living in the same building, until she finds out Gabriel has given Emily his ‘special pan,’ the one he won’t let her touch, it’s so important to him. Camille never questions her own judgment, or whether she might be in the wrong; she also turns herself into a hypocrite and a liar, when she agrees with Emily that neither of them should date Gabriel, and then goes back on her promise without remembering their pact or apologizing for it. She can be very critical under stress, tearing into Emily for her mispronunciation of French words as part of her insults.

Enneagram: 7w6 so/sx

Camille is good-natured, frivolous, and fun-loving. She also doesn’t want to dwell in sad things, and has to turn them into happy, thrill-seeking adventures. When Gabriel doesn’t call her for a while, though suspicious of what he’s up to, she decides to distract herself by dancing, flirting, and having a one night stand—but she finds out she’s not emotionally ready to move on yet, and winds up crying in a chapel where she wanted to bring Gabriel on a date. She loves to drag others along on fun days to the spa, shopping, to push them at men, and to avoid thinking about her problems. She reframes things into opportunities opened rather than chances missed. Though she loves to gallivant, she is fiercely loyal to her parents and willing to put aside her personal feelings to abide by their wishes, within reason.

Paid Request: Shrek: Fiona [ESFJ 2w1]

Function Order: Fe-Si-Ne-Ti

Fiona tends to put others’ needs before her own, and make decisions based on how they feel – for the good and the not-so-great; when she first comes out of the tower, she’s been waiting around for a Prince to rescue her, because that’s what is expected of a princess in her culture (in a different timeline, she takes matters into her own hands, and ‘rescues myself’). Then she’s upset because Shrek has abided by none of the cultural norms – he isn’t polite, he hasn’t come to kiss her, he is an ogre, and he throws her over his shoulder in a super undignified way! When she takes him home to meet her parents, she’s distressed that he and her father immediately clash and start fighting at the dinner table – and then she lets him have it for being so rude and uncouth. But when she finds out he has gone to so much trouble, to give her the happily ever after that she wants, and is willing to give up everything – his life in the swamp and his ogre self – for her, to make her happy, Fiona refuses, because she wouldn’t want him to be anything other than he is; she wants to live with “the ogre I married.” She is very practical, down to earth, and rational, but also tends to be traditional in her thinking. When she first meets Shrek, she is going on and on about what she has been taught to expect from knights and chivalry, and is angry that the real world doesn’t match up with what it’s “supposed” to be (romantic!!). She wanted a brave knight on a noble steed to come and rescue her, like every other princess! But as she goes with Shrek through the woods, she decides not to judge people before she knows more about them, and opens her heart to him – coming to see him a different way. Even though she’s willing to marry someone else to break the spell (after Shrek rejects her due to a misunderstanding), Fiona still sees the good in Shrek and wants their lives to be together; she is willing to embrace a new and different existence as an ogre, and not look back (though she is a bit sentimental about her family and her kingdom).

Enneagram: 2w1 so/sp

When Shrek first meets Fiona, she is all excited to meet the handsome knight who has come to save her, and bestow upon her “true love’s first kiss.” She soon falls in love with Shrek, despite his green appearance, and against her own better judgment – love is, after all, extremely important to her, but so is maintaining a certain “image.” She doesn’t want anyone to see her ogre self, so she keeps it hidden from them out of fear of rejection, is devastated when Lord Farquad calls her a monster / creature / thing, and feels deeply insecure when visiting her parents that they might reject her, or that she has disappointed them. Fiona takes love and romance very seriously, but also has a temper; she wants things to be a certain way, the RIGHT way, and doesn’t like things that do not measure up, including her own appearance. She issues orders and expects others to follow them, and to do things properly. But when she gets really mad, she uses her line to 8 to really put her foot down – she has a habit of punching people/creatures in the face, yelling at them, and putting them in their place, sometimes giving Shrek as good as he gives.

Paid Request: Encanto: Mirabel Madrigal [ESFJ 2w1]

Function Order: Fe-Si-Ne-Ti

Mirabel has a decided “others-focus” in that every thought, idea, and concern revolves around the welfare of her loved ones, and what she is contributing to the family; she feels because she lacks a discernible gift that she must work twice as hard to be seen as useful and to sustain the family’s survival and reputation. She can never just talk about herself, but sees herself as part of a larger unit, in the way that all Fe-doms do (she even tells Antonio “if you are happy, I am happy!”). She repeatedly represses and puts aside her own feelings to make others happy; even though she is devastated that she never received a gift from the candle, she puts on a happy face and comforts her cousin, encouraging him, reassuring him that she isn’t sad, etc. Her song is all about how she is struggling to put on a happy face, and trying not to be upset or angry for others’ sake, but in truth, she processes all her feelings instantly – her anger, sadness, resentment, even her jealousy over her “perfect” sister. Mirabel tries not to feel upset or mad, because she wants to “shine” like everyone else does. Once she starts noticing the cracks in the house, Mirabel sets out to methodically figure out what is going wrong – by gathering evidence, venturing into Bruno’s room, picking up all the pieces of his vision, and questioning everyone she knows to find out what they know, in the hope of putting it all together in a cohesive whole. She has a lot of fears tied to her Si about how the past might create a path for the future – “it happened to me,” she tells Antonio, “but it needn’t happen to you!” She doesn’t leap to conclusions so much as she slowly discovers them by piecing together what others have told her—about Bruno and his vision, what she sees when she puts it together, and hoping for the best – surely there must be more than one way to see this! She tends to evaluate things on a surface value and take them literally – seeing her embracing what she believes is her sister, she assumes all she has to do is apologize to her and “hug it out.” Instead, once the house crumbles into ruins, she comes to the insight that her grandmother’s attempts to control all of them and repress their magical abilities are the true cause of the candle losing its magic. Mirabel shows low Ti tendencies throughout the film, in her endless questions – she wants to know what’s wrong, why it’s happening, and how to fix it. She wonders, “How do I find a vision?” (because it is an abstract thing, or so she assumes). “How do I save a miracle?” She needs to figure out what’s going wrong in order to fix it, and feels confident that somehow they can all accomplish this by coming together, accepting each other, and working as a group (Fe).

Enneagram: 2w1 sp/so

Mirabel wants to be important. To shine. To have an impressive gift, like the rest of them. But since she doesn’t have one, she makes up for it by overdoing her helpfulness instead. She helps wherever she can, even to the point of insisting she do the decorations (which the house would be happy to do itself), so she feels like she is contributing. She has an optimistic attitude, and tries to be happy all the time for others, even if she’s feeling upset, but is also jealous of her sister and her “perfect” life, because it’s the one she wants. When Mirabel finds out about the cracks, she assumes it’s her responsibility to fix the situation and fearlessly tackles it. She is happiest when allowed to heal the cracks in the family, as well as those in the house, and bring them all together, because relationships and her own role in the family are important to her. Her 1 wing constantly tells her to repress her true feelings, that she should not be experiencing unpleasant emotions, and drives her to do what is right. She feels a lot of guilt in the assumption that somehow she is to blame for the ruin of the family. Mirabel finds it hard to apologize to her sister (“I am SO SORRY you have the PERFECT LIFE!”), since it’s to admit she has done anything wrong. She also lashes out angrily at her grandmother, when she realizes the truth about the magic – accusing her of being the one who has ruined everything, rather than Mirabel.

Paid Request: Encanto: Abuela Alma Madrigal [ESFJ 1w2]

Function Order: Fe-Si-Ne-Ti

Abuela Alma is obsessed with their proper place in the community and in fulfilling the needs of the town; she frames things in terms of what her family “owes” their neighbors, the town, and each other. She sees them as a collective unit that must do good for everyone around them. She says “our community is our home, make your family proud! We serve this blessed community! They are counting on us!” Alma repeats her mantra many times that they must serve others and do what is right by them, with the inference that anyone who does not contribute to the greater whole is worthless. She focuses on how they must all work together as a group, rather than allows for individualism within the family – she doesn’t realize most of them are adapting themselves to fit what she wants and expects from them, rather than being true to their own feelings. Alma has gone through a lot in life, which has reinforced her current views of what keeps them stable as a family. She draws from the loss of her husband after the birth of their children, the miracle of the candle, and her fears about what could happen if they “let down” the community and channels it into very precise ideas of what they as a family should do. The more things happen, the more she relies on them, and the greater her distress when their pattern disappears. Mirabel not receiving a room and a noticeable gift terrified her, since it might infer the power of the candle is fading. She tries to ignore Mirabel, and hope that she is not a bad omen of things to come, ever since then. She doesn’t like to think about Bruno, because his ability to tell the future warned them of negative things that seemed then to come true. She is plagued by inferior worst-case-scenario fears and negativity about what might happen if the candle goes out. She also isn’t able to see past the obvious lack of a door for Mirabel, and wonder what else it means, or why the candle would leave her granddaughter “without” a gift. It never occurs to her the gift might be hidden. It’s only when she loses everything that she can think through her decisions, see how they lead to this moment, and admit that she was wrong and needs forgiveness. She also wants to know why this is happening.

Enneagram: 1w2 so/sp

Alma is preoccupied with doing what is right, and serving in the community; she expects her loved ones to honor the gift of the candle by repaying it through kindness to others, for them to be unselfish and devoted to the welfare of everyone around them. In her devotion to doing what is right, she can come across as distant to Mirabel, and her own daughter asks her to please be more welcoming to her. Alma finds that hard, since Mirabel is the “broken” one in the family – and she wants a perfect one, all gifted, generous, and useful! It’s extremely hard for her to accept that one of them has no (visible) gift, because that lets them all down (and looks bad in the eyes of the community). It’s hard for her to admit that she has been wrong. Alma has a strong 2 wing in that she orients everyone toward constant helping.

Christmas with the Kranks: Nora Krank [ESFJ 2w1]

Function Order: Fe-Si-Ne-Ti

Nora has a hard time “giving up Christmas” because it makes everyone in the neighborhood angry at them for not participating in local Christmas fundraisers and neighborhood events. She would cave and purchase calendars and trees just to keep the kids and policemen happy. She hides out in her house and pulls the curtains to avoid talking to her annoyed neighbors. Every year, she throws the best Christmas party on the block… and she is happy doing it. The thought of not toting out her usual ornaments, decorating the house, having people over, etc., troubles her – and once her daughter phones that she’s coming home, Nora abandons their plans for the cruise with delight and launches into her usual Christmas preparations… just, faster this time. And it wouldn’t be Christmas without the honey smoked ham, would it? She opens herself up to new possibilities fairly quickly and doesn’t mind trying out new things (the idea of a vacation away from home, for example). She isn’t at all bothered that her daughter is engaged to someone she just met; and has nothing but high hopes for their future together. Analyzing her reactions and calming down is not her strong point; but she has a fairly good understanding of her husband, enough to call him out on his nonsense when he needs it.

Enneagram: 2w1 sp/so

Nora is all about keeping other people happy and going along with them, even when she doesn’t especially agree with them – she compromises and agrees to cancel Christmas with her husband, but has a hard time not purchasing wreaths, donating to causes, dealing with carolers, and tending to the local traditions because it makes other people joyous. She comes alive when her daughter comes home, because she has a reason to throw a party and prepare and invite everyone over for a proper Christmas. But she can also move to 8 when she gets angry, such as when she forcefully takes the last canned ham away from someone rather than let them have it, because “I NEED IT for my daughter!” Nora doesn’t like to think of herself as a bad person, and avoids people rather than deal with their anger at her for not contributing to the local traditions this year.

Arsenic and Old Lace: Elaine Harper [ESFJ 2w1]

Function Order: Fe-Si-Ne-Ti

Elaine is a lovely, charismatic, and opinionated girl, who does what she wants, the minute she feels like doing it. When Mortimer doesn’t answer her whistle to take her on her Honeymoon, she gives him a little while, then tries again. When she still doesn’t see “a tall dark streak of light” headed for her door, she goes next door to find out what’s wrong. After he throws her out of the house, acting strangely the entire time, she spies on him, opens the basement door, and goes down to investigate whatever they are talking about. After Jonathan scares and tries to kill her, she wants to immediately tell Mortimer about it and gets upset that he isn’t listening to a word she says. He has to do a lot of apologizing and kissing her to make her forget his insult of not paying attention to her. She doesn’t know what’s going on with him, but is curious enough to find out, so she seeks out details, and puts herself in harm’s way as part of her investigative process. Elaine also has a lot of qualms about Jonathan, based on Mortimer’s childhood experiences with him. She trusts his memories and uses them to inform herself of what to expect (and fear) about his brother. Elaine has some suspicions about what’s going on, but doesn’t like to trust anything without proof, so she looks for evidence to solve the why of his erratic, unpredictable, and downright infuriating behavior.

Enneagram: 2w1 sx/so

Elaine cares all about being loved, and has been so irresistible, Mortimer couldn’t help falling in love with her, proposing to her, and whisking her off to a secret wedding, with the intention of going away on a romantic Honeymoon. So she is quite disappointed, upset, and soon becomes angry about him treating her so strangely once they get home – why, he isn’t paying any attention to her at all! She comes over several times to confront him, and even becomes downright furious at him, enough to slam a windowsill down on his fingers and shut a door in his face. But she is quickly mollified at the end, when he sweeps her up into his arms, reminds her of his love for her, and kisses all of her previous protests away. She teases him with flirtations and embraces, while pretending to lecture him about morality (saying she knows that look in his eye, because her father preached a sermon against it just the other day!), but in reality, enjoying his amorous intentions.

Arsenic and Old Lace: Abby Brewster [ESFJ 2w1]

Function Order: Fe-Si-Ne-Ti

Aunt Abby has a warm and generous nature that is excitable and eager to talk about things. She cannot wait to show her sister the body, and feels sorry that she missed it, but she had not much time before the pastor was due to arrive for tea, so she had to poison him herself. She eagerly explains everything to Mortimer when he discovers the body and asks about it, has a way of convincing “Teddy” to do whatever she asks, cares about consoling her sister, and feels quite unsure of herself when she admits the truth to Mortimer about him being a bastard and not a member of the family. She fears he may be exposed somehow, since she adopted him unofficially when his mother died. Abby has lived in the same house her entire life, some 60 years in the same place, and not much has changed inside her home. She dutifully cares for her family members, but also harbors a lot of feelings about the two boys she raised – she adores Mortimer, but is terrified of Jonathan based on their childhood antics. She is bubbly and creatively imaginative, also somewhat delusional in her interpretation of what she is doing; she doesn’t see murder as wrong or bad if it’s for a good cause – indeed, it’s not murder at all! She never questions her own motivations, only the actions of those around her.

Enneagram: 2w1 sp/so

Abby genuinely thinks she is doing a good thing for old, lonely men by killing them, since they look so “peaceful” after they die, and that means they are no longer lonely or unhappy! She is only helping them, after all, not doing anything wrong or unkind! However twisted her rationalizations and thinking, she genuinely thinks she has a good heart and is doing right by everyone in her life, through caring for and about them. She eagerly welcomes Elaine into their lives and is excited to hear about her wedding, and reluctantly helps even Jonathan – although she temporarily becomes aggressive when she confronts him and orders him out of her house (he refuses to leave, which makes her passive again). She believes in doing things “properly” and doesn’t like to leave her home a mess.

Paid Request: Rise of the Guardians: Tooth [ESFJ 2w1]

Function Order: Fe-Si-Ne-Ti

Tooth says her favorite part of being a tooth fairy was spending time with the kids and watching them sleep and dream, but she has been away from them for over four hundred years – enough time to forget how to interact with them in any way outside her main interest, which is teeth (her attempts to cheer up a child by showing her bloody teeth fail). She tries to bring harmony to the Guardians, and is very up front with her feelings at all times, even exclaiming “I love her!” when she meets the little girl. She encourages Jack and says if she had known his questions and desire for personal meaning sooner, she would have shown him his memories a long time ago to help him unravel the mystery of himself. Tooth is very good at keeping all of her little faeries in life, and also accurately suspects that children love her kind. She’s easily flattered, but also fiercely protective of her own. Tooth mostly thinks and talks about teeth and her fondness for them; it is her thing, and she doesn’t mind doing it over and over again, because she knows it’s something that will last and that is meaningful to kids. She has a whimsical, playful side, but also some fears about what might happen as a result of the stolen teeth. Tooth points out a few things logically, but doesn’t spend much time asking why things happen.

Enneagram: 2w1 so/sp

Tooth enjoys her role of being important in children’s lives, and in bringing them happiness (and little treats and toys so they will believe in her). She goes out of her way to try and soothe, comfort, and reassure Jack that they will find his memories and restore them to him, and wishes she would have known about his need to know about his past sooner, so she could have helped him find his purpose. She feels especially flattered when people like her, and perks right up when she receives a compliment. It dismays her to think that she is being forgotten and has failed the children who count on her and her fairies to bring a little magic into their lives. She isn’t afraid to buckle down and do the hard work her job requires, and has a real problem with Pitch Black for the bad and hurtful decisions he makes.

This character was typed for a reader, per their paid request.

Sweeney Todd: Mrs. Lovett [ESFJ 3w2]

Function Order: Fe-Si-Ne-Ti

Mrs. Lovett winds up being a mother figure to Toby and a collaborator in Sweeney’s desperate plan to avenge his family, while carefully pruning the truth to ensure he remains emotionally attached to her and doesn’t go in search of his wife. She always had a “soft spot for him, I did,” so she doesn’t tell him that his wife is alive and wandering on the street. Instead, she helps him come up with better plans to target the judge who threw him into prison, raped his wife (and in so doing, caused her to commit attempted suicide), and then convinces him to let her keep “a boy what never done anyone any harm.” Immediately upon seeing Toby, she admits that she doesn’t like to see a boy treated like that. She wants to save him after his master is murdered, finding an excuse to keep him around the house, and nurturing him with as many meat pies as he can eat. Mrs. Lovett encourages him to be less reckless in his designs by singing that “all good things come to those who can wait,” inferring that her own patience and pining for his memory (even keeping his razors when she could have sold them) has now brought him back to her. Mrs. Lovett has an idealistic notion that the three of them will have a normal, prosperous life after his revenge is done – and sings about a nice little cottage by the sea, where they are married and can have friends to tea, showing that all her dreams are realistic (in her mid), though somewhat naïve. She just assumes he will stay with her, that he will be party to marriage, that he will legitimize their “rumpled bedding,” by choosing to see the best in him, despite his murderous inclinations. Her own sociopathic behavior shows in, when she finds out he has killed someone and intends to slaughter half of London, that she forces him to think of the “practicality” of it. She isn’t making any money because no one wants her awful pies. But good meat would make her pies better, so she can make money! Mrs. Lovett goes on to encourage him in this practice and make money off it. And even though she doesn’t like the idea of them killing Toby, she is still willing to do it when he comes too near the truth and warns her that Sweeney isn’t a good person and might hurt them both. Mrs. Lovett is too emotionally attached to Sweeney, however, to think clearly – when she finds he has cut his wife’s throat in the basement, she hasn’t the sense to run for her life. He is even able to soothe her fears while dancing with her, long enough for her to let down her guard, before he throws her into the furnace for her sins. Her own emotions blinded her to his violent, sadistic tendencies, and she never once assumed he might turn on her the instant he found out about her treachery.

Enneagram: 3w2 sx/so

Mrs. Lovett has a magical ability to “become” whatever she thinks will attract Sweeney the most, and she does it through offering to help him as a sideline. She wants to have a prosperous business and it bothers her that the competition up the street manages to outsell her, even though she admits plainly that her pies are awful and enough to make people sick. She unscrupulously sees the potential in Todd, both in keeping him around and in making use of his random murders; she turns around and makes a tidy profit off cannibalism. She plays a different role with people – with Todd, a nurturing figure and fellow murderer, and with Toby, a sweet and innocent mother figure. She’s doing it to attract love from both of them, and uses her 2 wing to come up with helpful, resourceful ways to accomplish this through attention, reassurance, mothering, and food, while expecting them to adore her in return.

Blithe Spirit: Ruth Condomine[ESFJ 2w3]

Function Order: Fe-Si-Ne-Ti

Ruth is a happy socialite who loves her life in the spotlight, and who is pleased to hostess social occasions. She’s quite proud of her ingenious husband, but also wishes he would “stop dreaming and live in the real world” once in awhile, where she resides. She feels “alone” in reality at times, because he’s always mooning about his dead wife and mourning his writer’s block. Ruth tries to do damage control and keep his eccentricities from causing rumors about them, which is hard because of late he’s taken to talking to himself in public! She easily spills her feelings about him and their relationship and how under-sexed it is to her best friend, and when she discovers Elvira has returned from the grave to haunt him, becomes competitive toward her, asserting that this is HER husband and she will not share. She finds the prince abdicating to marry Wallis Simpson romantic rather than troubling, becomes emotional under stress, and is quite literal. She doesn’t believe ghosts are real until Elvira plays the piano to prove her existence, and then starts throwing things around the house in a blind rage. Since the medium brought her back, Ruth assumes she can also banish her, and goes rushing off to tell her all about it and pay for her to fix the problem. She winds up being killed in an accident intended for her husband, only to come back as a ghost – and while at first she starts out fighting with his other ex, they then fall into a sort of friendship built around mutual loathing for Charles and his selfish behavior. Ruth winds up killing him, so he they can spend all of eternity haunting and hating on each other. She does it just to tick him off, rather than choosing to lead her own life and leave him to his human existence. This reversal of her thinking (love him, protect him) happens once Elvira reveals their affair to her, which changes all her feelings toward him. Ruth never stops to question whether she’s being rational or not, but she is much more practical than Charles. He wants a nap, she wants him to get down “all those good ideas, while they are fresh” (so he can sell them and finish the screenplay he promised her father).

Enneagram: 2w3 so/sp

Ruth prides herself on being supportive of her husband and useful, but also is something of a shallow woman, less interested in her husband’s literary career than she is in the money it brings in to them, so she can throw extravagant parties and be hot within society. She is easily embarrassed by her husband’s misbehavior in public and around the studio, and feels resentful and upset when he doesn’t seem to sexually want her or able to perform for her in the bedroom. She is jealous of his affection of his first wife (but denies that she cares) and goes out of her way to get rid of her, fearful that she might try to steal Charles. She accurately perceives that he still has feelings for her, and demands to know if he can touch her (and if so, he’d better keep his paws off her). Ruth isn’t afraid to go behind his and Elvira’s back to get rid of her, either, but is happiest when Charles needs her to help rescue him from the ghost, thus allowing their relationship to deepen into intimacy once again, which is all she ever wanted.

The Princess Bride: Fezzik [ESFJ 9w1]

Function Order: Fe-Si-Ne-Ti

Fezzik is highly sensitive and doesn’t like to be spoken poorly to; when Vizzini insults him and threatens to send him back to where he found him, “unemployed in Greeland!,” Fezzik asks him not to say such mean things to him. He assumes they are merely kidnapping Buttercup, and when he finds out they intend to kill her, he immediately points out the immorality of this action, and says, “I don’t think it’s right, killing an innocent girl.” Vizzini tells him, similarly, to hide behind a rock and smash in Westley’s head, but that doesn’t seem moral to him either, so he chooses instead to throw a rock at him in warning, then come out, and suggest that they “fight hand to hand combat, as God intended,” without any weapons. He seems to take on everyone else’s needs and goes along with their plans, looking out for everyone and trying to help them achieve their goals. When he wanders off in the castle toward the end and finds the horses, he takes them, assuming if he ever finds the rest of his friends, they can all use them to ride off into the sunset together. Fezzik shows a modicum of sensing, in that he prefers to do things hands-on and earns his living doing the same sort of thing all the time – being a “Brute Squad.” He loyally sticks by the people he knows, and lets his personal knowledge and interactions with them guide his treatment of them – completely changing his mind about Westley and Buttercup. Former enemies, now friends! (He also tells Inigo to give Westley a break, since he’s been “mostly dead all day,” and needs time to think.) Fezzik shows a lot of Ne, but in a fun and playful sense – he absolutely loves to rhyme and shows a natural talent for it, coming up with puns and rhymes immediately after hearing a few words or a complete sentence (“You have a great gift for rhyme,” “Yes, yes, some of the time,” “Stop that rhyming now, I mean it!,” “Does anyone want a peanut?”). He shows some logical reasoning (they may need horses to escape) but is slow to understand Inigo’s reasoning, and mostly just goes along with things.

Enneagram: 9w1 sp/so

Fezzik is the embodiment of a “gentle giant” who is swept up in everyone else’s plans, rather than having any ambitions of his own. He was found unemployed n Greenland by his employer, and endures shameful verbal abuse by Vizzini without ever leaving his employment, lashing out at him, or forcing him to treat him with respect. Fezzik goes along with his plans meekly, even the ones he doesn’t like, because to do otherwise might cause conflict. He has a little bit of defiance in him, however, since he’s willing to keep rhyming for fun even when his boss yells at him to stop. Fezzik holds nothing against no one. Westley bests him at fighting, and Fezzik is still willing to help him (and Inigo) break into the castle. He employs force sometimes, but it’s also important for him to be “fair” – such as when he intends to beat Westley at hand to hand combat (even though it isn’t strictly fair, as Westley points out, since Fezzik is enormous) by offering him a chance to protect himself and win. He also protests against the idea of doing bad things to Buttercup, since it seems neither moral nor fair.

The Originals: Rebekah Mikaelson [ESFJ 2w3]

Functional Order: Fe-Si-Ne-Ti

Rebekah is the only member of the Original family to have scruples about using / possessing another person’s body and caring about what she does inside of it, because that strikes her as immoral. She is fiercely competitive against Caroline, because both of them want the same thing — everyone’s attention and praise. She has no hesitation in sharing how she feels with other people; she feels things strongly and is often hurt when others dismiss, belittle, or mock her open and vulnerable heart. Rebekah has a habit of sacrificing her desires over and over again, for the sake of the family, but ultimately has had enough, and tries to establish her own life, separate from Klaus’ control; yet, she goes back to him many times, out of a sense of familial obligation. She is intensely protective of her siblings, particularly Elijah, who has always sheltered her from harm as much as he was able, and finds it hard to separate her emotions from her decisions. Her wealth of experience makes her intelligent and forward-thinking, but she finds it hard to deviate from her habitual patterns or walk away from her family. Rebekah has a long list of abuses Klaus has leveled against her, which reaffirm him as selfish, abusive, and controlling in her eyes… although because she has stuck by him for so long, she struggles to extricate herself from him. Once reentering the modern world, though she complains about some of the extreme differences (“so we all dress like tramps now?”), she quickly integrates and wants to experience all the “normal human activities,” such as organizing local events and going to the prom. Rebekah does everything from take up cheer-leading to throw parties, in an attempt to fit in and experience human sensations. Ultimately, she just wants to be “normal” and have a quiet life, with a loving husband and children. She is somewhat naive in many ways, so people often take advantage of her desire to be liked (Fe) and manipulate her. Rebekah is a romantic at heart, who is not above indulging in the novelty of things and their ultimate meaning. She is interested in new ideas and experiences, and at times accurately sees what is happening between two people, under the surface (noticing that Elijah and Hayley are romantically attracted to one another). Being ruthless against the people she loves does not come easily to her, but she has no problem analyzing situations that don’t directly involve her for leverage points and using them. She easily pits people against one another, and under extreme stress, can be very critical and harsh in her observations about other people (inferior Ti).

Enneagram: 2w3 so/sx

Rebekah desperately craves the love and affirmation from others that will let her feel accepted; she competes with Caroline to see who can come out on top. She can be manipulative, controlling, and needy, but also genuinely cares about her siblings and rushes to defend, protect, and be there for them whenever they need her. She both wants Marcel to love her, and abandons him to take care of Elijah and look after the family’s interests. She uses competence, power, and influence to draw others to her. She has a dramatic wing that makes her assertive, desirous of appearing beautiful and successful, and romantic. She can be unscrupulous at times in how she deals with their enemies. Rebekah falls to unhealthy 8 behaviors (disintegration) under stress, attacking whatever she hates most and using dominance and aggression to get what she wants, pushing away from her feelings in the process.

Red Riding Hood: Henry [ESFJ 6w7]

Function Order: Fe-Si-Ne-Ti

Henry is a natural leader, who is willing to go out and hunt the wolf only after Peter taunts him about being afraid of him – he wants to prove him wrong and show him up. His emotions often bubble to the surface; he’s angry and upset enough at seeing Valarie and Peter making out in the hayloft to almost confront them, but he also doesn’t want to force her into a relationship she doesn’t want. He knows she doesn’t love him like that, or want him in that way (sexually) so he breaks off the engagement. Henry becomes drunk and accuses Peter of having gotten his father killed, instead of taking responsibility for it himself. He is upfront with his feelings about having been a coward at his father’s death, and doesn’t hesitate to share his views about Valarie, Peter, etc. He confronts Peter several times, agreeing that they both care about her, and says they should work together to save her. Henry is a stable but passionate and emotional young man; he has trained as a blacksmith and knows his trade well, enough that he’s able to take over from his father after his death by the wolf. He uses his skills to create a key to get Valarie out of her handcuffs in an attempt to save her life. Henry goes by his senses—what he sees and smells in the world; he wrongly accuses Valarie’s grandmother of being the wolf because he smells the same smell on her that he smelled in the cave when his father was killed. Having faced the wolf, he later “finds his courage” and becomes a knight who goes out and protects people from evil creatures in the darkness. Henry is cautious about the unknown and doesn’t like to take unnecessary risks, but is also reasonable at reading between the lines. He reaches a wrong conclusion about Valarie’s grandmother, but not about Father Solomon or his threat to the town. He sees that he and Valarie will never have a good life together, although part of him still hopes she will come to see him in a different light.

Enneagram: 6w7 sp/so

When the others take up the cry to follow the wolf, Henry alone cautions them against it, saying it’s dangerous to do so. He goes along with them, but then hides to protect his own life in the cave, surviving where his father winds up dead. Henry avoids drawing much attention to himself, is careful in the plan he comes up with to rescue Valarie, and wonders what happened to Peter. He’s suspicious of others once he knows the wolf can appear as a human, and accuses a woman wrongfully, but doesn’t tell anyone his suspicions about her secret identity. Toward the end of the film, we find out he has become a monster hunter in Father Solomon’s place, having “found his courage.” Though initially cautious, he’s willing to take risks, somewhat aggressive, and quick to pursue what he wants.