The Aviator: Howard Hughes [ISTP 5w4]

Function Order: Ti-Se-Ni-Fe

Hughes is the ultimate innovator and creator, a man who cared more about innovation for its own sake (and the beauty of it), and on being a ‘visionary,’ than generating any profit; he spends millions acquiring projects, tinkering with them, test-flying his planes, and in investing in momentary purchases (such as an airline, which he is forced to sell when it becomes clear they can’t profit off it). His personal financier is always asking him to dial back his spending, but he feels compulsively driven to go after opportunities. This means he winds up sinking money (and losing it) in a Herculean plane built to fulfill needs in the war effort by fueling planes in midair and carrying tanks; by the time it’s built to his specifications, the war has ended. He dabbles in U-Boats and supply ships. He also spends years working on the same movie, trying to get it ‘exactly right,’ despite delays that cost him hundreds of thousands of dollars. He finds it more enjoyable to tinker with and experiment and test-fly his inventions, than to be concerned with their profitability. He likes to push the boundaries of censorship with his films, and then argue the censorship board into allowing his movies to pass with a low rating. Hughes is extremely picky about his aesthetics, his home environment, and his movies—he’s angry about the lack of clouds not giving depth perspective, so he wants to commit to reshoots with the ‘ideal conditions’ and demands to borrow every single camera of a specific kind to make it happen (he gets annoyed when he isn’t allowed to borrow them all, since his project seems more important than other studios shooting films at the same time). Hughes is eager to do things for himself; in his most famous crash, he test-flies a plane which crashes in a spectacular fashion, almost killing him in the process. He pursues beautiful women and sexual relationships constantly, but remains somewhat emotionally distant from them. He is hell-bent on making sure everything conforms exactly to his vision of it, right down to camera angles. He can be unrealistic in his expectations, and because he has unlimited money, he isn’t afraid to throw millions of dollars after his pet projects. But his inferior Fe is weak. Howard cares what people think about him, but doesn’t know how to connect to them. He can become impatient and angry under stressful situations and lash out at people. He marches up to people and demands things from them, rather than appealing to them. He also struggles to connect to others on an emotional level. Though he falls in love with Katherine Hepburn, he spends more time on his pursuits and passions than with her, causing her eventually to leave him, because she has fallen in love with someone else (and he hasn’t seemed to notice).

Enneagram: 5w4 sp/sx

Howard has some fantastically unrealistic ideas, but hangs his hat on all of them as being the answer to the world’s problems, and goes above and beyond what is rational in his pursuit of them. He is also anti-social, hates to have anyone get too close to him, neurotic about doing things his own way, doesn’t like to feel hemmed in, goes out of his way to avoid being dependent on anyone (or having them dependent on him), and hates crowds, loud noises, and being around people. He minimizes his interactions as much as possible, is extremely socially awkward and uncomfortable socializing with other people, doesn’t know what to do with his (or anyone else’s feelings) and becomes more and more eccentric at times passes. He withdraws so much from others, from public life, and gives into his anxiety disorder that he becomes a total recluse, living in complete isolation but still dreaming big.

Don’t Look Up: Dr. Randall Mindy [INTP 9w1]

Function Order: Ti-Ne-Si-Fe

Mindy has to make sense of everything, and understand everything; he is so rational, and intent on getting things ‘accurately,’ he stumbles over his words in an attempt to inform the president of what is happening, rather than get directly to the point (telling her the systematic order of what transpired, rather than “A comet large enough to destroy all life is going to hit the planet”). He often stops other people in order to correct the statements being shared, and becomes increasingly frustrated as the story unfolds to people denying the facts, refusing to listen to the expected consequences, or worse, trying to profit off a life-shattering event instead of taking action in an attempt to destroy the comet or divert it off its current path. He works in a highly theoretical field and is a renowned scientist, who hopes that the rest of the community can ‘peer review’ his work, reach the same conclusions, and then mobilize to do something to save the planet. He is also somewhat naïve, in that he trusts and becomes part of the establishment at first, in the assumption that he can work from the inside-out to prevent this catastrophic event. He gets caught up in what is going on and sucked into their schemes, only to do a complete reversal and turn on them, when it becomes apparent to him that they are shooting themselves in the foot. Mindy, late in the story, when it becomes apparent that they are all doomed, dives back into Si comforts – he abandons his high-profile life in New York to return to his family, bringing food and an apology to his wife in the hope of spending his last few living hours among his loved ones. Much of the story, however, pivots on him abusing and even falling into an inferior Fe grip out of stress. Mindy is socially inept from the start, blurting out things inappropriately and having anxiety about needing to learn to connect to his audience. With some media training, he becomes more confident and consolatory, but his inferior Fe constantly trips him up – he assumes a woman is in love with him who wants to sleep with him, and falls in love with her in turn (blurting out that “I thought I was in love with you!” – which she finds “Oh, that’s… nice”). When his wife turns up to accuse him of cheating on her, he mutters that it’s “complicated” and doesn’t want to talk about it. Later, he assumes if he shows up with roses, an apology, and food, she will let him back into the house, rather than truly understanding the emotional devastation he has caused her; likewise, when she admits she slept with someone else while they were dating, he is unbothered by it, because that means she understands him now and they can just move on! The more anxious he becomes, the more emotional he becomes – he loses his cool on live television and screams at everyone; he makes an appearance on a children’s show and proclaims loudly that their parents should be freaking out, because “we’re all going to die!” (rather than being aware that terrifying children is inappropriate and unnecessary). Instead of working on solutions (at this point, it’s inevitable), he just becomes hysterical and loses all sense of his limited emotional awareness.

Enneagram: 9w1 so/sp

Mindy absolutely hates any kind of conflict; it causes him to spiral into anxiety and have panic attacks. When his wife turns up in his hotel room to yell at him for cheating on her, he almost totally shuts down, is cowed by her, and shrinks away from her. When others angrily discuss the comet and what’s happening in the White House, Mindy finds it hard to follow their rapid conversations and becomes confused and upset that they have moved past the issue and are ignoring it. Mindy is more likable than Kate because he’s so mild-mannered and pleasant most of the time. He’s prone to merging into people and going along with their agenda – he cheats on his wife after a 30 year marriage because a woman comes on to him, then assumes he is falling in love with her and that she feels the same way; even though he doesn’t like the government’s response, he goes along with it and becomes ‘part of the machine’ until he has a very public rage-meltdown on television. He completely loses his temper, like a kettle boiling over, and screams at everyone. Under stress, he moves more up his line to 6, insisting on ‘peer reviews,’ consulting other scientists for what they think, and asking for ideas. He wants to do what is right, but finds himself molding himself to fit others’ agendas a lot of the time, until he finally gets fed up enough to defy the authorities.

Paid Request: The Man in the Iron Mask: King Louis [ESFP 7w8]

Function Order: Se-Fi-Te-Ni

Louis lives a life of hedonism and living in the moment, taking advantage of opportunities as he sees them—the instant he lays eyes on Christine, he manipulates the situation around him so that he can possess her, challenging his friends to chase after a pig and then turning on the fountains to trap her into going the way he wants her to, where he can waylay and seduce her. He tends to react momentarily, such as arguing that the people of Paris have no right to complain about starving and order them to “quickly” distribute rotten food that they decided not to send the army, before it spoils completely – then he turns around and blames one of his advisors for it when d’Artangan confronts him and orders him executed. He is forever throwing balls, seducing women (and then walking out of the room, bored with them), and quick-tempered. Louis has a margin of respect for those nearest and dearest to his heart and can be unnerved or persuaded out of bad behavior by D’Artangan, but also orders rioters shot and tells his men to kill the Four Musketeers. He refuses to kill his brother on the grounds of his royal blood (an emotional decision) but tells him he will go back to prison and into the mask he hates, to conceal his identity. Louis can be soft to attract women, asking Christine to love him for himself alone and not just his crown, but also shifts into tert-Te blutness whenever he is under pressure. He screams that all his men are cowards, assures Christine that SHE will burn in hell, not him, for what they have done (“because I am a king… ordained by God!” and to D’Artangan, “I am a young king, but I am king”). Louis quickly tells his generals how to better employ battle tactics, and uses the war to get rid of Raoul (his competition for Christine). He shows almost no futuristic thinking and is unaware that his trusted advisor and confessor, Aramis, is working against him among the Jesuit order.

Enneagram: 7w8 sp/sx

Louis is a deeply unhealthy hedonist, and nothing is ever his fault. As long as he has cake, it doesn’t matter if the peasants starve. They are rioting and upset in the streets of Paris, and he throws a masked ball to entertain himself with, and cheer himself up with after a fight with his mistress. He’s a master at arguing and rationalizing away his decisions, insisting on seeing himself in a better light – or at least, not being held responsible for his wicked behavior (he isn’t going to hell for this, never! Being a king makes it all right!). He pursues pleasure wherever he can find it, and takes whatever he wants, then becomes angry at D’Artangan’s efforts to make him into a “good man.” His 8 wing is aggressive and angry, reacting violently when provoked and coming down hard on anyone who dares disobey him. He orders people shot for being riotous, and threatens his oldest protector and guardian that either he brings the traitor’s heads to him, or he will cut off his head!

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

Paid Request: The Man in the Iron Mask: Philipe [ISFJ 9w1]

Function Order: Si-Fe-Ti-Ne

Philipe feels very intimidated by the thought of pretending to be the king, because he has no experience to fall back on when doing so—he has spent his entire life locked in a dungeon, stuck in an iron mask, and he would far rather live a pleasant life in the country married to a milk maid than face the idea of ruling France. He meticulously tries to learn everything he needs to know, but also finds it emotionally distressing, because he knows he will have to pretend to be a cruel, heartless man whom everyone hates, at least for a while until he can slowly shift into being a “better one” (himself). He doesn’t feel “right” without the mask, yet cannot bear the thought of spending the rest of his life in it, and begs his brother to kill him instead and put him out of his misery. He concludes that “I wear the mask, it does not wear me,” when Aramis says he feared having it put back on would “break you.” His Fe is strong. When he emerges from prison, he says he waited six years to ask the question that has haunted him for as long as he can remember: why? Why was this done to me? Why should my face be concealed? Who am I, that this is done to me? Nor does he want to take up the burden of kingship, unless they give him a “good reason to do so.” Aramis must convince him that France needs him to sacrifice his freedom and a simple life in the country, in order to serve a greater good. For that, Philip is willing to put aside his own wishes and be whatever they want him to be—but he is also apologetic of any wrongdoing, easily touched by other people’s pain, and remorseful of his mistakes. He inadvertently exposes himself at court because he is kind to people, helps a woman who stumbles, and becomes emotional and apologetic to Christine, then defers to d’Artangan rather than put him in his place. He is desperate to know d’Artangan and becomes emotional at his loss, though he only met him a short time earlier. Nor can he stand the thought of “becoming” something Athos will hate; he begs of him to “love me like a son, and let me love you as a father.” Under Philipe’s tender guidance, France enters an age of prosperity and goodness, full of compassion that it had never known before. He shows very little Ne, although he does long for the simple pleasures of life (to find and connect to his mother, and fall in love) and wants to “right all the wrongs done to” Christine and the others.

Enneagram: 9w1 so/sx

Philipe is a gentle, sweet, and tender creature who cannot stand to see others hurt, to imagine that anyone is upset with him, or to endure any kind of conflict. Being snapped at makes him flinch and withdraw, but he also wants to do what others ask of him and is willing to put aside his own feelings and interests for their sake and to keep the peace. He is over-apologetic to such an extent that Aramis tells him he must learn not to do that, because Louis would never apologize, never touch a glass a mere servant has touched, and would never be pleasant to a random stranger. This distresses Philipe, the idea of being so mean and self-absorbed. His sweetness exposes him at the ball, but also makes him a wonderful, compassionate, and gentle ruler. His 1 wing wants to do the right thing, is angry at his brother for having hurt d’Artangan (enough to attack him, but a simple reminder of “he is your brother” causes him to release him and hasten back to his friends), and desires to be pure of heart and do good in the world.

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

Inception: Dominick Cobb [ENTP 7w8]

Function Order: Ne-Ti-Fe-Si

Cobb is a talented “Extractor” who can go into people’s heads, plant thoughts in their minds, and has managed to turn it into a successful and lucrative business venture. He cautions Ariadne, when she is building dreams, to avoid the common pitfalls of too much familiarity or using real places, because it can tip off the subconscious mind and turn it against them. He believes it’s hard to tell the difference between the real world and a dream state, so he believes in carrying around totems and relying on them to tell him whether he is in the real world or not—all because he spent 50 years in a dream state once, where he and his wife grew old together, until he missed the real world and tricked her into coming back to reality. He is a talented innovator and logical genius, who never once questions the morals or ethics of his decisions—to him, you do this for money, and never mind the violation of privacy. Cobb keeps information from his friends from them if he thinks it would cause them to change their mind about coming with him; he is willing to lie and manipulate people to get what he wants, including not informing his friends that under such deep sedation, if they die in the dream state, they will get lost in “limbo” and never wake up. He lures people into dream-scapes to show them what they can do rather than considering their boundaries, and is prone to reactivity when he feels judged from others. One man’s scorn for his poor dream-scape ability causes him to become increasingly more reckless in his environment to prove him wrong. He doesn’t want Ariadne or his children to think of him as a murderer, or responsible for his wife’s death, and is struggling to accept his feelings of guilt and anger toward her for her suicide. Once an ambitious man and one of the cleverest creators of mental landscapes, Cobb has since fallen severely into a Si-driven grip—where he envisions his wife inaccurately, not as her true self, but as a negative and frightening manifestation of his subconscious, out to get him. He has translated her naïve actions born of her losing touch with reality into a malevolent force that intends to sabotage him, torment him, and draw him back into a false reality, so he cannot escape her projection following him into their dream-scapes; since he doesn’t want her to know the layout of his latest venture, he hires someone else to “surprise him.” Cobb spends an enormous amount of time reliving his former experiences, revisiting the places that were important to himself and his wife, and tormenting himself with memories of their happiness together—instead of moving on, he has chosen to dwell, ruminate, and become obsessed with his past. It’s only when he recognizes that the wife he has created in his mind isn’t remotely like the real one, just a pale imitation, that he can move on from his grip and return to the real world (or is it?).

Enneagram: 7w8 so/sp

Cobb pursues whatever interests him the most, on an intellectual level, but is also inconsistent, irresponsible, and refuses to take responsibility for his own actions without deep shame involved. He has turned the disaster of his life into a situation in which he was “wronged,” by blaming his wife for his inability to return to their kids because she framed him for murder, in her assumption that they were living in a dream state and needed to return to the real world. It takes him a long time to admit to all the facets of his responsibility in this area, including how his invention of Inception caused her to lose all sense of reality. He eventually bored of their life together lived in their minds, because “nothing can beat the real world,” and all it has to offer. He can be impulsive and erratic, a show-off, egocentric, convinced he has a right to take whatever he wants (even if it means misleading his closest friends and coworkers) and aggressive. The incident with his wife has caused him to grow toward 5 introspection, but also self-doubt; he no longer can trust himself to create dream worlds (out of fear his wife will show up and kill them), so he has another person do it; but he still is somewhat irresponsible in that he doesn’t warn his friends of the dangers involved in allowing his subconscious to fill their dream states.

Titanic: Jack Dawson [ESFP 7w8]

Functional Order: Se-Fi-Te-Ni

Perceiving Functional Axis:

Extroverted Sensing (Se) / Introverted Intuition (Ni)

Jack is a man of the world. He travels extensively, working his way over to America on “tramp steamers and such,” and staying in out of the place dives in Paris to study his art. He has no fear of doing new things or having new experiences and agrees to go to dinner in First Class just for the fun of it. He is delighted with physical beauty and the people around him, using every opportunity to sketch and immortalize them in his sketchbook. When Rose wants to talk about doing exciting things Jack tells her they will DO those things. He sizes people up immediately, with no illusions about them. Jack is quick-thinking, improvising using his environment in the disaster (breaking down doors, fighting people off, getting Rose to the highest point of the ship, using a piece of wall paneling to save her life). He also has good Ni usage, aided by Se and 8 wing pragmatism – his insights into people are perceptive – “There’s no boat, is there?” “They have you trapped, Rose, and if you don’t get out, that fire I love about you is going to die.” He knew Cal framed him for theft without any proof. He knew Rose didn’t belong in the situation she was in, despite barely knowing her. Jack’s final speech to Rose is about how she needs to look toward the future with optimism – “Go on, and make babies, and watch them grow” – but he admits he doesn’t think about more than he has in this moment, most of the time (inferior Ni).

Judging Functional Axis:

Introverted Feeling (Fi) / Extroverted Thinking (Te)

He is a free spirit, who knows his own mind and who balks at the idea of Rose being forced or coerced into doing something she does not want to do. He persistently and bluntly asks her if she loves Cal, with the implication if not, why would be with him, much less she marry him? Even though he has a warm, dynamic personality, Jack doesn’t need everyone at the dinner table to like him – so long as Rose approves. He forms a bond with her that only strengthens the more time they spend with one another. He trusts her to “know” him through this bond after only a short time together. His bluntness comes in handy once in awhile; he is also fast to come up with logical solutions that make sense (“Oh, real slick, Cal – Rose, he put in my pocket!”). He is not interested in talking about things only, but also doing them. Jack minces no words with Rose in prompting her to let go of social constraints and be true to herself. He tells people off. He issues orders. He acts on his feelings, punching people in the face, climbing into the back of an automobile with Rose. He can detach for a higher good, such as when he pretends there’s another boat and he can get off on it, to get Rose to safety.

Enneagram: 7w8 social

Jack is always chasing after a new experience or dream, with an optimistic approach to the world and the people in it. He doesn’t mind winging it, all the time – he travels the world loving every minute of it, because he “never knows who I’m going to meet” or what experiences he is going to have. He’s comfortable being without a permanent home, working his way from place to place, and gambling with his future in pursuit of the next exiting thing, all out of a desire to avoid being bored or not having fun. When he meets Rose, his distress at her continual compromises causes him to push her to be more free and open, to follow her dreams in a 7-ish way. His 8 wing comes out under stress when keeping Rose safe and escaping the ship and makes him generally assertive (he breaks down doors, tells people off, and stands up for himself and others). He doesn’t care what others think of him, but becomes more rigid and demanding when things go wrong (moving to 1′s righteous anger in stressful situations, such as suddenly caring about “the truth” when Cal frames him for stealing the necklace).