KA Byrnes – Page 39 – Enneagram and Encaustic

Wakestones

They can summon a rift of considerable power. Am I ready?

I leave behind my two friend Pawns. They can’t follow. Only my own Pawn goes over the edge with me. We land in the Seneschal’s Chamber.

In this void land, the Seneschal glows white. He drops a lot of information as we battle. I command all life into existence, he says.

“But expect none of the mercy men seek in their gods. The unbending reality of a world without compassion. The world and all its denizens are but empty vessels. In that regard, no different than the pawns. Without volition, there is no true life. That volition is tempered by the struggle for survival. Just as the pawns need a master’s command, so the world thirsts for the will to live. Turn back now and I will grant you a merciful death. Step forward, or retreat.”

Of course I step forward.

The Seneschal reveals himself. It’s the avatar from the opening tutorial. We played as him once. Now he and his pawn battle me and mine until we defeat them.

Then he monologues again. “You and I are swept up in the current, same as the rest. And so, until the coming of a new soul fit to craft the will to live — until that day, may you guide the world ever justly.”

From his chest he pulls a sword, the godsbane blade.

“Those who arise to oversee this world are undying, save by this brand’s kiss. I ask that you, as the world’s new seneschal, use it now to vouchsafe freedom to your weary servant. Mourn me not, for I welcome the release. At long last, I am free of eternity . . . of infinity . . . free of the cruel, unending ring!”

Granting his request, I kill him. And then I, once he’s gone, also wield the godsbane blade. I’m dead.

My Pawn and I fall. As we drop, she becomes me and I disappear. When the transformed me awakens on the beach, my beloved greets me, recognizing me in some way. Together we walk into whatever life brings.

Credits.

Beautifully done, sir.

And we begin again.

LADY JESSICA (2021), SIX

This movie doesn’t explain why Jessica chooses to birth a son rather than daughters as the Bene Gesserit expects. I remember the book, though. (I think, lol.) She loves Duke Leto and wants him to have a son (the patri-lineal monarchy), someone like him, and someone special (if he is indeed the Kwisatz Haderach). Family and love, mothering, are everything to her. This Jessica is very much played with this intention. Ferguson kills it, bringing so much depth to these emotions.

Like Paul, this Jessica is more emotional than the Lynchian counterpart. We see one brief fight moment where she rocks it, but otherwise she doesn’t seem enamoured of the physical realm. The Voice is her specialty, a kind of mind control. She’s going to be either Heart or Head.

I want to say Heart, partly because this Paul is a Four. They really feel like two people against the world, against any of the worlds. Beyond her depth of feeling, though, Jessica doesn’t give us much to work with. Any number can be a devoted mother. When she suggests that Paul needs to go off-world rather than finish the Atreides mission on Arrakis, however, she shows that the personal is more important to her than the political. This would also explain why she births a son, going against the Bene Gesserit plan.

And now I want to say a Six. It’s her sense of duty, of putting Paul in danger with the gom jabbar, even though it’s the last thing she wants to do. Her thinking is black and white: she’ll break the rules for a son, and then follow the rules for the Reverend Mother. Worry, more than any other emotion, consumes her. It’s the fear that Ferguson plays (despite the litany!) that leads me to Six.

Episode 8

One structural misstep, otherwise a moving and solid episode. See my Critical Notes after the breakdown.

ONE

Establish the house exterior, then . . .

TWO

. . . go into the front room where the ladies discuss presents (wedding, I assume). Servants carrying candlesticks and vases follow Mrs. Hughes to the drawing room. Isabelle worries that a display of presents looks greedy. Mary and Lavinia greet Matthew as he enters with a cane.

THREE

Hughes brings a letter into Carson’s office. Mrs. Bryant — the dead Major’s mom — wants to see the baby. So does her husband! Hughes is a bit gobsmacked.

Pressed Update

The hot weather here is over, and it’s time to revisit the encaustic studio.

First of all, let’s check in on these two pieces that used ironed flowers. Remember them? The hibiscus is almost six months old, and the yellow bell is seven months. This is how they look today.

Not bad!

Both have retained their color better than a non-ironed piece. After six months, any other organic encaustic I’ve made has faded to white. The leaves in the bottom right of the hibiscus show this. I didn’t press them, only picked and added them at the end. All the green from them is gone.

I feel vindicated and on the right track with this process! After months away from the studio, the start up is hard, but let’s get in there.

One other note to the experiment: Flowers with deep color seem to fare better than pale flowers. Winter in the desert is our blooming season. I hope to post many more pieces as I ramp up. Stay tuned.

The Swamp

Not bad, just not a favorite. The only point of interest is the young woman in Aang’s vision, and she’s only interesting if you’ve seen the series before. I whine in more detail after the breakdown.

BOOKEND

Iroh sits roadside, begging. Zuko finds it humiliating because they’re royalty, while Iroh is so humble it’s embarrassing. A mean person forces him to dance for money, using swords to prod him. Zuko looks on, angry.

ONE

The team flies on Appa. Relaxed, Aang thinks and dreams. Below them is a swamp.

TWO

Appa’s headed down, waking everyone. What’s wrong? I think the swamp is calling me, Aang says. It wants us to land. Sokka resists, scoffing that the earth could be speaking.

A whirlwind attacks them. Aang bubbles Appa and everyone on his back, but the ball explodes and all are thrown clear. The humans land together, but Appa and Momo are gone.

THREE

Aang air bends his way up a large tree to look around. Nothing in every direction but swamp, and no sign of the animals.

PAUL ATREIDES (2021), FOUR

Over a year ago I speculated about Paul in general, specifically using Kyle MacLachlan’s portrayal. The Villeneuve Dune was releasing screenshots, jazzing up interest at that time. Then Covid hit and all productions and release dates slid. Now, though, it’s finally here and I’ve seen it. So, who is this version of Paul?

Well, he’s not a Nine, that’s for sure, lol. Chalomet’s Paul is more intense, more angry, more disturbed by visions. Whoa, Four? Isn’t that interesting! He’s a trained fighter but doesn’t have a love for it. He’s interested in the politics of Arrakis — “desert power”, as Leto says — but only because the Fremen culture captivates him. He disdains playing The Game. The Emperor and the Bene Gesserit, the levers of this universe, barely register for him.

And isn’t it curious that his visions of Chani mostly involve emotion? In reality when they meet, she’s impersonal and businesslike, helping him prepare for what she considers his inevitable death. Paul’s inner world is colored by connections: to Chani, his mother, and especially Duncan. It’s a Heart Type relationship. He spends much of the movie in quiet torment.

This Paul is no diplomat, as a Nine would be. He’s a vengeful angel, a conduit for a repressed people, the Fremen. In terms of dramatic potential in future movies, a Four Paul is an excellent choice.

Balance of Terror

Not bad. You’ll see. Critical Notes are after the breakdown.

ONE

A ceremony. Crew prepare some kind of podium and gather on benches. Scotty sets up a camera to broadcast to all viewing screens.

Before Kirk can take the stand, though, he’s called to comms. Two Earth outposts have gone silent. Maintain course to the next outpost. He approaches the podium.

Oh! It’s a wedding! He’s officiating. Janice lights candles and Scotty takes the arm of a young woman with flowers arranged in her hair. He’s giving her away. As Kirk proclaims the words, Janice stands just behind his shoulder in a not-so-subtle two-shot.

TWO

He’s interrupted mid-ceremony by a red alert. Outpost Four reports they’re under attack, space vessel’s identity unknown. Everyone dashes, including the young couple.

Roll credits.

Return to Omashu

ONE

We start up right where the last episode stopped: Omashu is under Fire Nation control. Sokka says, you’ll have to learn earth bending from someone else. No, Aang’s going in. Bumi’s my friend, he says.

TWO

He shows the gang a secret passage into Omashu: the sewer. Aang air bends the muck and Katara water bends it, while Sokka’s left to just wallow.

In the streets Sokka comes up out of the sewer like a monster. Katara washes him, and Aang dries him. A kind of cute, pink leech, a pentapus, is attached to his face. Aang tickles it and it releases, leaving behind red sucker marks. When a Fire Nation patrol comes upon them and asks what’s wrong with his face, the team invents pentapox. It’s contagious! Sokka acts like a zombie, and the patrol dashes away.

THREE

Azula’s old lady mentors offer her advice. Form a small elite team, they say.

PETER QUILL, TWO

He’s an orphan. As far as he knows, his father is a deadbeat dad (whatever the romantic stories his mom spins) and his mother dies while he’s young. It isn’t until the second Guardians that Quill comes to see Yondu as a father figure. Much of Quill’s character is defined by this. He wants a family, and he’s very forgiving of someone like Rocket, who’s so hard-shelled he can be impossible to know.

I do think that his openness to life, regardless of his childhood loss, is part of his Enneagram. Different numbers would react differently to being an orphan. He’s still so willing to engage and believe in people. When he gets to Ego, he believes a little too much and too easily.

So I want to say Heart Type. His inability to form a plan is a running joke in the Avengers. (Not a Head Type.) He’s physically competent, but it doesn’t define him. (Not a Body Type.) He’s no Three; his luck is too haphazard. And he’s not acerbic enough to be a Four.

Two. He collects songs, of course.

On a Very Special Episode . . .

Solid structure, combined with an overwhelming amount of character development. Mostly, I feel regret and a sense of lost opportunity. Critical Notes at the end.

ONE

A ranch-style house. Inside, Wanda holds one of the crying babies, begging it to go to sleep. Vision jiggles the other twin. I’m not sure what sitcom era we’re in, but he wears jeans and she has big Pebbles hair. A magic gesture won’t stop the crying, and neither will binkies. The laugh track, mysteriously, finds all this funny.

TWO

Here’s Agnes, wearing atrocious ‘80’s workout gear. Auntie Agnes, she calls herself, ready to help with the babies. Vision, for some reason, worries she’s not clean enough (?) to care for the twins. Smiling, Agnes looks at Wanda and says, “Shall we take that again?” When Wanda and Vision share a confused look, Agnes reiterates: Shall we take it from the top? Now Wanda gets it, and nervously laughs. Vision, though, doesn’t understand. What was that about, he asks. Did you really not see what I saw, he wonders. Wanda deflects: she’s just being neighborly. (Meanwhile, Agnes is chugging alcohol in the kitchen while exercising, lol.)

THREE

The room goes suddenly quiet. The babies fell asleep? No, they’re gone. Turn to the staircase and there they are, now five years old. Agnes knocks back a slug and shakes her head: Kids, amirite? Wanda and Vision give the boys hugs and say hello to their new children.