Character Enneagrams – Page 2 – Enneagram and Encaustic

Fallout Enneagram: NORM MACLEAN, SIX

Four main characters in Season One of Fallout have their own separate Story Enneagrams. In this case, Norm’s Enneagram is also the story of Vault 33.

ONE

Establishing the vault world is Norm’s One. He’s introduced as Lucy’s brother with no indication he’ll have any importance. Hank seems more critical, especially when he greets “Overseer” Moldaver. (Why doesn’t he recognize her from pre-apocalypse times? After watching the entire season we know that she was alive then, even if we don’t know how she managed it. She clearly says that she knows Hank.)

TWO

Norm wanders through the opened door into Vault 32. Moldaver and her raiders have already seemed suspicious. Now we know that the vault is derelict. Norm finds mutilated corpses and comes running home. The mystery of the Vault 31-32-33 triangle is the overall Trouble, but Norm is on his own detective’s journey that starts here.

Fallout Enneagram: MAXIMUS, TWO

Four main characters in Season One of Fallout have their own separate Story Enneagrams. We don’t meet Maximus until halfway through Episode One when he’s thrust upon us. It’s not a heroic introduction.

ONE

Fellow companions of the Brotherhood haze Maximus. In class he fails tests and looks like a dunce.

Fallout Enneagram: LUCY MACLEAN, ONE

Four main characters in Season One of Fallout have their own separate Story Enneagrams. Lucy is the first post-apocalypse character we meet in the series.

ONE

Lucy is selected to breed. Let’s not sugarcoat her opening situation. Although she’s cheerful and spunky, she, like every other person of a certain age in the Vault 31-32-33 triangle, is forced to marry a stranger. The show encourages us to gloss over those details.

TWO

Continuing Episode One, Moldaver kidnaps Hank. Not until the final episode do we learn why. This is such very clear Trouble for Lucy. Even her violent raider husband wouldn’t prompt her to leave the vault. It’s only her beloved father who jump-starts her journey. Also, Moldaver tells her, “You look like your mother.” This is another mystery unsolved until the finale. Although it hides in the background, this comment is part of the Trouble.

THREE

Lucy exits the vault. The opening of the door to Vault 33 is the Three. Interestingly, it’s also Norm’s Three (which we’ll see in a later post). The Sixes for each character are very different. I really like that their stories lead them in different directions after they share this beat.

Fallout Enneagram: COOPER HOWARD, THREE

Four main characters in Season One of Fallout have their own separate Story Enneagrams. The entire season begins with Coop, so let’s start with him. He’s the only character to have a —

LEFTOVER NINE

Cowboy Coop performing tricks for a child’s birthday party is a brilliant choice. We see the pre-apocalypse world, and then the moment when the bombs fall and it all ends. Clues about Coop are dropped: he’s paying alimony, he’s famous (or infamous) for a thumbs-up gesture, and he’s called a Commie. Much later in the season these quick throwaway lines will gain context. However, some moments aren’t explained. Where is Janey? How does Coop go from riding a horse ahead of the fallout to becoming a 200 year old ghoul? Structurally, this is a beautiful Leftover Nine. Hopefully, Season Two will have a Leftover Nine that continues to answer these questions.

ONE

The entirety of Episode One goes by before Coop returns. In the cemetery bounty hunters dig up Ghoul Coop. His character is completely changed, or so it seems.

MARTIN FREEMAN’S DR. WATSON

Why would this Watson stay with this Holmes? The traditional relationship has him chronicle their adventures, but this is only hinted at for a future project. His expertise as a doctor is glancingly mentioned.

It’s his return from the military. Watson misses the action and doesn’t know how to transition back to civilian life. At least, that’s what I see from the acting and very subtle writing clues. Watson is an adrenaline junkie, and Holmes provides the fix. It’s an interesting (and lonely) take on the doctor. He’s a man hanging by a thread. Integrating with society, finding a purpose — this is good storytelling. Freeman brings much subtext that is enticing. I’m more interested in his sidekick story than I am in the protagonist’s.

Well, that’s regretful.

So, who is a man that lets Holmes walk all over him in order to get a taste of the life he left?

Because Holmes is a Four, the obvious choice for Watson is a Nine. (They are incredibly codependent.) Neither of these numbers is a Head Type, which is fresh but also puzzling for a brainy detective genre. Watson likes conflict too much in this version to be a Nine. Unless . . . he’s an anti-Nine as Sherlock is an anti-Four.

Ah. I think this might be the case. They’re both true to their numbers by exhibiting the worst variations of their Enneagram. An anti-Nine seeks conflict in a self-destructive, uncontrolled way. He’s burning down the house by going against everything in which a Nine finds comfort and security. Normally a Nine likes when a Four expresses all the emotions they want to ignore. Except that this Four expresses no emotions at all, leaving the Nine to carry the load. It’s totally ill. These men are toxic for each other. Because the production is of a high quality, and because the acting is some of the best, the show has a hook. Everyone loves to watch Holmes mystify with his abilities. This version has a dark underbelly, though. It’s my least favorite so far.

BENEDICT CUMBERBATCH’S HOLMES, FOUR

In the first episode, this Sherlock Holmes describes himself as a “high-functioning sociopath”. Is he? Holmes is traditionally eccentric, perhaps autistic. This is a new direction for the character. I don’t particularly like it.

Generally, Holmes’ big brain distances him from people, alienates him. It’s part of the job of being a super-detective, and he accepts that. However, he still wants to connect with people. Dr. Watson was originally a writing tool to let Holmes explain a case to the reader via his companion. Over time, though, their relationship developed into a friendship or a partnership.

That isn’t the case in this series. Watson is more of a comedic straight man, and often the butt of the joke. Holmes forgets Watson exists at times, moving on with a case without caring if he follows.

Is this a real person, or a Null?

My initial reaction is that this Holmes can’t be a Heart Type. Social interaction holds no interest for him. But, then . . . wait. Sociability is very important to him: He thrives on rejecting it and demeaning those who would try to connect with him. He’s a kind of anti-Heart Type.

Alright. Not my favorite choice, but I will grant its legitimacy.

This Holmes is, sadly, no Two. (He collects nothing, not even the arcane or macabre.) He’s too unlikable to be a Three, even with his trope subversion. That makes him a Four. In this regard, he continues to fight against convention. He’s neither happy nor sad, up nor down. Emotionally he has one speed. He’s a mash-up of depression and ebullience. I’m not sure of the clinical definition of sociopath, but this might be it.

He’s consistent. But he’s not fun. He takes the darkest aspects of a Four — selfishness, a teasing cruelty — and doesn’t offset them with a Four’s redeeming qualities of vulnerability and emotional depth. This version proves that being clever isn’t enough for a Sherlock Holmes. He needs more.

WILLOW, SIX

Is it fair to call Willow (1988) a St. Patrick’s Day film? There’s nothing particularly Irish about it at first glance. However . . . The brownies are small and puckish, like leprechauns. Fairies flit about. The baby who plays Elora Danan wears a red wig. (Heh.) Something about the tone of the movie feels appropriate for the holiday. Well, that’s what I proclaim, and let us proceed accordingly.

Who is our eponymous hero, the young and earnest Willow?

He’s a family man, a farmer, with a dream to become a wizard’s apprentice. His children and his wife rescue a mysterious baby from the river. Although he’s worried, he accepts the change in his fate Elora brings. He’ll need to make a trip to protect her, leaving his family behind.

In the village, Willow doesn’t envy his fellows. He wants to be picked to study with the wizard, but he doesn’t begrudge the other contestants. He’s not a Heart Type.

He’s also not a Body Type. He will never be one of his village’s warriors. He goes on the mission to return Elora because of responsibility and compassion, not for any pursuit of adventure or activity.

He’s a Six. That commitment to right and wrong drives him forward. It’s how he can hector Madmartigan, a large foreigner in a cage, without thinking of his own safety. He disrupts the evil plans of Bavmorda, despite his fear, because he loves Elora. He strives to transmorph Fin Raziel not because he will learn magic from her, but because she will help the baby.

Willow is a man who does his duty, quietly tilling the land, while dreaming of a different career (which is likely to never materialize). Sixes hold a longing that breaks my heart.

Maybe that’s the reason it feels so Irish to me.

PHIL CONNORS, FOUR

It’s Groundhog Day!

With one of the greatest character arcs in screenwriting, Phil goes from selfish and shallow to considerate and complex. What Enneagram number can contain such a change?

I want to start immediately with a Heart Type choice. He’s too cruel to be a Two and too much of a professional failure to be a Three. His frustrating career as a news weatherman who’s always tasked with the bottom-level reporting from Punxsutawney would make a Three quit. (And a Two would find it endlessly interesting!) He expects strangers to recognize him and larger TV markets to employ him. These are Envy characteristics.

Four, right? He can hold our attention even while displaying the ugliest qualities. For the first half of the film he lives in the darker aspects of his personality. Fours have a great swing between high and low. They are also Enneagram numbers who aren’t afraid to dig into their flaws, which is what Phil does in the second half of the film. He’s able to think less about “poor me” and more about his strengths.

And don’t forget his wit. Fours can be scathing, as Phil is originally, or more gentle and teasing as he is later, but that consistent humor is a Four trademark. It’s also a great writing choice. It helps us stick with an unlikable character until he can become more heroic.

GEORGE RUSSELL, FIVE

The second season of The Gilded Age has begun and I’m enjoying it as much as I did the first. Looking over the Enneagram studies I did last time for the major characters, I think they’ve held up well. Someone I didn’t discuss is Bertha’s husband, George. Why didn’t I include him?

He doesn’t immediately speak his Enneagram number to me. When I think about him I wonder if he’s a Null? He’s so good, I hope that’s not true.

He has a placidity that leads me to Nine, but he doesn’t shy from conflict. Bertha is conflict. Her ambition requires it. His own business of finance leads him into many conflicts and he shows no sign of discomfort. Basically, he’s too ruthless to be a Nine.

He doesn’t have the impetuous temper of an Eight, nor the epicurean interests of a Seven. He doesn’t have the vivacity of a One, nor the wit of a Four. He can’t be a Three, that’s Bertha’s character. I see no sign of a Two’s collection. He’s too bold for a Six.

That leaves us with a Five. Really? Could that be true? First of all, that luxurious beard is not Five-ish. It’s Nine-ish. However, he has a cold attitude, an emotional distance from workers’ problems, that is Five-ish. It could also be why Bertha’s social intensity doesn’t bother him. Business is business. The way he looks at the maid when she sneaks into his bed is very Five. He almost laughs at her, then sends her quickly away. Also, to not tell Bertha about the maid is very Head Type. The emotions she feels when she learns — envy, anguish, embarrassment — aren’t something he can foresee. In his opinion the maid was silly and he handled the issue.

Well, I’m surprised. I still say that someone — showrunner or actor — is mixing in a little too much Nine, but I’m willing to declare George a bona fide Five. I didn’t expect that. Now, I’m quite excited! I can see the Mr. Darcy peeking out around his edges.

BEETLEJUICE, NULL

Does Beetlejuice have character traits, or is he only a demon who acts according to his nature?

He has a very clear intention: say my name three times so I can be loosed onto the world. Whatever he does at the beginning of the movie is in service to that want. When he’s free, though, he pursues mayhem and tries to marry an underage Lydia. Sowing chaos and practicing sexual assault are pretty much demon actions. It’s quite possible he’s a Null.

Does he ever exhibit a characteristic that is distinct to him and not a generic trait any demon could hold? Is Keaton only portraying an imp, a poltergeist?

It’s well-acted and perfectly suited to the story. Beetlejuice is not our protagonist, of course. As an antagonist, he is driven strictly by his demonic impulses. Yes, he’s a Null, and it’s a wonderful choice for him.

However, Beetlejuice 2 is currently shooting. I’ll be very curious to see if Beetlejuice remains a Null. I would argue that his lack of an Enneagram is part of what makes the first movie beloved. I hope the showrunners stay true to that instinct.