Enneagram – Page 4 – Enneagram and Encaustic

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.

Story Enneagram of Season One, The Rings of Power

Here’s the challenge with this series: it’s a prequel. Not everything in Tolkien’s lore is familiar to everyone, but the basic plot of his main trilogy is extremely well known. Elendil and Isildur will strike down Sauron. Therefore, neither of them can die in this series. Mt. Doom and Mordor will never again be the green Southlands. Therefore, Númenor will fail to take it back. Durin will delve too deep and his entire kingdom will perish. Therefore, the disagreement with his father has nothing at stake. Every plotline, with the possible exception of Nori, deals with failure. It’s a pretty depressing tale! I need to really love these characters to follow them on this tragic journey. How do these characters build the world of Frodo’s time? Their connection to the Tolkien I know engages me, even if this era is dark.

How does the map of this story become the Middle-Earth we know so well?

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.

Alloyed (Part Two)

The Season One finale of The Rings of Power continues . . .

SWITCH

Sadoc goes “a-wandering off-trail”. (He dies.)

FIVE

A galley at sea in full sail. Valandil walks the deck. Elendil is down below, helping the Queen count steps in her blindness.

(He says, “I have you.” She replies, “Who has you?” Aaaagh! Immediately when I hear that line I think of Lois Lane when Superman takes her flying. Maybe everyone doesn’t think of that moment, although Margot Kidder’s delivery is iconic. It is a terrible choice to include it in anything ever again.)

Alloyed (Part One)

The Season One finale of The Rings of Power begins . . .

ONE

Rain. Eryn Galen, the Greenwood. (Another map title, yay!) We’re with The Stranger. He holds Nori’s apple gift while, in voiceover, she proclaims that he’s not a peril.

A cloaked figure follows him. He gives chase, dropping his apple. The figure picks it up and reveals herself to be Nori. Her eyes change, though. It’s not Nori; it’s the Severe Witch.

The Stranger seems confused.

TWO

Severe Witch offers the apple while the other two Witches close on him like velociraptors.

THREE

One of them, in elvish, says they’ve come to serve him, Lord Sauron. They kneel to him while he looks baffled.

Roll credits.

The Eye (Part Two)

Continuing Episode Seven of The Rings of Power . . .

SWITCH

Nori doubts her trust in The Stranger. Clouds cover the moon.

FIVE

Galadriel and Theo, still alone in the forest, speak of loss. Galadriel’s brother died, but also her husband Celeborn. (What?! We know he’s alive later when Frodo visits. I mean . . . right?!) He went to war and she never saw him again. Theo feels blame for what happened to his village, and Galadriel tries to reassure him that his heart was good. Let the burden go.

Their talking stops when orcs with torches search the woods. After a moment of suspense, the orcs move on.

(Theo’s pessimistic attitude and his sense of self-blame remind me of Nori’s previous scene. They are similar in their depression and doubt, and their beats should be grouped together. Therefore, we need to move the Switch back a bit.)

The Eye (Part One)

Episode Seven of The Rings of Power begins . . .

ONE

An ash-coated eye opens. It’s Galadriel, pulling herself up in slowmo from the village ground. Through the orange air and embers, she calls out for Halbrand and Elendil. Theo finds her.

TWO

Isildur and the Queen strain to lift a beam off of Valandil. Ontamo, next to him, is dead. Hearing cries, the Queen directs the soldiers to help her rescue people trapped in a burning building.

THREE

They escape, but the roof falls on Isildur.

Miracle on 34th Street (1947)

I present to you the perfect Christmas movie. Don’t be discouraged by the black-and-white photography. It brings a pleasant sense of nostalgia, and the story will captivate you so quickly you’ll forget you’re not watching color. Let’s take a quick dive.

ONE

As credits roll the camera follows a man in a fedora who walks the streets of New York City. It’s like a charming time capsule. At a certain point I start to wonder how they managed to shoot this when steadicams didn’t yet exist. If you’ve ever pushed a camera dolly, you’ll be astounded at what they accomplished here.

Reveal that this bearded man is (probably) Santa Claus in modern clothing.