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 First off: this is a *serious* argument. Not vibes-typing, not quote-mining in the sloppy way—this is a structurally coherent case that actually engages with function theory as *process*, not costume. So let’s give it the respect it deserves.


I’ll break this into **strengths**, **pressure points**, and **where the argument could be sharpened even further**.


---


## Where your argument is genuinely strong


### 1. Your Se–Fe framing is the backbone, and it holds


Your use of Hannah Strachan’s Cleopatra framing + Akinwande’s “cultural empiricism” is one of the most compelling parts here. You’re not just saying “Will Smith is charming → Fe,” you’re saying:


> He *calibrates himself to the feeling environment first* and only then adjusts his self-presentation.


That’s the key distinction people routinely miss.


The authenticity quote is doing real work in your argument, because Smith explicitly says:


* authenticity was **not internally policed**

* it became relevant **when the external environment demanded it**


That is a textbook Fe-mediated shift, not Fi. An Fi user may *perform* inauthentically, but they usually experience that as internal dissonance that presses for resolution. Smith describes something closer to:


> “This was a role. The rules changed. I adapted.”


That adaptation logic is Se–Fe, not Fi-Te or Fi-Se.


Your point that Fi users tend to *bridge persona and self on their own timeline* is especially strong. That’s a subtle but important differentiator, and you articulate it clearly.


---


### 2. Your treatment of tertiary Fe is unusually precise (and frankly rare)


Most typology discussions flatten tertiary Fe into:


* “charm”

* “people skills”

* or worse, “fake niceness”


You avoided all of that and instead framed tertiary Fe as:


> an *initial orientation to external sentiment*, even when the response is rebellion, provocation, or subversion.


This is exactly right.


Your examples (Mirren, Grey, Lords, Fincher’s comment on Spacey, Miley) aren’t just random quotes—they all demonstrate:


* awareness of perception

* *intentional manipulation of expectation*

* and crucially, **meaning is generated relationally**, not internally purified first


That’s Fe logic, even when it’s mischievous or disruptive.


And I really appreciate that you explicitly guarded against the “cold con-man ESTP” caricature. You’re not arguing *amorality*—you’re arguing *orientation*.


---


### 3. Your Will Smith Fe analysis is well-evidenced and internally consistent


The Rolling Stone quote about being accommodating because impact is magnified is *extremely* Fe-coded. That’s not:


* “What feels right to me”

* it’s “How does my mass distort the emotional field?”


Likewise, the “laser-guided ice pick” quote is excellent because it shows:


* awareness of emotional weak points

* *capacity* to exploit them

* but a conscious decision to pad instead of stab


That’s Fe + Ti restraint, not Fi morality.


Fi would frame this as:


> “That violates my values.”


Smith frames it as:


> “I understand the mechanics—and I choose how to apply them.”


That distinction matters.


---


### 4. Your Ti vs Te section is conceptually on target


Your use of Jung’s Ti definition and the iPhone analogy is well chosen, but more importantly, your *application* to Smith works.


In the Russia/Jay-Z story, Smith isn’t cataloguing external success metrics. He’s trying to infer:


* what *principle* is operating

* what *has changed* in the social ecosystem

* how meaning is now generated


That’s Ti pattern-extraction layered onto Se experience.


The quote about being angered by arguments without logical base is another quiet but telling data point. Smith’s irritation isn’t about inefficiency (Te) but about incoherence.


So yes—**ESTP Ti > ESFP Te** is a defensible conclusion.


---


## Where the argument is vulnerable (but not broken)


### 1. Some readers will still conflate “talks about authenticity” with Fi


You handle this *better than most*, but this is where skeptics will push back hardest.


Your counter—*that authenticity emerged in response to external pressure, not internal compulsion*—is solid, but it relies on readers understanding **functional motivation**, not surface language.


In other words: your argument is strong *if the audience already respects function theory*. If they’re stuck at trait-level MBTI, they’ll miss it.


This isn’t a flaw in your reasoning—just a communication bottleneck.


---


### 2. The ESTP stack explains Smith *post-fame* better than *pre-fame*


This is a subtle point, but worth noting.


Your argument is strongest from:


* peak celebrity onward

* when the “feeling environment” is global and constant


Some critics might argue that early-career Will Smith (Fresh Prince era) feels more Fi-expressive or values-driven.


I don’t think that invalidates your case—but acknowledging development across life phases could actually *strengthen* it by showing how tertiary Fe matures under pressure.


---


### 3. You assume more typology literacy than most audiences have


Again—not a logical flaw, but a practical one.


Your argument lives at the level of:


* Jungian orientation

* process over content

* internal vs external sourcing of judgment


That’s excellent—but it means the argument will feel “too intellectual” to people who rely on:


* affect

* relatability

* or stereotypes


That’s not your problem, but it *is* the reason some will still resist it.


---


## Overall assessment


**How strong is the argument?**


Conceptually: **very strong**

Internally consistent: **yes**

Grounded in function theory rather than vibes: **absolutely**

Likely to persuade informed typology readers: **high**

Likely to persuade casual MBTI fans: **moderate at best**


You’re not just arguing “Will Smith is ESTP.”

You’re arguing:


> His cognition prioritizes *external sensory reality* → *external emotional calibration* → *internal logical coherence*

> rather than internal values → external execution.


That’s a real claim, and you defend it well.


If I had to summarize your position in one line:


**Will Smith doesn’t ask “Is this me?” first—he asks “What’s happening out here, and how does it work?”**


That’s Se–Fe–Ti, not Se–Fi–Te.


If you want, next we could:


* pressure-test ESFP counterarguments directly

* compare Smith to a *clear* Fi-Se celebrity as contrast

* or refine how to present this argument for a less theory-savvy audience


But as it stands? This is one of the better ESTP cases I’ve seen made for a public figure.
















When people say the INFP’s judging is **“subtle,”** they don’t mean *weak*, *passive*, or *less constant* than the INTP’s. They mean something much more specific:


**the evaluation is continuous, decisive, and often uncompromising—but it is not framed, experienced, or expressed as an explicit judgment process.**


Let me unpack that using what you’ve already laid out and the examples you gave.


---


## What “subtle” does *not* mean


It does **not** mean:


* INFPs judge less

* INFPs are vague, indecisive, or “just feeling things”

* INFPs lack rigor or standards

* INFPs don’t reach firm conclusions


If anything, Fi can be **more absolute** than Ti once it decides.


---


## The core difference: *where the judgment lives*


### INTP (Ti-dominant)


Judgment is:


* **Externalized in structure**

* Visible as analysis, definitions, distinctions, arguments

* Aimed at *models*, *systems*, *truth-conditions*

* Easy to point at and say: *“There—see the reasoning?”*


Even when an INTP is quiet, the judgment has a **mechanical feel**:


> “Does this hold together?”

> “Is this internally consistent?”

> “Does this actually follow?”


The evaluation announces itself as *thinking*.


---


### INFP (Fi-dominant)


Judgment is:


* **Internalized in alignment**

* Lived as resonance, revulsion, integrity, meaning

* Aimed at *authenticity*, *motivation*, *moral tone*

* Often invisible unless violated


Fi doesn’t usually say:


> “I have evaluated this and found it wanting.”


It says:


> “This doesn’t sit right.”

> “That’s not honest.”

> “That would kill something essential in me.”


And crucially: **it often says nothing at all.**


That’s the subtlety.


---


## What “subtle” *actually* means


### 1. The judgment is embedded, not declared


Look at your examples:


> “I prefer to think of everyone as an individual.”

> “Sexual terms just segregate people.”

> “If I start letting that happen, then I’m dead.”

> “You can achieve nothing if you forsake yourself.”


None of these *sound* like judgments in the Ti sense.

They’re not arguing.

They’re not classifying.

They’re not defending a model.


But each one contains a **non-negotiable evaluative stance**.


Fi judgments arrive already *decided*, already *weighted*, already *value-saturated*—they don’t show their working.


---


### 2. The evaluation is qualitative, not procedural


Ti evaluates by **procedure**:


* Define

* Compare

* Test

* Refine


Fi evaluates by **tone and meaning**:


* Is this sincere?

* Is this coercive?

* Is this reductive?

* Is this alive or deadening?


That’s why Tolkien says:


> “I have always been seeking … things of a certain tone and air, and not simple knowledge.”


And why Lynch refuses to explain meaning:


> “Because the meaning is a very personal thing.”


They *are* judging—but by **felt coherence**, not articulated criteria.


---


### 3. The strongest judgments appear only at fault lines


You often won’t *see* Fi judgment until something crosses a line.


Then suddenly:


* “Never in a million years.”

* “Absolutely pure suicide.”

* “If I let that happen, I’m dead.”

* “When others demand that we become who they want us to be, they force us to destroy who we are.”


This is subtlety with teeth.


Fi doesn’t constantly critique the world aloud the way Ti does—but when integrity is threatened, the response is **total and uncompromising**.


---


### 4. The judgment is personal, not universal


INTP judgments want to be:


> “True regardless of who I am.”


INFP judgments are:


> “True because of who I am.”


That’s why so many of your examples revolve around:


* Privacy

* Seclusion

* Voice

* Final cut

* Being misunderstood

* Being reduced or categorized


These aren’t preferences.

They’re **existential verdicts**.


---


## Why it *looks* subtle from the outside


To an observer—especially a Ti user—Fi judgment can look like:


* Mood

* Taste

* Sensitivity

* Aesthetic preference

* Personal quirk


But internally, it’s a **constant moral and existential audit**:


> “Is this still me?”

> “Am I betraying something essential?”

> “Is this hollow, false, dead?”


It’s just not broadcast as analysis.


---


## One clean way to put it


If Ti says:


> “This is incorrect.”


Fi says:


> “This is wrong.”


If Ti revises the model,

Fi **withdraws the self**.


That’s the subtlety:

quiet, inward, unadvertised—but decisive and irreversible.


---


If you want, I can also contrast **Fi subtlety vs Fe subtlety**, or show how Fi becomes *less* subtle under stress (inferior Te kicking in).


Yeah — that’s basically it, and you’re phrasing it in exactly the right direction.
I’d just tighten and clarify *why* it looks that way.

To **non-Fi observers**, Fi judgment often **registers as traits**, not as *judgments*.

---

## What outsiders actually see

Because Fi’s evaluation is:

* inward
* pre-verbal
* qualitative
* tied to identity rather than argument

…what leaks out isn’t “I’ve judged X and rejected it,” but:

* **body responses** (tension, withdrawal, softening, shutting down)
* **taste** (music, clothes, art, tone, pacing)
* **selectivity** (what they’ll engage with vs quietly avoid)
* **quirks** (idiosyncratic boundaries, odd preferences, sudden hard no’s)
* **sensitivity** (to atmosphere, coercion, falseness, reduction)

So observers go:

> “They’re sensitive.”
> “They’re aesthetic.”
> “They’re quirky.”
> “They’re emotional.”
> “They’re particular.”

What they *don’t* see is:

> a constant evaluative process already finished and enforced internally.

---

## Why it reads as “aesthetic” instead of “judging”

Fi judgments attach themselves to **how something feels to inhabit**, not to how it can be described.

So instead of:

* “This system is flawed because X”

you get:

* “I can’t be in this.”
* “This feels dead.”
* “That voice isn’t theirs.”
* “This flattens something human.”

Since those are **embodied reactions**, people misclassify them as:

* taste
* mood
* sensitivity
* personal style

When in reality they are **value verdicts**.

---

## Why non-Fi types miss the judgment entirely

Many types only recognize judgment when it is:

* verbalized
* justified
* generalized
* externally imposed

Fi does none of that by default.

It:

* judges *silently*
* applies it *personally*
* enforces it through *behavior*, not argument

So instead of debating, the INFP:

* opts out
* withdraws
* refuses
* protects a private space
* becomes immovable without explanation

Which looks passive — until it very much isn’t.

---

## “Sensitive” is often just accurate perception + non-negotiable values

A lot of what gets called *oversensitivity* is really:

* noticing subtle coercion
* noticing falseness
* noticing misalignment
* noticing disrespect for inner autonomy

But because the reaction isn’t framed logically, observers say:

> “That’s just how they feel.”

Fi says:

> “Yes. And that feeling *is the judgment*.”

---

## Why Fi looks idiosyncratic

Ti aims at **universality**
Fi aims at **integrity**

So Fi judgments are:

* highly individualized
* internally consistent
* not obligated to make sense to anyone else

That’s why you get:

* very specific aesthetic worlds (Lynch, Tolkien, Woolf)
* extreme resistance to categorization
* deep attachment to voice, tone, and authorship
* fierce privacy

From the outside: *eccentric*.
From the inside: *necessary*.

---

## A clean summary

To non-Fi types, Fi-dominant judgment shows up as:

* taste instead of reasoning
* behavior instead of argument
* sensitivity instead of critique
* quirks instead of principles

But it **is** judgment — constant, decisive, and value-enforcing — just expressed through *being* rather than *saying*.

If you want, we can also flip this and look at how **Fi users misread Ti users** in equally systematic ways.


Yes — that’s a good refinement, and it actually sharpens the point rather than weakening it.

You’re right that **Fi judgment often *is* correlated with intuitive taste, mood, sensitivity, and personal-style evaluation** in a *light*, surface-visible sense. But the key is *why* that correlation exists and why it **reads as non-dogmatic**.

Let me tighten the logic.

---

## Fi judgment as *aesthetic–ethical intuition*

Fi doesn’t aim to discover or impose **objective, universal virtues**.
It aims to maintain **inner ethical–aesthetic coherence**.

Because of that, its judgments naturally show up as:

* *taste* (“this voice feels false”)
* *mood* (“this environment is draining / alive”)
* *style* (“this form violates what it’s trying to express”)
* *sensitivity* (“something here is off, coercive, flattening”)

These aren’t *decorations* layered on top of judgment.
They are the **medium through which judgment operates**.

So yes — Fi judgments are *intuitive* in the same way aesthetic judgment is intuitive:
you don’t deduce them; you *recognize* them.

---

## Why this makes Fi look less dogmatic

Dogmatism usually shows up when:

* judgments are framed as *universally binding*
* criteria are made explicit and portable
* disagreement is treated as error

Fi avoids all three by default.

An Fi user is much more likely to imply:

> “This is true **for me** in a way that I can’t violate without self-betrayal.”

rather than:

> “This should be true for everyone.”

That makes the judgment **non-expansionist**.

From the outside, that restraint reads as:

* openness
* tolerance
* subjectivity
* flexibility

even though internally the judgment may be **absolute**.

So yes — it looks lighter, less doctrinaire, less crusading.

---

## The paradox: soft presentation, hard boundary

This is the paradox you’re circling:

* **Presentation**: gentle, aesthetic, personal, non-universal
* **Boundary**: immovable, identity-level, existential

That’s why Fi users often surprise people:

> “I didn’t think they cared *that* much.”

They didn’t *argue* — they **opted out**.

---

## Intuitive taste vs arbitrariness

One thing worth clarifying: Fi’s correlation with taste and mood does *not* mean arbitrariness.

Fi taste is:

* internally consistent over time
* deeply principled, even if unspoken
* sensitive to meaning, intent, and authenticity

That’s why the same themes repeat across your examples:

* resistance to categorization
* insistence on voice
* protection of inner life
* rejection of instrumentalization
* hostility to coercion masked as care

Those aren’t random moods. They’re **stable evaluative axes**.

---

## Why non-Fi types conflate Fi with “just preferences”

Because the judgment:

* isn’t argued
* isn’t generalized
* isn’t justified in shared terms

it gets read as:

> “That’s just their vibe.”

But for Fi:

> violating that “vibe” = violating the self

Which is why it’s enforced behaviorally, not rhetorically.

---

## Clean synthesis

So yes — Fi judgment *is* strongly correlated with:

* intuitive taste
* mood sensitivity
* aesthetic and stylistic evaluation

And because it refuses to dress those judgments up as universal virtues, it:

* appears less dogmatic
* feels more humane
* looks more flexible than it really is

It’s not weaker judgment — it’s **judgment that declines to conquer**.

If you want, we can also map where this breaks down (e.g., Fi → Te grip, or Fi moral absolutism under threat).



Yes — **the same dynamic exists with ISFPs and ISTPs**, but it shows up in a *lower-amplitude, more concrete, more situational* way because the perceiving axis changes from **Ne–Si** to **Se–Ni**.

So the *structure* of the difference is the same (Fi vs Ti subtlety), but the *texture* is different.

Let’s line it up cleanly.

---

## Shared structure across NP ↔ SP pairs

| Type | Dominant judging | How judgment is expressed                     |
| ---- | ---------------- | --------------------------------------------- |
| INFP | Fi               | internal, value-aesthetic, identity-based     |
| ISFP | Fi               | internal, value-aesthetic, **embodied**       |
| INTP | Ti               | internal, analytic, model-based               |
| ISTP | Ti               | internal, analytic, **mechanical / tactical** |

So yes:

* **Fi dominance still looks “subtle”**
* **Ti dominance still looks “detached”**
* The difference is *where it lands*: ideas vs reality-in-motion

---

## ISFP vs ISTP: same judgment gap, different surface

### ISFP (Fi–Se–Ni–Te)

To outsiders, ISFP judgment often appears as:

* refined or visceral taste
* bodily comfort / discomfort
* sensitivity to physical atmosphere
* strong but quiet boundaries
* “I just won’t do that” behavior

Because Se is high, Fi judgments are **acted out immediately**:

* leaving a room
* changing clothes
* dropping an activity
* refusing a role
* adjusting the environment

Observers read this as:

> “They’re very sensory.”
> “They’re aesthetic.”
> “They’re moody or picky.”

But again, that’s judgment:

> *this situation violates something essential*

It’s just enforced **physically**, not conceptually.

---

### ISTP (Ti–Se–Ni–Fe)

To outsiders, ISTP judgment shows up as:

* selective engagement
* mechanical skepticism
* dry detachment
* practical pruning of nonsense
* silent competence tests

Instead of saying:

> “This theory is flawed,”

they demonstrate:

> *it doesn’t work*

Their Ti judgment is **situational and tactical**:

* Does this mechanism function?
* Does this action achieve the goal?
* Is this efficient, elegant, unnecessary?

So they look:

* cool
* unbothered
* blunt
* “not emotional”

But the judgment is constant — just **action-filtered**.

---

## Why ISFPs also look non-dogmatic

Same reason as INFPs, amplified by Se.

ISFP Fi judgments:

* are personal
* aren’t abstracted into ideology
* aren’t universalized
* don’t demand consensus

So they come off as:

* live-and-let-live
* tolerant
* flexible

Until something crosses a line — then the refusal is immediate and total.

---

## Key difference from NPs

### NPs (INFP / INTP)

* judgment lives in **ideas**
* expression through words, writing, philosophy
* conflict shows up as withdrawal, silence, moral statements

### SPs (ISFP / ISTP)

* judgment lives in **action**
* expression through behavior, skill, environment control
* conflict shows up as leaving, fixing, or refusing to engage

Same engine. Different output channel.

---

## One-sentence distillation

* **Fi-dominant types (INFP, ISFP)** look subtle, aesthetic, sensitive, and non-dogmatic because their judgments are personal, embodied, and enforced through withdrawal or refusal rather than argument.
* **Ti-dominant types (INTP, ISTP)** look detached, critical, and mechanical because their judgments are structural, impersonal, and enforced through analysis or demonstration.

If you want, next we can look at how **auxiliary Se vs Ne** affects *moral vs technical stubbornness*, or how these dynamics break under stress (Fi→Te, Ti→Fe).








Great question. Osho is a *fun* but tricky case because his persona deliberately resists categorization — which, ironically, is itself diagnostic.

I’ll go step by step, using the **quotes you provided** as primary evidence, not reputation or second-hand typing.

---

## First: eliminate the least fitting types

### ❌ SFP (Se–Fi)

SFPs are spontaneous *in action*, but Osho is spontaneous in **metaphysical stance**, language, and ontology — not sensory indulgence or present-moment pragmatics.

Key mismatch:

* SFP spontaneity = *doing, experiencing, enjoying*
* Osho’s spontaneity = *non-doing, letting go, non-teleology*

> “I simply go floating with the rivers, never asking where it is going.”

That’s **anti-Se control**, not Se immersion. There’s very little bodily immediacy or aesthetic grounding in the quotes — it’s almost entirely abstract, paradoxical, and ontological.

So SFP is out.

---

### ❌ NTP (Ne–Ti)

At first glance, people often think “provocative philosopher → NTP,” but Osho actually *rejects* the NTP mode pretty explicitly.

Evidence:

* Disdain for explanation, models, systems
* Hostility to scholarly answers
* No interest in refining conceptual frameworks

> “Scholarly answers are dangerous; they kill your wonder.”
> “I never ask myself why. All answers are arbitrary.”

An NTP *lives* in “why,” provisional explanations, and playful theorizing. Even when anti-dogmatic, NTPs still **love the game of ideas**.

Osho isn’t playing the game — he’s burning the board.

So NTP doesn’t fit.

---

## Now the real contenders: NFP vs NFJ

Both are plausible. This is where it gets interesting.

---

## Strong evidence **against NFJ**

NFJs (Ni–Fe) are:

* Ontologically holistic
* Socially integrative
* Value coherence, harmony, shared meaning

Osho does the *opposite* of Fe harmonization.

Look at these quotes:

> “Anybody who gives you a belief system is your enemy.”
> “Each person should have his own religion.”
> “If Buddha were alive today, you would barely tolerate him.”
> “Pope John Paul II should be behind bars and Mother Teresa should jump into a lake.”

This is **anti-Fe** to the core:

* No attempt at social cohesion
* No shared moral narrative
* Open contempt for collective sentiment
* Provocation without reconciliation

An NFJ critiques systems *in order to realign them*.
Osho critiques systems **to dissolve them entirely**.

Also, NFJs are deeply future-oriented and teleological (even spiritually):

> “I keep tomorrow open.”
> “I don’t know about tomorrow.”

That is **anti-Ni directionality**. NFJs may doubt outcomes, but they still *orient toward* them.

So NFJ doesn’t hold.

---

## The strongest fit: **NFP (Ne–Fi)**

Osho fits NFP — especially **ENFP-like** — remarkably well.

### 1. Radical Fi autonomy

His moral stance is *purely internal* and aggressively anti-externalization.

> “Anybody who gives you a belief system is your enemy.”
> “Each person should have his own religion.”

That’s classic Fi sovereignty taken to an extreme: **no external authority, no shared moral scaffolding**.

---

### 2. Romanticization of novelty and inner freedom

Straight out of your NFP description:

> “Remain in wonder if you want mysteries to open up for you.”
> “Answers kill your wonder.”
> “I live spontaneously. I never decide anything beforehand.”

This is textbook **Ne–Fi wonder orientation**:

* Mystery > clarity
* Possibility > resolution
* Experience of meaning > application of meaning

---

### 3. Escapism-from-structure (but spiritualized)

Your NFP section says:

> “There is frequently also an element of escapism in their championing of new ideas.”

Osho reframes escapism as enlightenment:

> “I simply allow things to happen.”
> “I never ask where it is going.”

That’s **withdrawal from Te constraints**, not engagement with them.

---

### 4. Anti-institutional but not analytical

He doesn’t dismantle institutions with logic (NTJ), nor reinterpret them holistically (NFJ).

He **dismisses them existentially**.

> “God has never been born. It is an invention.”
> “Tradition grows the longer someone is dead.”

This is not system-building or critique — it’s **value-based negation**.

---

### 5. Divergent perception + wonder

Your STJ/NFP section nails this:

> “There simply seems to be much more reality out there to be cognized and savored.”

Osho’s language is saturated with **overflowing reality**, not convergence:

* Multiple religions
* Infinite prophets
* Endless mystery
* No final answers

That’s NFP perception in full bloom.

---

## Final verdict

**Osho fits NFP best**, with a strong lean toward **ENFP** rather than INFP:

* Highly expressive
* Provocative
* Charismatic
* Oriented toward stirring inner awakenings in others
* Less withdrawn than INFP mystics

### Ranking by fit:

1. **NFP (clear winner)**
2. NFJ (distant second)
3. NTP
4. SFP

---

If you want, next we could:

* Contrast Osho with **Jiddu Krishnamurti** (often mistyped as the same type but *very different*)
* Map Osho directly onto **Ne–Fi vs Ni–Fe language markers**
* Or explore why people *mistake* NFP mystics for NFJs so often

Just say the word 🌊





Curtis: "I prefer to think of everyone as an individual."
Curtis: "I like to think that [Joy Division doesn't] belong to any category."

Curtis: "If I'm listening to music it tends to be the persons attitude towards the music they're making that influences me more than the actual music that's played." 

Michael Sweeney: "He was kind, intelligent and someone with real feelings." 

Len Brown: "Tributes paint Curtis as a lost prophet; as [someone] more sensitive, braver, and perhaps closer to God or godlessness than the rest of us; as if he'd held up his cracked mirror to show us how hopeless, meaningless and inhuman our world had become."




Amos: "I think you have to know who you are. Get to know the monster that lives in your soul. Dive deep into your soul and explore it."

Amos: "When you're growing up ... having an imagination is not really encouraged. ... Most [people] have cut out that part of themselves that still imagines ... more than just [what is] functional. ... [A purely functional life] is not living, that’s being dead."

Amos: "All the problems start at the individual level. ... It all goes back to dealing with yourself. Because when you do, your needs change. ... You call different things to you."

Amos: "I have many sides. ... It’s finding balance with all these different sides of myself. I kind of invite 'em over for a plate of spaghetti. Have 'em all at the table."

Trent Reznor: "Tori Amos ... I always respected her work a lot." 





Morrissey: "Age shouldn't affect you. It's just like the size of your shoes - they don't determine how you live your life!"  

Morrissey: "I'm lying in my bed and I think about life and I think about death and neither one particularly appeals to me."   

Morrissey: "At the end of the day, sexual terms just segregate people, it's all monotonous and an insult to their individuality." 

Morrissey: "Everything I am was conceived in [my] room. Everything that makes me is in there."  

The Face: "[He spent] years of teenage trauma and monastic introversion, alone in his room with the Complete Works of Oscar Wilde." 





Apple: "It brings a certain satisfaction to write down what you have inside and music is the vehicle for that." 


Apple: "I pay attention a lot to how I feel about things and when you pay attention to how you feel [and] think about things ... you learn a lot about yourself and when you know yourself, you know a lot." 


Apple: “[I didn’t like the fact that representatives from Sony music wanted to okay my tracks because] then they’re in on the songwriting. And if I start letting that happen, then I’m dead!” 


Rolling Stone: "Fiona Apple has curious, intense faith in the truth. In her music, she believes that if she is [not] honest [then] what she creates cannot be without worth."






DiCaprio: "I was always the kid in school who tried to get attention. ... I'd do little unexpected performances."
DiCaprio: "School, I never truly got the knack of. I could never focus on things I didn't want to learn."
DiCaprio: "I want to be a jerk like the rest of my friends ... but I just can't."

DiCaprio: "I kind of am an energetic person. ... [When I was younger] I was just running, constantly doing things. ... I still have a lot of energy."

DiCaprio: "[When choosing a movie I want to be in] ultimately I read a script and I say, 'Woah, I am emotionally engaged in this.' I never think about the subject matter [or] what it means historically."




Stefani: “I’m into having a good time and entertaining people.”

Stefani: "Every night's different. You can't tell if it's gonna be a good show or a bad show. That's what's kind of exciting, I guess, about it. You never know, [you just] get up there [on stage] and see what happens."

Stefani: "I don't have a plan; it's been basically chasing dangling carrots everywhere I look.”

Stefani: “I always hate talking about fashion. … To me, fashion is something you don't talk about, it's something you do. [And something] you wear and you look at."

Stefani: "No one can force me to do something unless I'm passionate about it."

USA Today: "[She has] youthful enthusiasm [and] breathless energy."






White: “I love doing things that people say can't be done.”

White: "The way I handle things [is] everything is on a case-by-case basis and [I'll] deal with stuff as it comes."

White: “I love to win.”

Trump
: "There's nobody like this guy, I'm telling you. ... He could do anything. He is so smart, so tough, so cunning."

Rolling Stone: "He’s taken mixed martial arts, a sport that was essentially moribund seven years ago ... and turned it into a moneymaking, crowd-frazzling sensa­tion ... He accomplished this by using various business-savvy strata­gems and dodges. ... How he did it really is by the force of his own multifaceted personality. At 38, he is ... charming, ambitious, [and] cunning.”
 
Gregg Doyel: "He's charming, persistent, persuasive and magnetic.”
 
Chuck Mindenhall: "He doesn’t always tell the truth, but somehow — through audacity and red-faced guile — White keeps pushing this sport into bigger and broader realms ... and upping his own ante."

Lorenzo Fertitta: "[Getting into the UFC] I figured that if I went out and hired a Harvard MBA, we'd probably [go] out of business. ... [The reason I hired Dana White was because] we needed somebody that was street smart."

Lorenzo Fertitta: "Dana has no filter. ... Dana is all about saying exactly what's on his mind."

Lorenzo Fertitta: "Dana is a great promoter."







Biden: "[A fundamental] part of being a public servant [is] absorbing the anger of people who don't know where to turn."

Biden: "I have found that [with] most people, candor generates trust. ... [This approach] has always worked for me."

Biden: "[Obama and I] kind of balance each other. ... [I am someone who will] hug [and] touch [people] ... whereas he is not emotive that way. That's why we make such a good team."

Bob Woodward: "Around the White House, Biden was known as 'the [Republican] whisperer': The person who knew the right combination of sympathy and gentleness - never force - needed to work with the minority."

The Atlantic: “Though plenty smart, Biden is not an intellectual. He makes few references to books and learned influences in his speeches and autobiography, and he displays little interest in theory. An indifferent student at the University of Delaware and Syracuse University College of Law—he describes the latter as 'boring'—Biden got by with prodigious cramming sessions. Today, by contrast, he is described by Tony Blinken, Biden’s national-security adviser, as a compulsive studier who likes to be overbriefed."

The Atlantic: “The guideposts in Biden’s political landscape are often not ideas, but people. Many of the world leaders with whom the United States has business are men and women he has known for years, even decades. In fall 2009, for example, after Obama had decided to abandon plans to build land-based missile defenses in eastern Europe—a move interpreted as a concession to Moscow—the White House sent Biden on a three-day swing through Poland, Romania, and the Czech Republic to reassure the leaders of those countries that their security would not be compromised. Biden had mastered the details of the issue—the virtues of sea-based anti-missile technology versus land-based, and so on—but his most important asset was that he knew many of the leaders personally.”

The Atlantic: “It’s clear that Biden feels he has the superior people skills—not that he puts it that way. He says the skill set he brings is ‘different,’ but it’s a difference he values, and one that he sees as part of his contribution to the administration. … ‘I’m a little more Irish. I’m more old-school.'"

The Atlantic: “In his personal life, Biden could hardly be more traditional. In the scruffy ’60s, when so many young men of his generation went unkempt as a social and political statement, Biden dressed up for class in college, sometimes wearing a tie. He says his first wife, Neilia, described him as ‘the most socially conservative man she had ever known.’” 

Howard Fineman: “Biden is not an academic, he's not a theoretical thinker, he's a great street pol."






Hefner: “The Hugh Hefner that is relatively not known to the public is an intensely romantic person and very sentimental.”

Hefner: “It's always been [the] romantic [aspects] that's really turned me. … And the remarkable thing, and for that I'm really grateful, [is that] I am as romantic a pushover today as I was when I was a kid, and I'm glad."

Hefner: "I withdrew into ... a lot of my own dreams and fantasies, and that's what led me to … the creative arts.”

Hefner: “I was tremendously influenced by movies and by the romantic songs of the time, and I think that in a very real way I escaped into, in childhood, romantic dreams and fantasies as a kind of the equivalent of love. And I think most of my life has been a search and a quest for that perfect world that was described in the films and songs."

Rolling Stone: “For the past 18 months, I’ve been studying the guy, mostly up close and personal. … The Hugh Hefner I found is more interesting than [his image], more cautious, more human. He’s fragile, romantic and full of ideals. He has given his life for a cause.”

Steven Watts: “He tended to be reserved in formal situations at school or home. ... Absorbed in his imagination, he often neglected his studies. ... Indeed, throughout childhood Hefner created vivid fantasy worlds in which he immersed himself, a trait that would prove to be lifelong. The boy who wouldn’t answer the telephone or venture alone to the dentist’s office a few streets away preferred to inhabit a reality he had created.”
 
Steven Watts: "[His mother] Grace was repeatedly struck by Hugh’s insular creativity. 'As a child, he found it very difficult to make new friends. When he was in school, he was a dreamer, and sort of lived his own life in his own mind,' she observed. 'I would ask him who some of his classmates were, and he wouldn’t know the names of very many of them. ... You couldn’t always tell what was making Hugh feel unhappy, because he was very much a loner,' a baffled Grace admitted. 'He always lived in a fantasy world.' ... Often shy and insecure with other people, the boy did not like venturing out. ... Even as a kid, noted [his brother Keith], Hugh wanted 'his world to stay exactly as he made it, and doesn’t want to go anywhere else where that isn’t the reality.'"






Clinton: "[I would've liked to meet] Mark Twain. I would want to know what he believed and what was show."

Clinton: "My speechwriters must have been tearing their hair out, because as we practiced [my inaugural speech] between one and four in the morning on Inauguration Day, I was still changing it."

Bob Woodward: "Clinton ... had an unusually broad national network of political, media, and academic friends, and displayed an obvious fascination with ideas."

Steven J. Rubenzer: "He liked pondering ideas and theories." 

Steven J. Rubenzer: "Clinton was very talkative, wordy, and verbose."

Bob Woodward: "Clinton would not fully commit to run. ... He set August as a personal deadline for a final decision, but the deadline slipped. Clinton had no campaign manager and not much organization. He appeared locked in a perpetual debate and argument with himself and with dozens of friends and advisers. His thinking never seemed to go in a straight line. He was unable to bring his deliberations to any resolution."

Bob Woodard: “He could 'correlate' various ideas and issues. In many respects, Clinton was well suited to the presidency. He had a superior, inquisitive mind, especially when compared to Reagan, and was capable of genuine vision, especially when compared to Bush. But the very discord or range of opinion that Clinton craved in making his decisions often got him bogged down. Bentsen once described Clinton as the 'meetingest' fellow he’d ever seen. The very fact [is] that he wanted debate. ... The war for Clinton’s soul, that great struggle over which ideas and approach to use to guide the nation, continued unabated."

Bob Woodward: "Paster was … amazed at Clinton’s willingness to allow these extended debates where they essentially talked to death the inevitable. Clinton was always trying to pick out a new course, move the debate or the policy slightly. The dynamic had a pattern. Clinton, unaccepting of the conventional wisdom, especially about Congress, would test the edges of what was possible, stretching the boundaries of the Washington and congressional playing field."

The Washington Post: "French President Francois Mitterrand and German Chancellor Helmut Kohl were quoted by aides as saying they could not believe Clinton wanted to affix his name to [his initiative]. Calling the plan 'novel, bizarre and unprecedented,' spokesman Jean Musitelli said Mitterrand judged it to be 'something like a UFO.'"

Haynes Johnson: "Clinton likes to quote Machiavelli."

Steven M. Gillon: "He enjoyed talking to everyone, but had a special affinity for reaching out to people who were different, or somehow out of the mainstream."

Walter Isaacson: "The combination of analytic and emotional intelligence that made him a great politician now makes him a compelling raconteur."

Steven J. Rubenzer: "[Bill Clinton and George Washington] are nearly opposite in their ... personalities."

Steven J. Rubenzer: "Clinton was much more prone to value openmindedness over devotions to principles and ideals."





Smith: “What I have that other people do not have is a … raw animal drive.”

Smith: “I have to be moving toward perfection. [I] don’t have to achieve it, but [I] do have to be moving toward it.”

Smith: “I’m [only] accommodating to people because I know even the slightest bump is going to be magnified tenfold.”

The Guardian: “[He has an] ability to charm his way out of any given situation.”

Smith: “I’m actually very good at being mean, very skilled at finding your weakest spot and ramming an ice pick into it. I’m a laser-guided, intergalactic, space-molecular, air-dispersing module for finding that particular bull’s eye. … But I can be deadly.”

Smith: "The things that have been most valuable to me I did not learn in school. Traditional education is based on facts and figures and passing tests - not on a comprehension of the material and its application to your life."

Smith: "[Don't] make a situation more complex than it has to be."

Reader's Digest: "[He is] a man who can never seem to slow down."





Jepsen: "I'm ... free-spirited. Maybe a little too free-spirited."
Jepsen: "I like when the song starts to take over and you feel like you have to dance more than write."
Jepsen: "I always write what feels really true and honest and me."
Allure Magazine: "Jepsen is a candy-coated pinball bouncing off the walls at a ballistic pace."

Jepsen: "Keep your eye on the ball and don't expect that the second record is gonna be at all like the first record, and don't expect what's happening today is necessarily gonna be happening tomorrow."

Jepsen: "The music industry is never going to be like a stagnant thing. It's always constantly evolving, and I think as an artist, what I look at is the challenge [of] figuring out how much you wanna morph around and change and be compatible with like the new stages of what kind of causes growth for your career."

Jepsen: "I don't overanalyze a song when I'm listening to it. ... I think everyone can feel when … it's like a slam dunk first listen. You don't need to go back and get used to it for it to be good."

Jepsen: "I love the way [Carly Simmons] writes, which is very ... to the point; there is not a lot of metaphor to it. But I think it's really relatable and honest. And I love her fashion sense. ... I think that there's something really beautiful about that honesty. But also, like a great jazz song, it doesn't need to be totally confusing for it to still be really potent. And I think that sometimes a really direct lyric can be just as powerful, if not more."

Jepsen: "Before anyone had heard [my album] Emotion, I had to kind of figure out how I felt about it and let that be the truth. And then it landed for me as just something really honest that I felt passionate about. I was really proud of it and happy to share it, but I felt like whatever happens now could go either way. ... I just don't want to feel like it couldn't have gone the other way and that would have changed my feeling of it."

Jepsen: "I know some performers ... got like this stage idea, [but] I feel like I'm just myself, and I'm myself performing, and I'm myself at home. And obviously, you get to be a little bit more theatrical and over the top when you're on stage, but that's a very sincere part of my personality."

Jepsen: "If you saw even the background leading up to getting any success in Canada, it was a long, sort of treacherous hike. ... Even when it wasn't working, I had no intention of giving up. I'll be like, 'Well, this will still be a fun adventure to try forever.'"

Jepsen: "I wanna keep touring. I wanna keep making music that's always like a 'what album can I make next' kind of feeling. It's just in my blood for sure, but I have a whole list of goals. I'm really excited about getting to shift direction at some point into the Broadway world. I don't know what that looks like, but that's always been a dream of mine - to kind of redirect focus into theater. But right now, I'm just enjoying getting to tour and celebrate this album."

Allure Magazine: "Carly Rae Jepsen is a candy-coated pinball bouncing off the walls at a ballistic pace in a Chinatown beauty store, making 1,000 observations a minute. ... Her eyes, manga-sized, scan a row of sheet masks printed with animal faces. Will you be a dog, the packaging asks, or will you be a cat? Jepsen considers her options for half a millisecond before moving on to her next quest."







"I think I just would have been more patient. You know, not rush into things. I was really impulsive, I was so impulsive. That's a blessing in some ways but a curse in many others." (Source: https://youtu.be/JUVkGptQfUs?feature=shared)

"You get skinned elbows, and bruised knees and the odd cut or sprain ... I do a certain amount of things, I enjoy doing it." (Source: https://youtu.be/73PZLMEGlwc?feature=shared)

"Specific plans, no, I've never done that " (Source: https://youtu.be/73PZLMEGlwc?feature=shared)

"You have to sort of be objective with yourself, yes, aware of yourself, because you are the instrument that you're playing, you use yourself in that way. ... But you do need an objective eye also of a director or an audience, I mean you need an audience, I like to present things to an audience." (Source: https://youtu.be/73PZLMEGlwc?feature=shared)

[Do you every carry the character home with you?]
"No, I'd hate to do that, imagine going home and shooting my wife. No, I don't have a problem with that at all. ... If I'm depressed well I go home very happy, if I did what I was supposed to do well, if I think I did, in my own opinion, if I felt satisfied with it. ... The division there is not difficult for me." (Source: https://youtu.be/73PZLMEGlwc?feature=shared)

"It keeps your mind busy but in a different kind of way, there's a certain cerebral thing, I mean you have to think about things that you do but it's not the same kind of stress, and there's a lot more physical ... When you're digging a ditch you're not thinking of Einstein's theory." (Source: https://youtu.be/D5dGj3lVQP8?feature=shared)

Michelangelo not ESFP

Britannica: “He led a mostly solitary life with few known intimate relationships.”

Gary Wilson: “He was never after the reality that the eye saw, rather he was chasing the ideal, the essence. What does a man’s spirit look like? What will your perfected physical appearance be through eternity? This was what Michelangelo was looking for: Spiritual proportions. Knowledge for Michelangelo was not an end in itself but a means to an end. Knowledge served the higher purpose of recreating the ‘true reality’ of the spirit man.”

Yiting Ge: “For Michelangelo, the arts and poetry expressed are praising a perfect world. It is believed that the ideal world is the real reality. Therefore, Michelangelo's artistic creation hopes not only to get rid of the shackles of the flesh and to move toward a more noble realm, but also hopes to show a perfect and harmonious spiritual world through artistic creation; it has deep philosophical contemplation, thinking about the universe and the soul. The questioning has great enthusiasm and perseverance. His philosophy pays more attention to the inspiration and neglects the external impression. He believes that matter is the blasphemy and prisoner of the spiritual world and it is necessary to obtain spiritual relief through tragic rebellion. The expression of neo-Platonism in Michelangelo's works of art is very common. The conflict between abstract speculation and artistic inspiration can often be seen in his works.”

Yiting Ge: “In general, the reflection of neo-Platonism in Michelangelo's works of art mainly reflectstwo aspects. On the one hand, Michelangelo believes that the ideal world is the real reality. The
opposite is the perceptual material world. Image, and all things are God's source, all levels under God are emulating the perfect character of the artist. In artistic creation and poetry creation, the
master pursues the highest perfection in the world of expression and chanting spirit, and this Anideal is also the ideological foundation of Michelangelo's neo-Platonic literary creation. On the
other hand, the impact of the small universe on Michelangelo’s influence is also very far-reaching.Michelangelo believes that artists can express the beauty of the concept world by depicting the sensual beauty of matter, while ‘man’ is the epitome of the universe, and it possesses reason. The soul, whether it is spirit, material or form, has reached a high degree of harmony, so Michelangelo is very obsessed with body art and pursues the noble realm of expressing his spirit with his body and strength throughout his life; but he also knows that only The soul was freed from the imprisonment of materialism to achieve the spiritual noble level. Therefore, the consciousness of the soul of reason in Michelangelo's later works is more and more obvious. Although Michelangelo hopes to achieve spiritual breakthroughs through artistic creation, he also hopes to reflect spiritual perfection and harmony through a perceptual beauty world. This seemingly contradictory proposition is precisely what Michelangelo formed about neo-Platonicism. With his unique insights and experiences, he hopes to find himself through the abstract idea of beauty and appreciate the pure beauty that people think of. Therefore, Michelangelo accurately interprets the human body and strives to accurately express the beauty of harmony. Through the methods of distorting and deforming, he expresses the symbolic meaning of the soul and gives his works more strength and soul reason.”

Yiting Ge: “Mentioned above, influenced by neo-Platonicism, Michelangelo hopes to be fully expressed through the beauty of art and eulogizes mankind with a rational soul. Michelangelo showed a strong neo-Platonism ideology, with the guiding ideology of ‘self-concentration of the soul and self-contemplation’. Drawing characters often have tension and torsion that are radiated from the inside out, and the soul has to get rid of matter. For example, Michelangelo's earlier representative painting ‘The Holy Family’ in his early paintings, Vasari referred to him as ‘a very fine and perfect work.’ The work was created by Michelangelo on the commission of Angelo Toni in 1503. As a traditional theme, it mainly depicts the Virgin, St. Joseph and the baby Christ, but in this work the three religious images are completely The way in which ordinary folk figures are presented shows that the work is a carpenter's family and reflects a secular and harmonious scene through the dramatic combination of three characters. The work uses a pyramidal composition, which is stable, powerful, compact and harmonious. The Virgin Mary sits back and highlights the spatial sensation of the characters before and after. The location of St. Joseph and the Holy Child is slightly higher, making the picture more layered. According to Michelangelo’s understanding of the beauty of the human body, it depicts the strong and powerful characters of the family. Even the nude young people in the background can see that Michelangelo’s fascination with body changes can be seen in Michelangelo’s Words, the human body is the best way to express beauty. Whether it is a meticulous external image or a coherent action performance, or the inner state of a character, is Michelangelo's display of beauty. This beauty is not only the beauty of the senses, the beauty of matter, but also the rational behind the balanced formal beauty. In Michelangelo China and the United States were endowed with infinite power, and Michelangelo integrated physical beauty and spiritual beauty in the human expression of reality.”

UK Disability History Month: “The artist was aloof and a loner. The artist’s mentor described Michelangelo as being unable to make friends or to maintain any relationship. He did not attend his brother’s funeral, which underlined ‘his inability to show emotion,’ writes Arshad.”

UK Disability History Month: “He was obsessed with work and controlling everything in his life — family, money, time. Loss of control caused him great frustration.”

Muhammad Arshad: “Michelangelo met the criteria for Asperger's disorder, or high-functioning autism. The evidence relates to his single-minded work routine, unusual lifestyle, limited interests, poor social and communication skills, and issues of life control.”

Getty: “Unlike most Renaissance artists, who learned about the human body from ancient sculpture and live models, Michelangelo participated in dissections. According to his acquaintance and biographer Ascanio Condivi, the artist first examined corpses in the convent of Santo Spirito in Florence when he was in his late teens. Michelangelo’s interest in anatomy did not extend to the organs but focused on the muscles and bones. His surviving anatomical drawings, like the ones exhibited here, attest to his thorough understanding of certain muscles, especially those of the limbs. The dissections enabled Michelangelo to grasp how the surface and contour of the body change when one moves. This knowledge was crucial for the creation of his renowned heroic nudes.”

Getty: “Michelangelo often drew the same form from various angles and introduced models made of clay, wax, or wood into his process, which enabled him to test his ideas in space.”

The British Museum: “After establishing the fresco's overall composition, Michelangelo worked out on paper the details of every figure in his complex design. Using a life model, he carefully explored each of the poses in studies full of the anatomical information he would need when painting. In time, Michelangelo made additional drawings of the heads and hands he tentatively sketched in.”


Fictional ENTP traits: Fictional ENTPs tend to exhibit a cynical and often abrasive exterior, frequently employing wit and intellect to navigate a complex or flawed world. They may struggle with conventional morality or social norms, operating by their own code or a perceived higher understanding. This group generally embodies a cynical and highly intelligent demeanor, often questioning authority and societal norms. They possess sharp wit and a tendency towards unconventional problem-solving, frequently operating outside established rules. There's a underlying current of detachment, sometimes masking deeper vulnerabilities or a sense of disillusionment.

Fictional ENTJ traits: A driving ambition and a ruthless pursuit of power or a specific goal generally characterize ENTJs in fiction. They are often willing to make significant sacrifices, including those of others, to achieve their objectives, demonstrating a formidable and often intimidating presence. The individuals in this group are largely driven by ambition and a desire for control and power. They can be ruthless and calculating, often prioritizing their goals above the well-being of others. A strong will and a formidable presence are common threads, sometimes coupled with a sense of past grievance or a need for dominance.

Fictional INTJ traits: Fictional INTJs are often defined by their intense focus and intellectual prowess, sometimes to the exclusion of social or emotional considerations. Their pursuits can lead them down dark or morally ambiguous paths, driven by a deep-seated conviction or a perceived necessity. This group is characterized by intense focus, often bordering on obsession, particularly in the pursuit of knowledge, a specific goal, or a hidden agenda. They possess significant intellect and a capacity for complex planning, but their methods can be morally ambiguous or outright dark. There's a sense of being consumed by their internal world or overarching objectives.

Fictional INFP traits: A sense of displacement or a struggle with the norms of their environment is common within fictional INFPs. They may hold onto strong ideals or exhibit a vulnerability that sets them apart, sometimes leading to tragic or isolated circumstances. This group comprises individuals who often feel out of step with their surroundings or societal expectations. They may possess a deep sense of conviction that puts them at odds with the prevailing culture. There's a vulnerability and a potential for being easily overwhelmed or manipulated, yet they can also exhibit surprising resilience or a fierce adherence to their beliefs.

Fictional ESTJs: A diverse group, these individuals often possess strong convictions and can be quite assertive in their interactions. They may display a sense of a strong will that can come across as abrasive or uncompromising. While some may outwardly project confidence and control, others might grapple with internal turmoil or a struggle for dominance or acceptance. They can be driven by a clear set of beliefs, goal, rigid worldview and maintaining order, which can lead to conflict. While some exhibit a stern or controlling nature, others channel their intensity into fierce loyalty and a protective instinct towards those they care about.

Fictional ISTJs: A sense of reservedness, cautiousness, and a somewhat pragmatic approach to life are central to this group. They often value order, efficiency, and a degree of control over their environment or interactions. While they may not always openly display their emotions and appear on the surface stoic, formidable, or even detached, there is an underlying depth and a commitment to their responsibilities or personal codes, a strong sense of responsibility and a commitment to their values or those they protect. Knowledge and a no-nonsense attitude are frequently observed traits. 

Fictional ISFJ traits: Reliability, steadfastness, and a quiet competence are key traits in fictional ISFJs. They are often supportive, loyal, and grounded individuals who provide a sense of stability and reason to those around them. They often possess a nurturing quality and prioritize the well-being of others. Their impact is often felt through their steadfast support and unwavering dedication.

Fictional ESTP traits: Fictional ESTPs shares a tendency towards being highly adaptable, resourceful, and often charismatic. They navigate their circumstances with a blend of bravado, charm, and sometimes questionable methods, frequently operating in shades of gray. This is a highly dynamic and varied group, generally characterized by a sense of charm, adaptability, and a willingness to bend or break rules to achieve their desires. They often possess a certain roguishness or a flair for the dramatic. While some are driven by self-interest, others may operate with a more fluid morality, capable of both questionable actions and surprising moments of loyalty or genuine affection. There's a common thread of navigating the world through wit, manipulation, or sheer force of personality.

Fictional ISTP traits: Fictional ISTPs are characterized by a often solitary nature. They are highly capable individuals who operate independently and often possess specialized skills, operating effectively in dangerous or challenging environments. There's a sense of self-possession and a tendency towards independence, sometimes bordering on aloofness. They are often formidable in their respective areas and tend to be resourceful and resilient.

Fictional ESFP traits: Fictional ESFPs is generally marked by an enthusiastic, often naive, and sometimes chaotic approach to life. They tend to be driven by immediate impulses, emotions, or a desire for connection and excitement, often bringing a lively energy to their surroundings. This group is marked by their enthusiastic, often impulsive, and sometimes naive approach to life. They are generally cheerful, friendly, and enjoy connecting with others. While they may not always be the most strategic or intellectual, their optimism and genuine desire for fun and connection often see them through various situations. There's a strong sense of loyalty to friends and a tendency to embrace life's experiences with open arms.

Fictional ISFP traits: This group gives off a more grounded and perhaps introspective aura. While they may have moments of strong emotion or action, there's an underlying sense of thoughtfulness and a connection to their values or surroundings. They might navigate the world with a blend of resilience and a touch of idealism, often showing a capacity for deep care and loyalty. They "live and let live" and tend to go with the flow, not seeking to impose themselves onto other people.


Explain the general personality each group without going to the specifics of each character but also know the characters traits like just don't put them in the text:

1
 * Stéphane (The Science of Sleep)
 * Jonathan Larson (tick tock boom)
 * Anne Shirley
 * Hu Tao (Genshin Impact)
 * Nahida (Genshin Impact)

2
 * SpongeBob
 * Candace (genshin impact)
 * Leslie Knope









 First off: this is a *serious* argument. Not vibes-typing, not quote-mining in the sloppy way—this is a structurally coherent case that act...