Beta Quadra Movies and Themes

**Iris** · 11-30-2014, 02:14 AM

Originally Posted by Eliza Thomason

I have seen this for other Quadras so I am curious about yours.

My SLE son enjoyed this:

I am not a huge Mel Brooks fan, although I liked Young Frankenstein and The Producers. His movies are usually too over the top for me.

I liked Ghostbusters with Murray and Moranis, and I liked Galaxy Quest, which could be considered similar (take off on serious sci-fi.) But the humor in Spaceballs is just too broad.

Two of my Ne-valuing friends love Spaceballs. I would not consider it a Beta movie. That's not to say that some Betas wouldn't like it.

**Mega** · 12-21-2014, 08:20 PM

Megan Fox is hot, she switches make up between action scenes.

The four turtles are a representation of the beta quadra. I got the red one SLE-Se e8; blue LSI-Ti e1; orange EIE; purple IEI

**Reficulris** · 12-21-2014, 08:45 PM

Originally Posted by Mega

Megan Fox is hot, she switches make up between action scenes.

The four turtles are a representation of the beta quadra. I got the red one SLE-Se e8; blue LSI-Ti e1; orange EIE; purple IEI

Obviously, they're Delta's, badass moves, their sensei looks like a Giraffe in disguise! You're all wrong about this!

*runs screaming out of beta while he's being chased by VERY angry ninja turtles and their sensei!*

**Mega** · 12-21-2014, 08:58 PM

Originally Posted by Reficulris

Obviously, they're Delta's, badass moves, their sensei looks like a Giraffe in disguise! You're all wrong about this!

*runs screaming out of beta while he's being chased by VERY angry ninja turtles and their sensei!*

Should I click Constructive post?

**The Martrix** · 01-07-2015, 07:33 PM

Originally Posted by Mega

Megan Fox is hot, she switches make up between action scenes.

The four turtles are a representation of the beta quadra. I got the red one SLE-Se e8; blue LSI-Ti e1; orange EIE; purple IEI

NO, NO AND THRICE NO! Michael Bay has no place in my Quadra

**Vers** · 01-20-2015, 12:30 PM

Bakemonogatari is an anime series with avant garde aesthetics - very self-indulgent and self-aware, very dialogue heavy (the arguing of semantics and ideology just for the sake of it a lot of the time), constant symbolism, narrator's imagination bleeding into the narrative, etc. The two characters in the video are Beta NF types.

**strrrng** · 01-25-2015, 03:01 AM

philip seymour hoffman plays an EIE pretty convincingly, joaquin phoenix some Se-dominant (probably SLE). not a movie about cults...

**strrrng** · 02-01-2015, 08:38 PM

this film is decidedly beta, in a somewhat divergent, tastefully eccentric way. it deals mainly with the meaning of theatrical substance and what artistic integrity really encompasses, slightly less so with how people fall into the roles they do. definitely worth it.

**wacey** · 02-01-2015, 09:34 PM

@strrrng

I saw this movie and I absolutely loved it. It is so different from all the other cookie cutter garbage hollywood pumps out (ie: American Sniper ). I grew up in theatre and have been in many productions and I can say this is definitely how things works backstage. There is a breeziness and a certain irrelevance theatre people have that is very grounded and earthy to me. The fantastical parts of the film only serve to highlight the realistic absurdities of the drama. It reminded me of the short story Very Old Man with Enormous Wings by Garcia Marquez, which also had fantasy elements that served as an allegory to the death of the Catholic church during the industrial revolution. In the movie, the fantasy elements showed the symbolic significance of the main protagonists inflated sense of self-worth. He battled with this aggrandized version of himself and eventually succumbed to his ego, which he came to the conclusion needed to be destroyed. Both the fantastical elements and the realistic neuroses each character brought to the story blended well together and made the movie more-or less effective as an allegory about the homogenized American pop-cultural psyche and the inevitable emptiness a man faces at the end of his career.

In execution the free flowing "one take" camera pans are just phenomenal and this film technology allowed the director to use this technique in ways that have never been seen before on film and I am looking forward to what directors do with this medium now. I had no expectations when I went to see this film and about 5 minutes into it I was just hooked. It was like watching a real life play, with characters moving on and off the stage with phenomenally executed performances with plenty of dark humour scenarios and dialogue.

I'm glad someone has put it into a quadra, I would say though, that quadra progression into gamma should also be considered. I can't really articulate why, maybe the robust and bawdy relationships between some of the actors that I associate with gamma SF / Se in general and open sexuality.

**strrrng** · 02-01-2015, 11:27 PM

Originally Posted by wacey

@strrrng

I saw this movie and I absolutely loved it. It is so different from all the other cookie cutter garbage hollywood pumps out (ie: American Sniper ). I grew up in theatre and have been in many productions and I can say this is definitely how things works backstage. There is a breeziness and a certain irrelevance theatre people have that is very grounded and earthy to me.

I don't have any experience in theatre, but going off of some things I've seen (mainly an amanda palmer interview lol, where she and her friends are fucking around before a show), I can say I agree with you. what I liked about this film was how the backstage activity was neither too blithe nor too businesslike; people got things done but still maintained a rapport -- one which never overstepped the bounds implied by the context they were all operating within.

The fantastical parts of the film only serve to highlight the realistic absurdities of the drama.

yeah... this is why I feel the ending is so great, and a perfect complement to the beginning.*

*

It reminded me of the short story Very Old Man with Enormous Wings by Garcia Marquez, which also had fantasy elements that served as an allegory to the death of the Catholic church during the industrial revolution. In the movie, the fantasy elements showed the symbolic significance of the main protagonists inflated sense of self-worth. He battled with this aggrandized version of himself and eventually succumbed to his ego, which he came to the conclusion needed to be destroyed. Both the fantastical elements and the realistic neuroses each character brought to the story blended well together and made the movie more-or less effective as an allegory about the homogenized American pop-cultural psyche and the inevitable emptiness a man faces at the end of his career.

see, I feel like his "inflated sense of self-worth" was almost secondary. granted, his ego did in ways haunt him throughout the film, but it was more subtle, indirect, and insidious, not purely narcissistic or annoyingly grandiose in a house-esque way. in other words, I saw a deeper need for some kind of self-resolution in him, which was comically illustrated by his running through the streets in his underwear; he was stranded from his own play... or whatever. I definitely agree that destruction was a part of this process, but just don't think that it was purely a matter of him coming to terms with his emptiness; granted, when he takes the bandages off in the hospital and looks at himself in the mirror, with birdman sitting on the toilet, he comes face to face with himself in a purely existential sense, on both a literal and metaphorical level, but precisely because of this confrontation I think something more transcendent is alluded to, an unspoken substance that stayed with him long after he played birdman and aided in the progression he experienced developing the play.

and yeah @ "homogenized American pop-culture psyche"

In execution the free flowing "one take" camera pans are just phenomenal and this film technology allowed the director to use this technique in ways that have never been seen before on film and I am looking forward to what directors do with this medium now. I had no expectations when I went to see this film and about 5 minutes into it I was just hooked. It was like watching a real life play, with characters moving on and off the stage with phenomenally executed performances with plenty of dark humour scenarios and dialogue.

yeah... I remember thinking about the efficacy of the camera techniques in the scene where it basically pauses on a still shot of the hallway for a good 5-10 seconds, and then gradually phases in the dialogue. overall it did a really good job of balancing minimalism with capturing substance and conveying the necessary information, in an almost lateral way.

I'm glad someone has put it into a quadra, I would say though, that quadra progression into gamma should also be considered. I can't really articulate why, maybe the robust and bawdy relationships between some of the actors that I associate with gamma SF / Se in general and open sexuality.

idk... it seemed pretty purely beta to me. I guess one could make the case for SOME gamma undertones, but overall it lacked the emotional self-containment and understated starkness in both plot and character expression that most gamma movies possess.

also, I thought riggan was an LSI (initially considered EIE but he wasn't emotionally composed enough imo), mike an EIE and riggan's daughter an SLE.

**wacey** · 02-02-2015, 12:11 AM

Originally Posted by strrrng

I don't have any experience in theatre, but going off of some things I've seen (mainly an amanda palmer interview lol, where she and her friends are fucking around before a show), I can say I agree with you. what I liked about this film was how the backstage activity was neither too blithe nor too businesslike; people got things done but still maintained a rapport -- one which never overstepped the bounds implied by the context they were all operating within.

The movie amplifies the farcical aspects of the theatre microcosm where on one hand you have actors plumbing the depths of the human soul and trying to engage each other convincingly enough to elicit genuine emotional resonance for the plays scenes and in the same 10 feet you have stage hands profanely hammering a set piece together and the costume designer pulling together a costume from scraps. Theatre is very Te behind the curtain, where actors are just a small part of the equation. Actually it all feels like a giant game when you are in the thick of it. As a metaphor it works quite nicely with real life, where most of the drama is a sort of game and the people in it are actors. This is illustrated in the movie as the space where real world and theatre world met happens when Birdman escapes the stage and goes drinking for the night. The man on the street literally screams out a central controlling theme for the movie, “All the world is a stage and all its people merely players”. Of course this is also an example of some of the dark humour in the film.

the beginning is this meditative, semi-surreal introduction, almost inoculation in its stillness, accentuated and counterbalanced by his comment about how the place "smells like balls." and this runs throughout the film, it's like the characters just spontaneously mesh with each other, which you see expressed nicely in the early scene where the two people are arguing about love, break briefly to ask riggan's opinion, and then resume arguing with him participating. there is a nice surreal balance between reality and unreality, ego and other, behind the scenes and act, which always respects the fourth wall and character development; and it's almost as if because there is no purely set reality, it can't even be said to be virtual, but rather in its own realm...

And see, this is a very Gamma way of interacting with the world from how I view it. There is a certain engaged participation that is anything but ostentatious with gammas. Freedom and dominion are themes that run with gammas and basically they want to be themselves and move unhindered by mean egotism. Conspicuous interaction is what much of this movie portrays. This is very gamma. I Agree totally with you though, that overall I think this movie, characters, theme are quite Beta. Maybe I'm looking at it from a supervision-ring perspective, where-by I can empathize with the themes and approaches in the film.

see, I feel like his "inflated sense of self-worth" was almost a side-story. granted, his ego did in ways haunt him throughout the film, but it was more subtle, indirect, and insidious, not purely narcissistic or annoyingly grandiose in a house-esque way. in other words, I saw a deeper need for some kind of self-resolution in him, which was comically illustrated by his running through the streets in his underwear; he was stranded from his own play... or whatever. I definitely agree that destruction was a part of this process, but just don't think that it was purely a matter of him coming to terms with his emptiness; granted, when he takes the bandages off in the hospital and looks at himself in the mirror, with birdman sitting on the toilet, he comes face to face with himself in a purely existential sense, on both a literal and metaphorical level, but precisely because of this confrontation I think something more transcendent is alluded to, an unspoken substance that stayed with him long after he played birdman and aided in the progression he experienced developing the play.

Totally agree with you, it was a side-quest that overall had something to say about the world at large. It was also only a fraction of the overall equation in Birdman's character arc and necessary for the viewer to understand Birdman's central epiphanies and realizations.

and yeah @ "homogenized American pop-culture psyche"

aha, you like that? I don't always believe my own bs, but sometimes its just fun.

yeah... I remember thinking about the efficacy of the camera techniques in the scene where it basically pauses on a still shot of the hallway for a good 5-10 seconds, and then gradually phases in the dialogue. overall it did a really good job of balancing minimalism with capturing substance and conveying the necessary information, in an almost lateral way.

Very much what a good play tries to do, with the central themes, setting, characterization and plot driving the story in a minimalist way.

idk... it seemed pretty purely beta to me. I guess one could make the case for SOME gamma undertones, but overall it lacked the emotional self-containment and understated starkness in both plot and character expression that most gamma movies possess.

I hear what you are saying. This is going to sound weird, but maybe its the "theatre" itself that is gamma, and the betas are moving throughout it. There is a common misconception that gammas are wholly judgmental of beta antics. Perhaps its the Ni/Se/Fe/Fi I'm seeing, and why I originally said I think there is some quadra progression to a more stable framework.

**strrrng** · 02-02-2015, 12:36 AM

Originally Posted by wacey

The movie amplifies the farcical aspects of the theatre microcosm where on one hand you have actors plumbing the depths of the human soul and trying to engage each other convincingly enough to elicit genuine emotional resonance for the plays scenes and in the same 10 feet you have stage hands profanely hammering a set piece together and the costume designer pulling together a costume from scraps. Theatre is very Te behind the curtain, where actors are just a small part of the equation. Actually it all feels like a giant game when you are in the thick of it. As a metaphor it works quite nicely with real life, where most of the drama is a sort of game and the people in it are actors. This is illustrated in the movie when the plane where real world and theatre world met happens when Birdman escapes the stage and goes drinking for the night. The man on the street literally screams out a central controlling idea for the movie, “All the world is a stage and all its people merely players”. Of course this is also an example of some of the dark humour in the film.

from what you say, it seems that theatre's functionality -- the game's rules -- is Te, whereas its "color" -- the game's action -- is Fe.

I basically think the essence of the film was the emphasis on the illusory divide between real and unreal, between behind the curtains and act. this is why he both flew and committed suicide, he had to both die and transcend. overall I find this to be an extremely refreshing and original take on a more modern perspective on reality; somewhere between showcasing the substance behind the 'desert of the real' and tapping into the parallel universes QM informs us of.

what I was thinking was how, in this light, the act is more real than the reality; and precisely because there is no reality, can a more fundamental component to the act be said to be real. so it cuts both ways. I think the act meets with reality in the film on multiple occasions... what that guy said is true, but in light of the film's commentary, it's almost as if the world isn't just a stage, we're not dealing with an acting populace supported by a background chorus; I would sum it up by saying the actors themselves in some way transcend what would otherwise be a neutral platform. this is also partly where I see beta > gamma for the film.

And see, this is a very Gamma way of interacting with the world from how I view it. There is a certain engaged participation that is anything but ostentatious with gammas. Freedom and dominion are themes that run with gammas and basically they want to be themselves and move unhindered by mean egotism. Conspicuous interaction is what much of this movie portrays. This is very gamma. I Agree totally with you though, that overall I think this movie, characters, theme are quite Beta. Maybe I'm looking at it from a supervision-ring perspective, where-by I can empathize with the themes and approaches in the film.

idk... both betas and gammas have a certain engaged interaction that generally manifests more intensively than what you get with alphas and deltas, but gammas tend to remain in their element and ensure optimal functionality. if anything this would only pertain to a kind of behind-the-curtain logic that was illustrated, not so much the interactions and antics of the characters, which were pretty fittingly ostentatious in a way I can only see making sense with beta.

freedom and dominion are definitely gamma themes, but I don't see the gamma emotional independence here; rather I see an array of characters falling into different roles and building on each others' energy in a more implicitly collective way.

the egotism thing cuts both ways. gammas want to be unfettered by mere egoistic concerns, but always refer back to a paradigm defined by their ego, both out of pragmatic necessity and moral urgency. I don't see the self being as individually pronounced here as it would be in a gamma film (think trainspotting, which has some vague collective beta undertones, but which ultimately centers on the somewhat chaotic journeys of each character, and the making away of the protagonist -- who is an IEI -- at the end).

I don't see how conspicuous interaction is gamma. again I think this relates more to Ni/Se than Ne/Si, where interaction is more indirect and balanced, but what you get here is pure flair and insanity, there's nothing keeping it emotionally in check, which I feel is a more prominent theme in Fi-valuers.

Totally agree with you, it was a side-quest that overall had something to say about the world at large. It was also only a fraction of the overall equation in Birdman's character arc and necessary for the viewer to understand Birdman's central epiphanies and realizations.

yeah, this is pretty much why I feel like the ending scene is genius. he "has a new nose," which I took to be commentary on modernized malleability ("and if he doesn't like it, he can get another"), which only amplifies the fundamental sense of unadulterated reality you get when he looks in the mirror -- precisely because he sees a normal face. so it was both something slightly extra and ultimately fitting that birdman was on the toilet -- precisely because he didn't need to be there, did he manifest.

I hear what you are saying. This is going to sound weird, but maybe its the "theatre" itself that is gamma, and the betas are moving throughout it. There is a common misconception that gammas are wholly judgmental of beta antics. Perhaps its the Ni/Se/Fe/Fi I'm seeing, and why I originally said I think there is some quadra progression to a more stable framework.

yeah, I think this generally accords with what I thought above.

**normal** · 02-27-2015, 10:14 PM

Ikuhara's work (Utena, Mawaru Penguindrum, Yurikuma). has strong Ni+Fe elements. People compare him with David Lynch for a good reason.

**xerx** · 03-08-2015, 06:30 AM

**suedehead** · 03-14-2015, 06:59 PM

I think the narration on this show is from a Beta>Alpha perspective, lol.

**silke** · 07-14-2015, 04:50 AM

Kin-dza-dza -- Beta-themed 1986 Soviet dystopian sci-fi film.

Vladimir Nicholaevich/Uncle Vova - LSI-Se
his friend and co-planetary system traveler Skripach (Violinist) Gedevan - IEI-Fe
Pepelats pilots - SEI and LII

for english subtitles, scroll over the video and click on CC at bottom right corner

The film is set in 1980s Moscow. Standing right in the city centre on Kalinin Prospekt, a barefoot man dressed in a tattered coat appeals to anyone with a strange request: "Tell me the number of your planet in the tenture? Or least the number of your galaxy in the spiral?". Random passers-by, two Soviet citizens previously unknown to each other ("Uncle Vova", a gruff construction foreman from Moscow, Vladimir Mashkov, and a "violinist", a student from Georgia, Gedevan Aleksidze), start a conversation with him, during which the stranger shows them an alien teleportation device – "traveller". The foreman Mashkov holds out his hand to the device and, despite the stranger's warnings, presses a random button. Suddenly Uncle Vova and the violinist find themselves alone on the desert planet "Pluke" in the "Kin-dza-dza" galaxy. From that point on, the movie describes their long quest to find a way back home.
The natives of the planet appear human, with deceptively primitive-looking technology and a barbaric culture, which satirically resembles that of humans. They are telepathic; the only spoken words normally used in their culture are “ku” (koo) and “kyu” (kew), the latter being a swear word. However, the Plukanians are able to quickly adapt to understand and speak Russian (and Georgian too). The society of Pluke is divided into two categories: Chatlanians and Patsaks. Chatlanians are privileged, and a system of rituals must be followed by the Patsaks to show flattery. The difference is ascertained only by means of a small handheld device (visator), similar to flash drive in appearance; when pointed at a member of one group, an orange light on the device comes on; when pointed at a member of the other group, a green light comes on. It is also noted that the social differences between Patsaks and Chatlanians are not constant: Pluke being a Chatlanian planet, they are privileged there; but there are Patsak planets where Patsaks hold the upper hand and Chatlanians are subservient. Wef and Bi switch their social roles immediately and without any problems when visiting one such planet.
The only group allowed to use weapons (“tranklucators”) and enforce their will is the ecilops ("police" spelled backwards). The nominal leader of the Plukanian society is named Pezhe; everybody makes their best to display fervent worship to him and disrespect is severely punished; but, when encountered in person, Pezhe appears harmless and dumb. The fuel of Pluke is called luts and is made from water. All naturally present water has apparently been processed into luts, so drinking water is a valuable commodity (in fact, it can only be made from luts).
A good deal of the plot is based on the fact that ordinary wooden matchsticks (ketse) (or, rather, the chemicals of the match head) are considered to be extremely valuable on Pluke.
After finally returning to Earth, Mashkov and Gedevan are going through the same thing as in the beginning, but none of them remember what happened. They are standing at the same place that they first met, and a passing tractor with an orange flashing light reminds them of the ecilops. They both reflexively squat and say, "ku!". They immediately recognize each other. Uncle Vova, looking at the sky, hears the sound of a song performed by Wef and Bi.

**Sol** · 07-18-2015, 01:55 PM

Death Wish (1974)

**lynn** · 07-21-2015, 03:53 PM

duelist (2005) from the korean director lee myung-se (who's INFp)

nam soon - SLE
sad eyes - IEI

**lynn** · 07-31-2015, 05:42 PM

the korean tv series "evasive inquiry agency". it's a comedy/murder-mystery/treasure hunt show with an so/sx slant (probably?). it gets interesting in episode 7-10, or so, when things get psychological and the plot shows its true colours (the humourous episodes at the beginning were a bit difficult to get accustomed to, for me^^ )
EvasiveInquiryAgency1.jpg

the main characters are a mix of beta and gamma.

slacker comic shop owner- IEI
the psychic, with aspirations to become an actress (+ HA to get rich): EIE
a gangster LSI, who appears a bit later in the story, to shake things up.
the rich girl is probably ILI (Te-polr)
and i still can't type the taekwondo guy ... SEE?! ...

LSI being ridiculously cool, lol:

**Deerhawk** · 08-08-2015, 08:09 PM

As Good as It Gets with Jack Nicholson. SLE-IEI duality. Nicholson's SLE-ness is particularly obvious. I found this film way more enjoyable than most romantic films because the romance felt 'real'. The kind of romance that could happen in real life.
Kick-Ass
The Fall with Lee Pace
Far from the Madding Crowd. With Carey Mulligan - IEI and ISTj
Silver Linings Playbook - I think they're IEI and SLE in real life too.

**Sol** · 08-08-2015, 10:52 PM

Ultimo tango a Parigi (1972)

Marlon Brando - ESTP
Maria Schneider - INFP

Jack Nicholson - ESTP, agree

**Kill4Me** · 09-05-2015, 10:55 PM

Bridget Gregory....SLE-Ti 8w7-5w4-3w4 sx/so

notice the way that she licks the money at 1:00. the money is triggering a sexual experience. for sp/so 8w7, money is just a means for satisfaction...it wouldn't cause them to act out sexually like that. being greedy is more than just self-preservation for bridget, but makes her want to fuck.

In the first minute of the below clip, you can see her employing the sx/so shapeshifting. after she slams the door she cracks up in laughter. She's played a part to get the reaction out of Mike that she needs to further her con game. all 8w7s have a sp-cast, but the shapeshifting is the key difference between sx/so and other stacks. she's also got the sx-first addiction to risk, but more so than sx/sp. Mike is a hugely pussy-whipped INFj 2w3 sx/so, and tries to teach Bridget morals while at the same time lacks the Se to toss her in front of a bus.

"you want to live bigger there's nothing you woulddn't kill for."

Bridget is a great anti-feminist character. She's more masculine than those grossly obese fem-nazi quacks like andrea dworkin, but yet she relishes in what a whore she can be and has no qualms about using her pussy to make people do what she wants, which is exactly what feminism tried to shame women out of doing. tsk tsk

**Kill4Me** · 09-06-2015, 06:23 PM

Alonzo....SLE-Ti 8w7 so/sp

Hoyt is INFj 3w4 sp/sx. Alonzo's conflictor.

Roger is an eie 7w6 sp/sx.

Dr. Dre's character is IEI 6w7 sx/sp. Alonzo's dual.

Denzel Washington is a 3w4 LIE. Alonzo is a male version of Nancy Grace.

**Kill4Me** · 09-18-2015, 04:04 PM

Stanley Kowalski....SLE-Ti 8w7 sx/sp

Mick Philpott is how the fictional Stanley Kowalski would be in real life.

archiving and debating are the two most prominent behaviors in so/sp....use them to distinguish sx/sp from so/sp.

**Sol** · 09-20-2015, 10:09 AM

This is beta!

Originally Posted by Kill4Me

use them to distinguish sx/sp from so/sp.

It's not Jung's types to use here.

**wacey** · 09-20-2015, 05:37 PM

Originally Posted by Kill4Me

Stanley Kowalski....SLE-Ti 8w7 sx/sp

Mick Philpott is how the fictional Stanley Kowalski would be in real life.

archiving and debating are the two most prominent behaviors in so/sp....use them to distinguish sx/sp from so/sp.

Haha, I realize this is just an illustration. Damn SLE just don't know how to use their words sometimes.

**Kill4Me** · 09-23-2015, 01:34 AM

Pimp Fast Black....SLE-Ti 8w7 sx/sp

**marooned** · 10-02-2015, 03:54 PM

michael & gabriel in syfy 'dominion.' (LSI & EIE imo) i can't find a video clip, it just kind of dawned on me. there aren't really singular moments that demonstrate it.

**Kill4Me** · 10-09-2015, 04:34 AM

Lisa....SLE-Se 8w7 so/sx

daisy is EII 3w4 sx/sp.

Mcmurphy...SLE-Se 8w7 so/sx

the doctor is ILI 6w5 sp/so

**Kill4Me** · 10-09-2015, 04:36 AM

Hai Tien (played by bruce lee)...SLE-Ti 8w7 sp/so

Real life counterpart...Jack Dempsey

**Kill4Me** · 10-09-2015, 04:39 AM

Tyler Durden....SLE-Ti 8w7 sp/sx

Real life counterpart...Otep Shamaya

**Kill4Me** · 10-09-2015, 04:40 AM

Jimmy Jump....SLE-Ti 8w7 sx/so

Real life counterpart....Ricardo Mayorga

**ScarlettLux** · 10-09-2015, 04:45 PM

Originally Posted by Kill4Me

Tyler Durden....SLE-Ti 8w7 sp/sx

Real life counterpart...Otep Shamaya

She really reminds me of my SLE female friend ... so strong and confident... My friend has that slight tom-boyish thing that I find comes naturally to SLE females despite also being beautiful, straight, etc.

What I noticed is that SLE-Ti usually come across a bit more cold at first, .. kinda business like.. but they're really seeking

from others! They don't know how to provide it/uncomfortable with being too gushy but love it when others do it... Like emojis and stuff

**Kill4Me** · 11-10-2015, 03:22 AM

Ginger (Casino)...SLE-Se 7w8 sx/sp

De Niro's character is ILI 1w9 sp/so.

Sonny (Bronx Tale)....SLE-Ti 8w9 so/sx

the head biker is SLI 6w5 sx/sp

Vincent (Godfather III)....SLE-Se 8w7 so/sp

Henry Hill (goodfellas)....EIE 7w8 sx/so

the neighbor is ESI 1w9 sp/sx