#not even anger. not even resentment. she's brutally cold and i think it's neat

[warmothered]

i just think the difference in how they go about killing each other is neat

[enneagramspam]

ISABEL LOVELACE

8w7

“Don't die. Be a big girl, and don't die.“

Isabelle Lovelace is a textbook Eight; as a Captain, she is authoritative, resourceful and strong-willed, but also prone to domineering and confrontational behaviour. Upon her return to the Hephaestus, she demonstrates the ruthless, authoritarian streak of a deeply disintegrated Eight, but over the course of the series she is able to integrate back into a healthier Eight, a heroic figure who is genuinely able to protect her crew. 

Basic Fear: Of being harmed or controlled by others

“Oh, I'm not following one of your orders? Gee, must be Monday…”

In comparison with the rest of the cast, who grow to reasonably distrust Goddard after betrayal, Lovelace has never been good with authority of any kind; it’s simply a facet of her personality. This is made clear in Greensboro;

“There's been times when I haven't seen eye-to-eye with my superior officers. Like all those times they gave me stupid orders. On those occasions, I was inclined to carry out my orders with a bit of... creativity.”

Lovelace remains her own ultimate authority, following orders only when they suit her, and as such, she is not truly beholden to them at all. Interestingly, there are pages of glowing testimonials from those who served under Lovelace, while those above her in the chain of command found her to be disobedient and punished her as a result; being a good leader and a bad follower isn’t at all uncommon for an Eight. 

Lovelace takes great pride in her independence, and expresses contempt for those that, in her eyes, allow themselves to be controlled, particularly her rules-obsessed second in command Officer Lambert, who effectively represents this basic fear- she calls him “an asinine teacher’s pet,” and repeatedly admonishes him for a lack of “a mind of his own,” even ridiculing him in front of the rest of her crew. Lambert is in fact the perfect foil to Lovelace, because while he is endlessly obedient to Goddard, he repeatedly undermines her, as Hilbert observes;

“You are perhaps needing someone who... questions superior officer? Who does not immediately do what is told? Who will fight for what they think is right way of doing job?”

Taking all this into account, it’s no wonder Lovelace dislikes Lambert so much when he both represents the control she so fears and the disobedience she cannot tolerate. The anger he provokes causes her to slip into the role of the intimidating Eight, which causes some friction with the rest of her crew, who describe her as “scary,” and observe that her personality is fundamentally combative; “she’d be bored without something to fight against.”  

Lovelace’s preoccupation with control is part of the reason that her discovery that she is an alien replica of her previous self subject to the whims of the aliens who created her is so distrubing for her- this is the avenue the habitually manipulative Kepler takes to try and unsettle her, preying on her basic fear;

“Are you sure that it's you that made the choice? Less than two days ago you were speaking words that weren't your own. … Maybe they're always in control, and they've made it so you can't tell. What if everything you think you're doing for yourself is just our friends out there pulling strings? What if your thoughts aren't your own?”

For Lovelace to even admit that this bothers her is difficult; Eights natrual tendency is to avoid vulnerability. It’s not until her control is completely taken away when she is trapped in a time loop orchestrated by the same aliens in Out of the Loop, driving her to disintegration and essentially forcing her to do so in the hopes of moving on.

“I - I'm sorry. I... Maybe Kepler's right. Maybe I'm not in control of what I'm doing.”

Ultimately, Lovelace is forced to live her basic fear, again and again, to begin to overcome it. Her arc culminates in her worst possible scenario- Cutter, the manifestation of the insidious control she has been raging against throughout the series, gaining direct control of her by manipulating the psi-waves that affect her alien physiology;

“If you have enough psi-waves in the air … you can control all sorts of things. What do you think, Isabel? Pretty neat, isn't it?”

Lovelace can’t wrest herself from Cutter’s control entirely- she shoots Minkowski, and is unable to fire at Cutter. She is, however, able to distract him for long enough for Minkowski to kill him. Not only is this a direct confrontation of Lovelace’s basic fear, with her being forced to accept that sometimes the situation is out of her control, this scene forces her to eschew her basic desire, and instead, rely on someone else to protect her; as an Eight, this is the logical conclusion to her arc.

Basic Desire: To protect themselves (to be in control of their own life

and destiny)

“There’s something I needed to remind myself of. That you're not just what you were made. That you can grow. At least... when you assholes don't interfere.”

Repeatedly, Lovelace cannot stand seeing others allowing their destiny to be decided for them- even when she particularly dislikes the person in question. When Eris announces her intention to self destruct on behalf of Goddard, she is furious;

“You can't just let these people delete you! You should fight this! ...Just because someone made you something doesn't mean that's all you're going to be. You can be more.”

She reacts similarly, if far more explosively when Hilbert is unfazed upon discovering that Goddard were planning on betraying him;

“What... the hell... is wrong with you? (BEAT) I will never understand you. How are you not angry? How are you not revoltingly angry? They were going to leave you up here. To rot … Listen to me, you despicable waste of a soul: that's not how you react to this. Humanity 101: when someone lies to you, when someone betrays you, when they leave you to die, alone, in the cold, you DO NOT FIND IT PERFECTLY EQUITABLE! You get angry, and you do whatever you have to in order to show them they have made the worst mistake of their lives. It doesn't matter what you have to give up, who you have to hurt, how far you have to go -”

Indeed, Lovelace goes to every length to be the one in control of her own destiny and to protect herself and those that she cares about. Aside from her dead man’s switch, there’s her response to Kepler’s game of “eeny-meeny,” when he is deciding who to shoot in Desperate Measures- she interrupts him with a “fuck you,” and then proceeds to insult him and spit at him. What could be mistaken, though, for an outburst of pure aggression and resentment is clearly shown to be an attempt to deliberately provoke him and thus control the situation in the only way she can, and an attempt to protect Eiffel; 

EIFFEL: “Captain... why did you - you didn't have to - 

LOVELACE: “Yes, I did. I did. It's fine.”

She smiles at him. Sadly. 

Inaction- and particularly, feeling helpless- drives Lovelace to distraction. She’s desperate to try to take control of the situation in Pan-Pan, repeatedly dismissing Minkowski’s plan to make a distress call, “The only way we're going to get off this station is if we do it ourselves.” On the other side of things, Lovelace’s mini episode, Greensboro, is markedly different from those for each other character. Critically, she doesn’t interact with Cutter, who has a pattern of exploiting the cast’s basic fears, and in reflection of this, it’s her basic desires that Rachel, who is interviewing her, praises and tempts her with;

“You. Deep space. Mission command. You've got … Glowing recommendations from practically everyone you've given an order to. And when you're multiple light years away from your superiors? It's probably good to have someone who can think for themselves.”

It’s easy to understand why Goddard took this unique approach with Lovelace specifically; threatening to control her would result in automatic pushback and rebellion from her, whereas promising her a degree of the control that she so craves was the perfect way to ensure that she agreed to work with them. 

Disintegration to Five:

“I invented being paranoid on this station.”

Enneagram Institute describes deeply disintegrated Eights’ actions as “vengeful, barbaric, murderous.” This is particularly true of Lovelace- the first time she flees the Hephaestus, she leaves behind a message promising to exact revenge against Goddard:

“So if you're listening to this: Run. And. Hide. Because by the time that I'm done you will feel more helpless and more alone than all the innocent people you've ever hurt. See you soon.”

Like an unhealthy Five, she is secretive and fearful, leaving her paranoid. She initially admits to turning on Hilbert without proper cause;  “I was so paranoid by that point, I think I would have turned on anyone who was with me.” This indiscriminate destructiveness is a hallmark of a disintegrated Eight, and when Minkowski confirms, “You attacked him?” Lovelace simply answers, “Best defence.” She goes on;

“I figured it was just a matter of time before he tried to kill me. So I incapacitated him and I ran. I got on the ship we'd constructed and left him behind. (beat) Not my proudest moment.”

Her violence continues when she returns to the Hephaestus- pouncing on Hilbert on sight, choking him and bashing his head against a wall. Like an unhealthy Five, she is suspicious and information obsessed- planting a gun with a hidden listening device so that she can eavesdrop on Minkowski and Eiffel. 

In addition, Enneagram Institute says of disintegrated Eights, “If they get in danger, they may brutally destroy everything that has not conformed to their will rather than surrender to anyone else.” This repeatedly holds true of Lovelace;

““I hope you don't think we'd go down without a fight.”

Indeed, she threatens to invoke the “Taking You With Me,” trope on multiple occasions, to the point that it becomes something of a running joke for her; 

“Believe me, kids, right now I'm up for killing everything and everyone on this boat.” 

Perhaps the most serious example, though, is the explosive she wires to activate should her heart stop or increase too much which she reveals in the episode aptly named Mutually Assured Destruction, a failsafe she describes, unfeelingly, as “insurance.” When Minkowski doubts her, “You’d be killing yourself. I don’t buy it,” Lovelace simply answers; “Then you’ve never been as scared as I have.” This neatly demonstrates Lovelace’s complete unwillingness to surrender or be subjugated, willing to completely self destruct in order to avert this outcome. Additionally, she uses this threat as a means of seizing control of the station, becoming the ruthless, dictatorial disintegrated Eight;

“There's a new sheriff in town, and I am not taking suggestions, complaints, or objections. Here’s what’s going to happen… Whatever game Command is playing with this station is over. Welcome to my Cold War, kids. Fasten your seat belts, stay out of the way, and don’t try me. Any questions?” 

Integration to Two:

“I realized something. The whole epic rampage of revenge thing? Isabel Lovelace wouldn't do that. The terrible wretch that you people made Isabel Lovelace into? Oh, she'd do that. But... I'm not going to be that person anymore. (BEAT) I'm going to be Isabel Lovelace again. Even if I never have before.” 

When integrated, Lovelace’s has the sincere care for those around her of a healthy Two, using her own strength of character to support them. A good example of this is when she quite generously agrees to take over for Minkowski when she feels unable to command the station. It’s significant that Minkowski convinces her by appealing to her own respect and need for control;

“ I... I did what I did because I lost control. And until I get it back, I don't think my hands are the best ones for this crew to be in.”

Also notably, Lovelace is demonstrably reluctant to take control, establishing it only happens, “on the very clear understanding that this is a temporary situation, and that [she is] going to sort [her]self out and kick [her] out of [her] chair ASAP.” This Lovelace, genuinely looking forward to ceding control to a person she respects and trusts, is a far cry from the control obsessed woman she is introduced as. Additionally, she uses her strong authority with the goal of actually meeting the needs of her entire crew- for instance, in Theta Scenario;

LOVELACE: “I'm not making that call for everyone. We're voting, and we're not doing anything until we have a unanimous decision.”

EIFFEL: “Fine, lets v-”

LOVELACE: “No. We're not gonna make an informed decision until we know as much as we can about what the hell has been going on here.”

EIFFEL: “Why?”

LOVELACE: “Because I'm the Captain, that's why. That call I will make.”

As aforementioned, Lovelace is also able to depend on Minkowski during her most dire moments during the finale. Early in the series, Lovelace clearly felt that it was her destiny to personally take revenge on Cutter on behalf of her crew, with her promising that outcome to him as an inevitability;

“I'm going to really mess you up someday. You know that, right?”

Allowing Minkowski to be the one to take him down instead is a subtle but incredibly important demonstration of her growth- she thoughtlessly sacrifices an opportunity she would have been unlikely to have given up on without a fight earlier in the series. This courage and self-sacrifice is far more along the lines of what one would expect from an integrated Eight. 

w7:

“Let's just say that I am very eager to be a private citizen again.”

Maintaining her own freedom and happiness is a big priority for Lovelace, which is indicative of her Seven wing. She dislikes ruminating on painful subjects, and while she generally copes by being action-oriented; her refusal to confront her grief is explored in Variations On a Theme, where she has no tolerance for herself slipping into present tense when speaking about her past group;

“No. Focus. Work. Be here. Be now. Don't stop to remember. Don't stop to think. Stay away from the ghosts.”

And, in Need To Know it’s revealed she was deliberately getting high on painkillers after the disastrous events of Who’s There?;

“I got a broken an arm trying to save one of my crew members. It was a very difficult time.”

Turning to addiction as a form of escapism is not uncommon for a Seven in disintegration.

Additionally, despite her extreme fury towards Goddard, Lovelace is also driven for much of the series by an extreme desire to return home; 

“I want to go back to earth.”

It’s only in her internal monologue- presented as fragmented and scattered, as many disintegrated Sevens can feel and behave- that she acknowledges the painful truth that returning to earth won’t truly fulfill her desires- earth is longer home, and home is gone;

LOVELACE: “I will do this. I'll do it faster. Better. Deal with crazier. Won't die harder. Fix this goddamn engine. Get them out. Go home.”

SECOND LOVELACE: “You can never go home. You were home.”

THIRD LOVELACE: “And now you're back. And you can never go back.”

LOVELACE: “I know. I know.”

In fact, Lovelace’s powerful desire to get off the station is more reminiscent of the blind claustrophobia of a disintegrated Seven- the desire to escape a painful atmosphere- than a draw towards a compelling, satisfying one. Towards the very end of the series, this changes. Significantly, she mentions earth not just in the context of revenging on Goddard or escaping the Hephaestus, but as presenting the opportunity for revitalizing, healing experiences, with something close to the optimism of a healthy Seven;

“Oh, there are so many choices. Look up some old friends, take apart Goddard Futuristics brick by brick... maybe go to Disneyland? But first, I'm going to take a long vacation, somewhere warm and quiet, where nobody has any idea who I am.”

Ultimately, though, her wing isn’t very developed- she’s more than willing to stay on the station late in the series to try and learn more about the aliens and their wants (and by association, about their control over her), and doesn’t try to flee the situation in the same way that Eiffel wants to at that point. Similarly, she’s willing to die to protect him in Desperate Measures- her core desires and fears as an Eight will always overpower the aversion to pain associated with her wing whenever both come into play.