During the campaign, there was talk in the Obama ranks that Michelle should stop wearing sleeveless dresses, because her muscles, combined with her potent personality, made her daunting.
But it was as a screen actor that he was best known, and established the poles of his potent personality with two early movies: Terence Davies's Distant Voices, Still Lives (1988) and Jim Sheridan's In the Name of the Father (1993).
Mr. Matthau's personality also gleamed in bouts with other potent personalities: Barbra Streisand in "Hello, Dolly!" (1969), Elaine May in "A New Leaf" (1971), Carol Burnett in "Pete 'n' Tillie" (1972), Mr. Burns in "The Sunshine Boys" (1975), and Glenda Jackson in "House Calls" (1978) and "Hopscotch" (1980).
Still, when you actively want to follow someone on Snapchat, making that easier could fill your app with fun content and make the app an even bigger platform for potent personalities.
In 2012 Nassir Ghaemi wrote a book, A First-Rate Madness, in which he suggests that Abraham Lincoln, Franklin D. Roosevelt, Ted Turner, Martin Luther King, Jr., and other potent personalities who shattered old thinking, were all a little crazy.
His idiosyncratic style and his potent, engaging personality made for memorable friendships, his love filling the lives of so many.
There's nothing wrong with wanting to play as a potent, influential personality in a video game – certainly, The Witcher 3 is as close as I'll ever get to being Viggo Mortensen – but it's a little damning that so many games revolve around characters who only ever deal with the matters at hand in the broadest, most binary of ways.
The letters to Joe Hazan, a dancer he met in Provincetown, Mass., in 1940 and who was apparently his first gay friend, and to Paul Bigelow, another close friend, are heartbreakingly honest; they reveal the dichotomies of his personality in potent style and show how profoundly he was transformed by coming out and by finding first love.
Jackson described Merricat and Constance as "two halves of the same person," and it's possible to see all of her female couples as depictions of the two contradictory halves of her own personality: the potent, angry woman, whom she characterized in her letters as Snarly Shirley, or Sharly, and the cowed woman who felt trapped inside her house.
(What do men want? Dear God, what do they want?) Perhaps we could call her a less pure comic than Chaplin or Keaton, a genius (like Groucho) at creating a theatrical personality so potent it could make everyone else in sight look like a footnote.
