This week Jimmy Fallon mentioned a new music video that was going viral like crazy, so I checked it out. The video is "Love Myself" by Hailee Steinfeld, who you may remember as the awesome young actress from the Coen Brothers film True Grit. Although I don't love the song or video (maybe I'm just a little too old!), the astrological correlations for its release are striking. The song was released August 7, 2015, and the video a week later on August 14. As of today (Oct. 9, 2015), the video has 19 million views! We'll look at the release chart for the video. We don't have a time, so I'll just look at the aspects, and ignore the houses and Ascendant.
To start, the chart has Venus conjunct the Sun and Moon - all in Leo. That's a powerhouse of love for the self! And the sentiment behind "Love Myself" is a perfect anthem to express this energy. In addition, that tight Leo conjunction is trine Uranus in Aries. In the chorus, Hailee repeats the phrase "Gonna love myself, no, I don't need anybody else," adding the Uranian and Arian impulse of freedom, liberation and self-actualization to the Leo vibe.
Watching the video, we see young women admiring themselves in the mirror, taking pleasure in their appearance and self-expression, a positive expression of the Leo energy in this particular conjunction. But a closer listen to the lyrics reveal that this is mainly an anthem glorifying masturbation (see "Love Myself" lyrics from Google Play). Ah, youth!
Sense8 is a new Netflix original series directed by the Wachowskis, famous for The Matrix trilogy. Sense8 is a sci-fi drama featuring eight lead characters – strangers who suddenly find their lives inextricably connected. And not just in the interweaving storyline kind of way like Short Cuts or Traffic. These characters are literally connected. Called “sensates,” they sense each other – they can feel each other’s feelings, share each other’s thoughts, and even see and touch each other though they are miles apart. Marking an evolution in human development, sensates are born in the same moment into a “pod” of eight separate, but connected, beings.
All of that is cool, but a TV series isn’t complete without some drama to compel it. There is a dark force at work trying to kill and/or control all sensates. Meanwhile, the sensates discover they can support each other and pool their resources to face each conflict that unfolds.
Critics have complained about how slowly the series begins, and how confusing the first episode is. Hearing this, I began to suspect Neptune at work, and ran the release chart, which for a digitally-streaming Netflix show is very precise: June 5, 2015 at 12:00am Pacific Time, Los Gatos, CA. The chart features Neptune in Pisces in the first house (using either Placidus or Equal houses) squaring Mercury in Gemini – already a perfect aspect for the show’s title and subject matter. Neptune is about the dissolution of boundary, and Mercury is about how we perceive things. Pisces, a water sign, relates to feelings and emotions, and Gemini is often said to relate more to information, data, and thoughts.
The Neptune vibe permeates the first episode, which for a TV show, relates to the Ascendant and first house. With so many storylines to weave together, it does take a while to become oriented logically – there’s the square feeling with Mercury. It’s not easy to figure out at first. But once you adjust to the pacing and exercise some patience, the hypnotic vibe reveals its rewards. The characters get under your skin and are hard to shake even hours or days after viewing.
I was excited to get the opportunity recently to catch a screening of the Elliott Smith documentary Heaven Adores You at the 2014 Portland Reel Music film fest. A pained soul who left the world too soon, Smith is yet another artist whose absence makes our growing adoration for his work bittersweet. And the mysterious circumstances surrounding his death only serve to heighten our interest in his life.
The director was in attendance at the screening and told the audience he’d intended to make a film that would honor Smith’s music and that he intentionally de-emphasized the last year of his life and his death. After the drama and accusations that littered the blogosphere following his death, the film comes as a sort of healing balm to soothe the collective wound and bring the focus on Smith back to the thing that was most dear to him: his music.
I was immediately struck by the Neptunian theme that permeated the film from Smith’s discomfort with live performance but love of writing and recording music, to his decent into drug use, and his persistent cries for help from his friends. One of the hallmarks of his chart is a tight T-Square between his Moon+Ascendant in Taurus, Neptune in Scorpio, and Mercury in Leo in the 4th. Let’s take a look at that more closely, knowing what we do about his life.
Smith’s Taurus Moon at 27° is tightly conjunct his Taurus Ascendant at 29°. That makes me recall a quote from a fan who wrote, “I know that when I saw him being a complete mess on stage last year, I wanted to take him home and take care of him.” (1) You can find similar posts on many Smith fan blogs. With the moon on the Ascendant, Smith couldn’t very well disguise his feelings. They were on display for all to see—and to empathize with—whether he wanted that or not. His vulnerability was a draw, and his fans formed a deep emotional connection to his music. And many experienced that connection as the desire to nurture him.
If you’re a fan of Hollywood’s recent slew of fairytale revisions, you won’t want to miss Maleficent. You might remember that I was pretty taken with Snow White and the Huntsman and wrote a lengthy article about it a while back. I loved Maleficent too, and couldn’t wait to look at the chart for the film’s premiere. I’ve recently been having fun adding asteroids to my charts, and the named asteroids are often pretty dramatic. I’ll share some standouts here from the Maleficent chart and look at a few other important configurations.
It took some digging to find the premiere’s actual start time, which I settled on as May 28, 2014 at 6:00 pm in Hollywood, CA. (1) The film’s opening got some extra media buzz because Brad Pitt was accosted on the red carpet by a notorious paparazzi guy (and we find rogue chaos-instigator Uranus in Aries quincunx the Ascendant in the premiere chart). But that media blip didn’t detract from the real star of the moment – Angelina Jolie – who seems to have been born to play the part of Maleficent, the famous villain from Walt Disney’s 1959 version of Sleeping Beauty.
SPOILER ALERT! If you haven’t seen the film yet and don’t like knowing the plot details beforehand, quit reading and come back after you’ve seen it. Although you know the fairy tale it’s based on, there are enough twists in this new version to surprise you.
Maleficent tells the Sleeping Beauty tale anew from the point of view of Maleficent, a powerful fairy from a magical realm, who, after a deeply wounding betrayal, comes to have it out for princess Aurora (Sleeping Beauty), and casts the famous spell that enchants Aurora into a deep sleep on her 16th birthday. In this wonderful revision of the classic fairy tale, we get to see characters whose motivations are more fully developed, complex, and less black-and-white than the Disney or Grimm originals. More importantly, details of the story are changed to give the female characters more power and centrality in their own self-actualization. I just love progress! And I’m surprised and grateful that Hollywood (and Disney!) now have the will to make films like this.
The visuals in the film take center stage, with Angeline Jolie’s angular features perfectly matched to Disney’s original cartoon villain’s striking looks. The reimagined Maleficent still has two huge horns, but now also has majestic wings that (temporarily) take the place of the classic black cape we all remember.
I started doing research on Venus out of bounds after editing Steven Forrest’s video workshop on the Out of Bounds Moon. I’ve been wanting to study the subject for a while and finally had the opportunity while writing his recent newsletter. I was thrilled to find that, in my sampling of 130 charts of famous people, many patterns started to emerge that gelled with the commonly held ideas about how out of bounds planets express.
A quick search on “Venus out of bounds” returns several brief blog entries that describe the general hypothesis that out of bounds planets are wacky, forward-thinking, or outside the box. Some describe this as a difficult placement and use terms that are limiting or judgmental, which is common in generalized descriptive astrology for better or worse. I wouldn’t say that at all. Difficult placements can bear beautiful fruit. And “easy” placements can fall short of awesome.
There hasn’t been a ton of published work about planets at extreme declinations. Kt Boehrer’s is credited as coining the term “out of bounds,” and though I’m hoping to track down a copy of it at this year’s NORWAC, I haven’t read it yet. Also on my declination reading list is Paul Newman’s Declination in Astrology, which looks promising. The AFA has a book by Joseph Silveira deMello called Declinations, and outside that, there isn’t much out there (get it: “out there”…chuckle chuckle).