mira🥛🌕🐟

new age fluff will water everything down & trap people in the material realm. the lowest frequencies. they tell you nothing holds spiritual consequence when all does. everything you do leaves a print on your body for the afterlife..

anything you want or think of. where did it come from? did it cone from you? why? from who? why now and why that? really trace the thought back to its root. because a good thought will sprout a thousand like it. and a rotten one must be destroyed (mula).

think twice and thrice. and a thousand times. if your soul tells you no and your flesh tells you yes.

Bharani, and Anuradha. (both in Mars, Aries and Scorpio.)

Vishakha contains opposites. As does the Maiden (spring goddess, underworld queen). And the Libran/Jupiterian nature seeks some sort of reconciliation or single container to hold it all and the Maiden is perfect because she gets to just be.

But that state of rest and being isn't passive. It's fluid, responsive. What Maiden energy allows, when properly cultivated, is the ability to be what the moment requires without losing center.

The Maiden's wonder and awe gives space for Vishakha's shakti (gratitude) to flourish and multiply.

The Maiden's radical self acceptance lets Vishakha own and utilize its opposites. Light and shadow. Benevolence and violence. Capacities to give and take.

And, on the flip side, I can relax into the Maiden without fear because my nature is that of a tiger. At my core, I can trust myself because I know, no matter how it appears, there is a self-interested predator beneath it all.

Vishakha songs are often characterized by a fast-paced, driving, or switching beat, bursting with the Nakshatra’s forward momentum and amateurish zeal. Vishakha performers display remarkable dexterity in singing, dancing, or music production, embodying their goal-oriented nature. This versatility mirrors their broader ambition, where mastery of their craft becomes a means to reach new heights. John Holland, a Vishakha moon and producer from Salem, exemplifies this with Salem’s unique blend of juke, footwork, and goth influences, creating a visceral listening experience. This fusion of seemingly disparate sounds reflects Vishakha’s transformative energy, producing a unique, spastic sound that resonates with a niche yet dedicated fanbase. Devon Bostick, with Vishakha sun, exemplifies the Nakshatra's ambitious and footloose nature through his roles. He is known for playing Rodrick Heffley in “Diary of a Wimpy Kid”, where he portrays a rebellious, charismatic character, having a band called “loded diaper”. Also lesser known for his dedicated role as an animal rights activist in “Okja”. These roles reflect Vishakha’s rooted nature and goal-oriented qualities, showcasing his ability to embody fixed and impactful characters. Grimes, with Vishakha rising, illustrates this with her stimulating and chaotic music. Songs she considers unfinished, like "Realiti," often become her most popular, capturing themes of restlessness and movement. Debbie Harry, the Vishakha rising singer of "Heart of Glass," reflects the Nakshatra’s dynamic energy through her work with Blondie. Despite her fame, her influence remains obscure to many, appreciated more by devoted fans. Blondie’s fast-tempo punk music, with tracks like "Eat to the Beat" mirrors Vishakha’s relentless momentum. Janet Jackson, also with Vishakha rising, faces criticism as overrated, yet her impact on pop music as cited by pop stars is undeniable. Songs like "Call On Me" and "Someone to Call My Lover" showcase her dexterity and driving beat. Beyoncé, Vishakha Moon, is often labeled as overrated despite her notable work ethic and transformative artistry. Her journey from Destiny’s Child to a successful solo career showcases her determination. Vishakha celebrities are frequently labeled as “overrated,” a manifestation of Vishakha’s heightened awareness of limitations, which in turn causes their fans to fiercely defend them. Their acts are often copied and appraised like military strategies or playbooks. Vishakha natives’ music is known for its strong, resonant messaging, attracting loyal, dedicated fans. Their genius often defies conventional measurement, as it is rooted in zeal and raw ambition. Lana Del Rey, also with Vishakha rising, is frequently criticized as overrated, particularly regarding her singing. Her blend of rap and indie sound, coupled with her recent TikTok popularity, reflects Vishakha’s metamorphosis and contagion. Travis Barker, with Vishakha rising, is often seen as overrated, with critics labeling Blink-182 as annoying. Despite this, the song "Adam’s Song," which deals with themes of self-criticism and redemption, highlights Vishakha’s ambitious and visceral nature. David Guetta, with Vishakha sun, embodies the Nakshatra’s progressive nature through his career as a DJ. DJs, like Vishakha, are known for their innovation and pursuit of new sounds. David Guetta’s track "Titanium" captures Vishakha’s transformative and forward-moving energy, with its empowering message of strength and being formidable. The often-trivialized perception of DJs also reflects Vishakha’s nature, highlighting the Nakshatra’s characteristic blend of ambition and insecurity. These artists embody Vishakha’s restless, ambitious, and often misunderstood essence. Their music, marked by a strong driving force and dexterity, continually propels them forward while challenging conventional standards.

Vishakha individuals often express a divine aesthetic or express a transcendental feeling through their artistic expressions, deeply influencing both their personal lives and creative output. Anne Bancroft, with Vishakha rising, is connected to the song "Mrs. Robinson" by Simon and Garfunkel, written for “The Graduate”, directed by Mike Nichols, a Vishakha moon. The lyrics carry religious ‘Godspeed’ undertones, hinting at higher existential levels, a reflection of Vishakha’s spiritual and transformative nature. Similarly, Grimes, a Vishakha rising, crafts ethereal musical experiences that feel heavenly. Her lyrics often read as fragmented or ciphered, resembling religious speaking in tongues. This reflects Vishakha's tendency toward incomplete thoughts and spastic speech patterns, as they are constantly struck by new ideas. Johann Sebastian Bach, a Vishakha sun, is revered for his divine influence in music, with fans often likening his work to Christlike aspirations. His pioneering contributions to music theory, particularly the transition from modal to tonal music, exemplify Vishakha’s upward, ambitious spirit. His compositions feel as though they transcend earthly existence, carrying Vishakha's theme of spiritual ascent. Similarly, David Lynch, another Vishakha sun, integrates spirituality into his films, where disturbing yet cathartic imagery offers a sense of existential renewal. David Lynch’s work evokes a religious-like catharsis, resonating with Vishakha’s intense, transformative energy. Warren Beatty, with Vishakha moon, portrays spiritual transformation in “Heaven Can Wait”. The film’s title symbolizes divine connection and renewal, aligning with Vishakha’s themes of spiritual evolution. Jeff Buckley, a Vishakha moon, brings divine angelic depth to his famous cover of “Hallelujah”. Vishakha’s ability to evoke both reverence and scrutiny is similar to the treatment often received by religious leaders. John Holland, another Vishakha moon, showcases religious symbolism with his group "Salem", whose aesthetic often features crosses. This reflects Vishakha’s connection to transformative and sacred imagery. Lana Del Rey, with Vishakha rising, delves into existential themes in “Pawn Shop Blues”, where her lyrics reflect a poignant search for meaning. In the line, "I said it's nice to love and be loved / But I'd rather know what God knows," she captures Vishakha's deep longing for divine understanding, highlighting its connection to higher truths and aspirational nature. Akin to religiosity, Vishakha individuals, often serve as diplomats or activists for disregarded people. This is reflected in the dual influence of Libra (diplomatic) and Scorpio (fascination with people for their true nature). It reflects a deep empathy for others’ struggles, driving them to support and elevate those who face similar challenges. Elizabeth Taylor, with her Vishakha moon, was advocating for AIDS awareness. Beyoncé’s charity work through her foundation reflects her commitment to helping others, including disaster relief, education, and housing for those in need. Charles Manson, with a Vishakha sun, also spoke out on behalf of those who, like him, had endured harsh upbringings and traumas. He often shared insights about exploitation and the harsh realities faced by those who came from troubled backgrounds, bringing attention to the systemic issues that contribute to their suffering. While his message was distorted by darker solutions, Charles Manson’s rhetoric highlighted the struggles of those dealing with life's adversities, shedding light about people alike himself who were abused by society. Vishakha’s dichotomy and connection to near-miraculous events deepen their ties to faith. These experiences reinforce their belief in transformation and habitual evolution, manifesting in their personal lives and broader contributions.

Vishakha natives additionally exhibit a deep connection to California and the spirit of the cowboy and western expansion, which aligns with their aspirational and ambitious nature. This connection is not only tied to their work but also extends to their love for Americana aesthetics, blending the freedom and exploration of the West with patriotic, cultural symbols of American identity. Lana Del Rey, with Vishakha rising, embodies quality in nearly all of her songs, specifically “Woodstock in My Mind,” reflecting both California’s endless possibility spirit and a deep admiration for Americana’s classic imagery. Michelle Phillips, a Vishakha moon, and Joni Mitchell, a Vishakha sun, were prominent Laurel Canyon artists who embraced this blend of California dreaming and Americana aesthetics. Michelle Phillips, with The Mamas and the Papas, famously contributed to this with “California Dreamin’,” while Joni Mitchell’s song “California” mirrored this sense of free-spirited exploration. Their music encapsulated the mythos of California as a land of freedom and reinvention, closely tied to the aspirational themes of Americana culture. The Bonnie and Clyde dynamic further illustrates Vishakha’s impish craving for excitement and rebellion, embodying a need for external stimulation and defiance of conventional norms. Beyoncé, with Vishakha Moon, has embraced this dynamic by playing the role of Bonnie alongside Jay-Z, reflecting her alignment with the adventurous and audacious side of Vishakha. Warren Beatty, also with Vishakha, has played roles relating to Bonnie and Clyde, reflecting his own connection to this thrilling, rebellious archetype. John Wayne, with Vishakha moon, became an enduring symbol of Western films, embodying his forced machismo individualism and patriotic spirit that resonates with Vishakha’s ambitious and driven nature. Elizabeth Taylor, a Vishakha moon, reflected these themes with her role in “Giant,” a classic Western that captured the ambition and transformation of the frontier, while Charles Manson, a Vishakha sun, emerged during the Laurel Canyon era, linking Vishakha not only to the creative but also to the ruthless and rebellious energy of California’s culture. This combination of Americana and California’s endless potential shapes the mythology that Vishakha natives resonate with, a land where ambition and freedom merge, creating a powerful and aspirational narrative.

Viewing Vishakha individuals' emotional nature, a pattern of sameness in stimuli from their external to internal expression is apparent. They exhibit fierce loyalty, seemingly guarded yet liberal sexuality, and a craving for external validation. Eva Longoria, with Vishakha moon, recounted in a Vogue video her childhood bullying, which made her feel unattractive despite her later fame as a beautiful actress. She faced casting couch rumors, reflecting her struggles with insecurities and open sexuality. Meagan Good, also a Vishakha moon, displays allure through her introversion but attracts criticism due to her eyebrow tattoos and being a “bird” because of her promiscuous and naive demeanor. Her tense acting style further arrests public perception. Chloe Sevigny, with Vishakha rising, has often been considered an overrated actress, criticized for inability to modulate her voice. She notably overcommitted in “The Brown Bunny,” where she performed oral sex on Vincent Gallo. Rachel True, with Vishakha sun, exemplifies the Nakshatra’s spiritedness through herself in “The Craft,” where she embodies Vishakha freewheeling energy. Eddie Murphy, despite his homophobia, was caught with a transgender woman. His denial of the incident and the disbelief surrounding his story highlights insecurity and hypocrisy. Charles Manson, with Vishakha sun, said in a quote, “When I was a child I was an orphan and too ugly to be adopted. Now I am too beautiful to be set free.” This statement reveals evolution with felt imperfection and the dramatic shifts in how he saw himself, mirroring Vishakha’s progressiveness and the impact of external validation on their sense of identity. Vishakha men, in particular, often grapple with a dynamic that can lead to accusations of “ghosting” behavior. Warren Beatty famously claimed to have slept with 10,000 women, reflecting his daring and boastful public persona. Alain Delon, known for his playboy reputation, projected a similar charm. Richard Burton, with Vishakha moon, once described Alain Delon as “queer as an Arab,” a phrase reminiscent of Vishakha qualities such as striking looks, defiance, impishness, and independence. Alain Delon’s bold persona align with Vishakha’s tense, rebellious nature. Elizabeth Taylor and Richard Burton, one of the most photographed couples of all time, mirrored this bursting dynamic. Their highly publicized relationship, characterized by both passionate highs and dramatic lows, showed off Vishakha’s need for stimulation. Mike Nichols, with Vishakha sun, also grappled with insecurities, particularly about his appearance. Balding from an early age, Mike Nichols was very self-conscious, relying on cheap wigs. Elizabeth Taylor, with Vishakha moon, eventually intervened by speaking with her hairdresser to help him. Mike Nichols knew both Elizabeth Taylor and her husband Richard Burton personally, which led him to cast them in “Who’s Afraid of Virginia Woolf?” He recognized their spunky volcanic relationship dynamic, and the film’s emotionally overwrought tone captured the energy of Vishakha. Their often hypocritical and secretive nature serves as a cover for their internal struggles, creating a false air of self-assurance. This facade, combined with their propensity to inspire momentary sympathy, reveals a pattern where their seemingly overconfident exterior masks deeper insecurities. Charles Manson, with his “Manson Family,” attracted numerous women, many of whom were involved with him romantically. They possess a quality that inspires others to care for them, often feigning angelicism to captivate their audience. Vishakha men are known for their preference for forward-moving, present-focused lives, often avoiding to ‘look back’. This momentum can disrupt others’ emotions when they choose to follow their own course. Their often hypocritical and secretive nature serves as a cover for their internal struggles, contributing to a public image of self-assurance that can be misleading. Vishakha men’s attitude and their needs frequently both captivates and grosses those around them.

Vishakha women display a roguish overbearing persona, characterized by their immense presence and steadfast charm. They are self-gazing, with a force of character and resourcefulness that tends to cascade over those around them. Their emotional depth is brash yet progressive, containing a passionate and robust nature. They act in alignment with their hormonal reality, displaying a vitality and willfulness. Their ‘imperfect’ self-perspective contribute to an enjoyment of intense personal mythology. Despite their immense presence, they can display a kind of arrested development, reflecting an ongoing journey of self-discovery and growth. Elizabeth Taylor embodies the enduring spirit of Vishakha women with her commanding presence and early success, playing leading roles by age 15. Her colossal energy, notably in “Who’s Afraid of Virginia Woolf?”, set her apart, but it was her character that truly defined her. After a life-threatening bout of pneumonia while filming “Cleopatra” in 1960, Elizabeth Taylor underwent an emergency tracheotomy, leaving a visible scar on her neck. When she accepted her Academy Award for “Butterfield 8” at the 1961 Oscars, the scar was on display, yet her elegance shone through. Reflecting the indomitable spirit of Vishakha women, who face adversity head-on while maintaining their allure and grace. This adaptable and rebellious nature was also evident in the 1970s when she deliberately struggled with alcoholism, self-neglect, and a dramatic shift in her public persona. Shaving her head and embracing her “fallen actress” image, Elizabeth Taylor lived in defiance of her contemporaries, while her open sexuality during the conservative 1950s further underscored her fierce independence. Elizabeth Taylor’s performance in “Sweet Bird of Youth”, Anne Bancroft as "Mrs. Robinson" in “The Graduate”, and Eva Longoria in “Desperate Housewives”, are all examples of their ability to naturally fall into 'MILF'-like personas. Lana Del Rey, despite her lyrics often favoring older men, dated younger men during that point in her career. Similarly, Beyoncé, now in her 40s, has embraced a mature and sexually empowered role. Veronica Lake, with her Vishakha sun, despite her small stature and suffering from mild schizophrenia, possessed enormous charisma and was known for being hard to work with. Her daunting presence was so iconic that it inspired the lyric, “It’s got a kick like mountain liquor / and it’s as slick and hard to take as Veronica Lake.” Janine Lindemulder, with Vishakha sun, famously appeared on the cover of Blink-182’s “Enema of the State” and was often described as “bright.” While the band claimed to not know who she was before selecting her for the album cover, fans quickly saw through this, believing she was chosen to project a more adult image. Lindemulder was an underground icon in the '90s, attracting obsessive fans with her beauty and intrigue. Having only performed in pornographic scenes with women, she later fully tattooed her body in an effort to leave that career behind, further embodying Vishakha’s transformative and bold energy. Meagan Good’s role in “Video Girl” reflects Vishakha’s theme of self-deterioration and mythos, as her character’s allure and repression unravel on screen, mirroring her personal intensity. Chloe Sevigny’s intense gaze and head-on nature was described by Harmony Korine, who said, “She used to freak me out because she had these amazing eyes and she would just stare at you,” speaks to Vishakha’s overwhelming energy and presence. Joni Mitchell, with her Vishakha sun, is an example of unconventional and introspective nature. Her far-reaching insight into life and love is woven into her confessional songwriting, with songs like "You Turn Me On, I’m a Radio" reflecting on women’s enduring presence and experiences. In an interview with the BBC, Joni Mitchell revealed that she was once told she was a bird in a past life, a fitting analogy for her independent nature.

Vishakhas often begin their journeys with an innocence and kindness that draws people in, but over time, as life’s challenges and betrayals take their toll, they become hardened. Their emotional depth, once nurturing and sincere, transforms into something brash yet steadfast, as they learn to protect themselves from a world that has taken advantage of their generosity. This theme is vividly portrayed in “Gummo”, where Chloe Sevigny’s character exists in a decaying world where kinder people are bound to be chewed up. In a world like “Gummo’s”, there is a decay of trust and a decay of innocence—once manipulated and abused, trusting the kindness of strangers becomes impossible. The same sentiment is echoed in “Video Girl”, where Meagan Good's character experiences self-deterioration after being exploited in the entertainment industry. The once innocent and trusting persona of her character transforms into someone hardened by life’s manipulations, reflecting the often tragic arc that Vishakha women endure. Elizabeth Taylor’s journey mirrors this progression—starting as a young, radiant starlet, she became hardened by life’s trials. These women exemplify an egoistic, headstrong quality. They bring a powerful, sometimes superfluous energy into their work, embracing their own mythos and personal transformation, while often moving forward with their own arduous journey, full of destiny.

There is a breathing exercise called Bhramari Pranayama or Bumble bee breath, the basis is that if you close the principle senses that makes you aware of the world outside of self and you produce a hum you will get more aware of you interior axis aka ketu, the result of that exercice will be a buzzing sound very similar to that of a bumble bee or any electrical devices So when you activate Ketu, your hear a buzzing. Nikola Tesla an Ashwini ascendant native, worked a lot on electricity and found a way for everyone to get it at a very low price. Today if you get an electrical lighter aka a plasma lighter you can get a bit of what Tesla imagined and you will hear the same buzzing sound constated during bumble bee breath or produced by your fridge. Ashwini and the bees is simply and metaphorical expression of what cosmic forces conducted the creation of our universe.

Just like the horseshoe which is simply the letter omega, first letter of the Greek alphabet. Om- mega means literally “the great om”, the same om sound that you produce during Bumble bee Breath.

OM as a mantra is the buzzing sound that preceded all others, just like the hum that preceed speech. Ashwini as the first nakshatra relates to this tension that preceed all creation. Now it is not surprising to see all of the horseshoe/yoni symbolism taking place in Ashwini. Let’s take a look at the female reproductive system, the horns, the descending arc just like a reversed omega letter. The moon was seen as a yoni portal through which souls could access the afterlife and Rahu and Ketu as the lunar nodes are respectively the shape of omega, the karmic life axis of the individual where you begin and where you end. 

The horseshoe implicates that “having entered the yoni door at the end of life (omega) one could be reborn through it as Alpha, the new child”. Nailing the horseshoe on doors which mirrors the yoni portal at the end of life became the emblem of luck, being reborn through the great goddess. Ashwini is both the beginning and the the end, essentially the womb/yoni space where life is created and destroyed. The horse being the ride of the souls to the heavens where, it would access the portal, that’s why horses were used to carry the casket of dead roman senators, who would wear lunar arcs on their shoes and reside in the moon in the afterlife. 

Beyoncé really integrated this symbolism through her art, in Renaissance impersonating Lady Godiva, sitting naked on the electrical horse.

Renewal, revival, rejuvenation, repetition, revelation, reverse, even Rainbows are associated with Aditi (goddess of punarvasu). Also (remarry) (rebirth) (reincarnation) (rediscover) etc

bharani is the fears of everyone in the “collective”; the primal nature which rules them from underneath. the raw reality of someone’s sexuality. the type of lust that eats you alive if not cultivated & contained by a force powerful enough to contain it and understanding it, and even have empathy for it.

1. Arnold Schwarzenegger - Mula ☽

2. Beatrice Dalle - Mula ☉

3. Abbey Lee - Mula ☽

4. Paul Simonon - Mula ☽

Just as a black hole pulls everything in and breaks it down to its purest essence, Mula’s energy draws awareness into the deepest, rawest truths. It embodies detachment (the space between things), depth (black hole or root energy), and uniqueness (a nonconformist appearance or energy).

“It is a primarily ”Vata” (airy) Nakshatra. Trying to understand this classification is like trying to understand nature of a black hole. One would expect Mula to be a primarily Pitta (fiery) Nakshatra, considering its connection with Ketu, Guru and Dhanur. We will, however, try and give a small explanation here: Vata humor is directly connected to Prana (astral life force) in body. Process of breathing is essential dividing line between life and death. Since Mula relates to only root processes, it has to relate to Vata humor.” - The Book of Nakshatras by Prash Trivedi

• the nakshatras in depth

shatabisha

purva bhadrapada

uttara phalguni

hasta

ardra

bharani

rohini

revati

mrigashira

extra (rohini & purva phalguni)

• the cosmological cycle

part 1

part 2

part 3

part 4

part 5

part 6

extra (shatabisha -> purva bhadrapada -> uttara bhadrapada -> revati)

• the nakshatras & philosophy

plato: the allegory of the cave (purva bhadrapada -> uttara bhadrapada -> revati)

hobbes’ leviathan: the coil and the throne (ashlesha -> magha)

the infinite circle of the finite world: friedrich nietzsche and eternal return (shravana -> dhanishta -> shatabisha)

dante’s la divina commedia and the magha arc of the fallen light (magha -> purva phalguni -> uttara phalguni)

schopenhauer and the veil of maya (bharani -> krittika)

• 7th house lord through the nakshatras

part 1

part 2

• ketu through the nakshatras

part 1

part 2

+ ketu through the houses

• rahu through the nakshatras

part 1

part 2

• saturn

saturn through the houses

• dharma, kama, artha, moksha: the symmetry of existence

part 1 [the 1st and 7th axis]

part 2 [the 2nd and 8th axis]

part 3 [the 3rd and 9th axis]

part 4 [the 4th and 10th axis]

part 5 [the 5th and 11th axis]

part 6 [the 6th and 12th axis]

• nakshatras and puruṣārthas

-> the dharma (duty) nakshatras

part 1 - aswini

part 2 - pushya

part 3 - ashlesha

part 4 - vishaka

part 5 - anuradha

part 6 - dhanishta

part 7 - shatabisha

-> the artha (wealth) nakshatras

part 1 - bharani

part 2 - punarvasu

part 3 - magha

part 4 - swati

part 5 - jyestha

part 6 - purva bhadrapada

-> the kama (desire) nakshatras

part 1 - krittika

part 2 - ardra

part 3 - purva phalguni

part 4 - chitra

part 5 - mula

part 6 - shravana

part 7 - uttara bhadrapada

-> the moskha (liberation) nakshatras

part 1 - rohini

part 2 - mrigashira

part 3 - uttara phalguni

part 4 - hasta

part 5 - purva ashada

part 6 - uttara ashada

part 7 - revati

• the nakshatras & film

interstellar: the cosmic nakshatra journey of time and transcendence (purva bhadrapada -> uttara bhadrapada -> revati)

memento x mrigashira: the seeker without memory

phantom thread: weaving control and desire [bharani, hasta]

2001: a space odyssey through the nakshatra cycle

• the nakshatras & art

jean-honoré fragonard’s the swing (1767): pleasure, possession, and the rohini lens

Dalí’s The Persistence of Memory (1931) and Uttara Bhadrapada

• vedic astrology and music

THE DARK SIDE OF THE MOON AS THE VEDIC HUMAN JOURNEY

music taste by nakshatra: real data from your responses

• vedic observations

part 1

part 2

part 3

• the mahadasha sequence and what your mahadasha means for you

part 1

part 2

Ashwini - Bharani, both located in the sign of Aries, are deeply connected to themes of youthfulness and renewal. Ashwini represents the consciousness before life (unconscious) and the void of self awareness after being born, reflecting its rulership by Ketu, which symbolizes are raw primal selves and detachment. In contrast, Bharani signifies the cycle of life and death and the beauty found within the painful process of transformation, governed by Venus, the planet of beauty and sensuality. The difference between them lies in their approach to rejuvenation and self-care. Ashwini, with its focus on healing and vitality, might resonate more with herbal-based remedies, like natural ingredients based skin care and vitamin supplements because of their deities being forever youthful herbalist healers. Bharani, however, may align with more intensive or transformative methods, such as Botox or microneedling, reflecting its Venusian inclination toward enduring beauty through refinement and reinvention.

Someone smart explain this to me. I didn't know sir Shake-a-speare was Ashwini.

Romeo & Juliet — created by Ashwini Sun William Shakespeare.

West Side Story (1961) — starring Ashwini Moon Natalie Wood.

Romeo and Juliet (1968) — starring Ashwini Sun Olivia Hussey (RIP ❤️).

Romeo + Juliet (1996) — directed by Ashwini Moon Baz Luhrmann.

Romeo Must Die (2000) — starring Ashwini Sun Jet Li.

Gnomeo & Juliet (2011) — starring Ashwini Sun James McAvoy.

Romeo & Juliet (2013) — directed by Ashwini Sun Carlo Carlei.

edit: a brilliant answer! (in the comment section)

I remember a post where it talked about how Rahuvians love being grungy or looking disheveled and dirty, and I seen it as rebellion instead of thinking they aren’t taking care of themselves. They simply are who they are, untouched by what the public expects of them. There’s a strange playfulness in that too (a trickster quality) because Rahuvians understand that none of the projections or illusions cast upon them are real.

Very few people can handle being close to a Rahuvian. Their energy is intense, erratic, and often self-destructive as a means to rebel. They can push themselves to extremes in various ways even to a point of hurting themselves in the name to stay humanized. If a Rahuvian is in the public eye, the weight of public image grows too heavy or when they begin to feel trapped by admiration or idolization, they instinctively dismantle it. They’ll “dirty” their own image on purpose, neglecting themselves or diving into chaotic situations just to remind the world, including themselves, that they’re not here to be idealized/idolized.

A lot of Nodal pairings in the media are star-crossed lovers.

She's Swati. He's Ashwini.

Such as 1968's Romeo & Juliet, which is a Rahu-Ketu destined pair.

Olivia Hussey has Magha Moon, Ashwini Sun while Leonard Whiting has Ardra Sun.

In the retelling of this tale, Romeo Must Die instead has a Ketu-Ketu pairing. Starring Magha Moon Aaliyah and Ashwini Sun Jet Li.

And in 2013's Romeo & Juliet, it is now Rahu-Rahu. Ardra ASC Hailee Steinfeld plays Juliet while Swati Moon Douglas Booth plays Romeo.

Then this trope resets back to Ketu-Rahu in the animation Gnomeo & Juliet, in which Ashwini Sun James McAvoy voices Gnomeo (Romeo renamed) and Shatabhisha Sun, Ardra Moon Emily Blunt voices Juliet.

Hailee Steinfeld, again, in this trope, but lesbian. In the series Dickinson, Susan Gilbert and Emily Dickinson are exclusively a Rahu-Rahu star-crossed lovers pair, with Sue portrayed by a Shatabhisha ASC native and Emily by an Ardra ASC native.

The film Brokeback Mountain also has this star-crossed lovers trope. Heath Ledger had Ardra Moon and Jake Gyllenhaal has Mula Sun.

In the film Through My Window, Raquel and Ares couldn't be together for all three films (the worst films you'd ever watch) without their social backgrounds getting in the way. Raquel is played by an Ashwini Sun native and Ares is played by a Mula Moon native.

[can't find ONE gif of them not making out, not dry humping on each other, it's genuinely just porn 💀... still though they had this trope down for a while]

In the film Meet Joe Black, Joe Black & Susan Parrish are literal starcrossed lovers. They are both played by Mula natives.

In the upcoming film Queer, Shatabhisha Sun, Ashwini Moon, Swati ASC Daniel Craig and Swati Sun Drew Starkey are star-crossed lovers during the 1950s.

In the film, Call Me by Your Name, Mula Sun & Magha ASC Timothee Chalamet and Magha Sun Armie Hammer play star-crossed lovers.

In fact, a lot of gay/lesbian centric love stories tend to star nodal people!!! Whether the characters are star-crossed lovers or not.

Such as the film Blue Is the Warmest Colour which stars Ardra Sun, Mula Moon native Léa Seydoux and Shatabhisha Moon native Adèle Exarchopoulos.

I'm currently drafting an essay touching on this deeper. I simply made this post as a foundation for further connections. Also I don't want to make it as if I think Rahu-Ketu, Rahu-Rahu and Ketu-Ketu are interchangeable. I just find it interesting that nodal energy is always present in this trope. I have to set apart the differences and lessons within each pair.

Also this just made me realize why this trope is my fav and why it deeply resonates, even though Romeo & Juliet are so unserious to me. With great writing, the best nodal tension ever is created. 💀

It's the fact that they both have double Ketu-Rahu influence respectively fjcjfjrkqwsnd and an animal yoni connection on mutual planets.

Shatabhisha Sun Ashwini Sun

Ardra Ascendant Magha Moon

Also, what is up with Ashwini women and sapphic characters? Bwahahaha. I remember reading about it from this Twitter thread.

Chitra: The "High-Definition" Architect

​The Core Vibe: "The CGI Reality"

I have observed that Chitra energy feels "rendered." It is ruled by Mars (energy/heat) but sits in the signs of Virgo (detail) and Libra (beauty). The vibe is not soft or organic, it is metallic and polished. When you look at a Chitra native, you often feel like you are looking at a photograph that has been retouched. They emit a frequency of "visual perfectionism." They feel like a sculpture that has come to life, mesmerizing, incredibly attractive, but possessing a distinct "uncanny valley" quality where they seem almost too symmetrical to be human.

​Physiognomy & Facial Structure

​The "Jewel" Eye: The name Chitra means "The Bright One," and this is literal. I have observed their eyes have a hard, crystalline sparkle. Unlike the watery, emotional shine of Rohini, the Chitra shine is like light hitting a diamond. It is a piercing, "high-beam" gaze that feels like a camera flash going off.

​The "Synthetic" Skin: I have noticed that Chitra natives often have skin that looks strangely poreless or metallic. They tend to have a "glow" that doesn't look like sweat, it looks like highlighter. Even when they are struggling with acne or aging, the underlying structure of the face remains "glossy."

​The "Golden Ratio" Face: The deity is Tvashtar, the Celestial Architect. I have observed that their faces often adhere to mathematical symmetry. High cheekbones, a sharp jawline (Mars influence), and eyes that are perfectly spaced. They look "designed" rather than born.

​The "Alert" Ear: They often have ears that are slightly pointed or prominent, but somatically, they are visually dominant. They tilt their head to catch the light, ensuring their best angle is always the one facing you.

​Somatic & Movement Patterns

​The "Runway" Strut: They do not walk, they perform. I have observed that even when a Chitra native is walking into the kitchen, they have a "strut." They place one foot directly in front of the other (catwalk style). They are subconsciously aware of being observed at all times and move with a self-conscious grace that can seem arrogant to others.

​The "Correction" Twitch: Watch their hands when they enter a room. I have noticed they cannot stand visual chaos. They will unconsciously straighten a crooked picture frame, smooth out a rug, or pick lint off your shoulder. They are constantly "editing" their environment to match their internal blueprint.

​The "Pose" Resting State: They don't lounge (Purva Phalguni) or slump (Revati). When they stop moving, they fall into a "pose." Hand on hip, chin tilted up, leg popped. They have a somatic understanding of geometry and how to occupy space aesthetically.

​Behavioral & Psychological "Tells"

​The "Maya" (Illusion) Complex: They prioritize aesthetics over reality. I have observed that they will stay in a relationship that looks good on paper (or Instagram) even if it is hollow inside. They struggle to separate the "image" of a thing from the "truth" of a thing. They are the masters of "fake it ‘til you make it."

​The "Project" Partner: They date potential. I have noticed they view partners as "fixer-upper" houses. They want to redesign you, change your wardrobe, fix your haircut, upgrade your career. They aren't trying to be controlling; they just see the "architectural flaw" in your life and have a compulsion to renovate it.

​The "Flash" Anger: Since Mars rules this star, they have a temper. But I have observed it is a specific kind of anger and it is triggered by ugliness or incompetence. If something is done "sloppily," they see red. Their anger is sharp, cutting, and critical, but it passes quickly once the flaw is corrected.

​The "Object" Dissociation: They often treat their own bodies like objects. I have observed they are prone to extreme body modification, plastic surgery, or intense fitness regimes. They view the body as a vehicle or a piece of art that can be chiseled and sculpted, rather than a vessel for feeling. They can be incredibly hard on themselves physically.