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｡ﾟﾟ･｡･ﾟﾟ｡ ﾟ。 submission is earned, not taken. 　ﾟ･｡･ﾟ

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Forever and always xx

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This post is so true. I have chitra stellium(mars, mercury, venus in chitra) and mrigshira moon and i can relate very well. My father used to abuse my mother and then the cycle repeats and my mother used to take all that out in me . Also I have experience sexual abuse since the age of 8 and even now somehow I can see people always has that sexual eye toward me. It's almost scary at this point and with this post now I'm understanding why all this was happening to me since I was small . Also I have lots of aggression and i often channelize that into my workout routine. Life has been so depressing from the start but I have faith in myself that in the future I will be able to make better life for myself.

Mars, Abandonment Issues, Violence & Conflict

TW: murder, r4pe, abuse, domestic violence, suicide, gaslighting, mommy issues

This is a topic that is extremely close to my heart for various reasons. I'm putting this disclaimer up here because this post is going to be very raw and perhaps disturbing.

Please do not read it if you're not up for reading about violence & conflict of all kinds.

Mars in Roman mythology is the God of war, bloodshed and murder. In Vedic astrology, the planet of Mars is associated with power, action, drive, ambition alongside anger, war and impulsiveness.

Mars influenced women are often considered sex symbols and attract envy for their heightened sensuality. HOWEVER, something that seems to accompany all this is being subject to and enduring abuse.

Very broadly speaking, it can be said that Martian men often tend to be abusive and Martian women often endure abuse. In this video about the most evil zodiac signs , Mars-ruled naks were among the top indicators of someone being prone to violence. It's a very literal interpretation of Mars obviously.

Mars is considered the commander of the celestial army. Mars is the Roman God of War and Agriculture. It is a dry, fiery, masculine planet and a malefic. There are two sides to every coin and while the same energy and willpower can be channelled in positive way, it can very often be channelled in ways that are destructive and hurtful.

Khloe Kardashian- Mrigashira Moon

I feel like out of all the Kardashians, Khloe has suffered the most in her romantic relationships. Unfortunately, Mars is a malefic planet and people born under Mars influence are called Mangliks and they are said to have Mangal dosh ("mars defect" quite literally). This defect affects personal and romantic relationships the most. I think her Ardra stellium also contributes to her largely unhappy experiences in relationships. Ardra is very inauspicious for marriage.

From rumours of Khloe not being Rob Kardashian's biological daughter (she's allegedly OJ Simpson's lovechild with Kris and its very common for Mars individuals to not have a proper father figure growing up) to her being publicly cheated on by Tristan Thompson not once but several times and STILL choosing to have another baby with him?? Khloe has been very unlucky in love

Khloe and Kim also have nasty tempers and are super foul when they need to be. This is another Martian trait.

Kim Kardashian- Chitra Sun

idk how she managed to stay married to a man as horrid as Kanye for like a decade,, she's sooo brave honestly. I feel bad for her because I feel like Kim has never been loved </3

Given the way Kanye treats Bianca, we get a glimpse into what he is like as a man. I am not claiming he was abusive or violent towards Kim because we do not know that. However, I wouldn't put it past him.

However, like many Martian individuals, she is careful to not hurt her children. Watch this clip, for example.

Judith Barsi- Rohini Sun & Mercury, Mrigashira Moon

Judith was a child actor who was active in the late 70s and early 80s. Her parents had a really horrible marriage and her father murdered her and her mom when she was 10 years old. It genuinely breaks my heart to even type that out because nobody deserves that. Martian women suffer SO much in life and have to be very wary of who they give their energy too. They are so guarded and protective and I completely get why. They HAVE to be.

Jennifer Lawrence- Mrigashira Moon

“Art more often than not is about one’s mother. I hesitate to say that because I would hate for somebody to go back and watch my movies, or watch this movie in particular, and think that that is the way that I’m painting my mother,” Jennifer Lawrence said.

“My mother is a wonderful person but that doesn’t mean that there aren’t still things from my childhood that I’m working out.”

“So many of my films in the past have been about my mother, my childhood. I wonder what will happen now that I’ll be witnessing somebody else’s childhood"

She's never really publicly dissed her parents but I have always felt like she didn't grow up in a household that was very accepting of her.

Glenn Close- Dhanishta Moon & Venus (Ashlesha Rising)

Glenn Close was a victim of a cult after her father joined, took off to work in Africa, and left his kids in Switzerland at the Moral Re-Armament headquarters. Close spoke about that time and shared, “You basically weren’t allowed to do anything, or you were made to feel guilty about any unnatural desire. If you talk to anybody who was in a group that basically dictates how you’re supposed to live and what you’re supposed to say and how you’re supposed to feel, from the time you’re 7 till the time you’re 22, it has a profound impact on you. It’s something you have to [consciously overcome] because all of your trigger points are.

Princess Diana, Dhanishta Moon and Marilyn Monroe, Dhanishta Moon

Both these ladies experienced a lot of neglect, abuse and emotional torment in life. I don't want to say too much about it because I feel like enough has been said about both their lives in the last several years. The conclusion is that these women had unhappy marriages and never really found love AND they grew up feeling very neglected.

Princess Diana was a really good mom and had Marilyn had children, perhaps she would've been to

One thing I have noticed with many Mars influenced individuals is that they may have suffered in life but they wouldn't let their children suffer the same way.

Eminem- Chitra Sun Dhanishta Moon

Eminem grew up without a father, and it's very common for Mars-ruled individuals to not have a father figure or grow up without a father figure. Eminem's relationship or lack thereof with his mum is pretty well documented so I won't go into that but despite the abuse and neglect he endured as a child, he has a very positive relationship with his children.

Gigi Hadid, Dhanishta Moon

I know Gigi had it better than Bella, but that does not mean she grew up well. Her mom literally told her to chew her almonds well; I don't know what else to say about this. Both the sisters are super close to their mom and live near her and everything so that will always be mysterious to me because its clear as day that Yolanda has been a questionable parent.

Dhanishta Sun & Mercury- Tinashe

Tinashe dated Ben Simmons, who two-timed her with Kendall Jenner in 2018, or moved on with Kendall, and Tinashe was apparently drunk for 6 months straight and called it the "worst day of her life" apparently

Coming back to the absent father theme, I have noticed this with many other Martians as well

The Weeknd (Dhanistha Sun) & Doja Cat (Chitra Sun, Rising & Rahu)

The Weeknd grew up without a dad and Doja also does not have a relationship with her dad. Marilyn Monroe (Dhanistha Moon & Jupiter) also didn't have a dad growing up.

All of them have abandonment issues as a result. Kind of random but all of them have a questionable dating history as well.

Martians have a "anything floats" kind of personality, and they really don't have a "type" and their dating history is often very diverse, eclectic and far-ranging and at times questionable.

Some well known abusers are also Martian:

Salman Khan- Dhanishta Moon

He physically abused Aishwarya Rai and got away with it

He also has a tendency to cast women that look like his ex after he breaks up with them

Aishwarya Rai and her doppelganger Sneha Ullal whom he cast opposite him

Katrina Kaif and her lookalike Zarine Khan whom Salman cast opposite himself

The pedophile and abuser Woody Allen is a- Dhanishta Moon

John Mayer who basically groomed Taylor Swift is a- Chitra Sun & Mercury

He has said horrible things about all the women he's dated, including Jessica Simpson whom he dated on and off FOR YEARS

"Have you ever been with a girl who made you want to quit the rest of your life? Did you ever say, 'I want to quit my life and just fucking snort you? If you charged me $10,000 to fuck you, I would start selling all my shit just to keep fucking you.'

Simpson said she was humiliated by this quote. This is what I mean when I say Martian men have no manners. Imagine dating someone and then publicly saying this about them ugh

Tom Hardy- Chitra Sun

Tom Hardy is known for a controversy that occurred during the filming of Mad Max: Fury Road. Specifically, Charlize Theron and other crew members alleged that Hardy's behaviour on set was unprofessional, including lateness and verbal confrontations. Theron reportedly felt threatened and required a producer to shadow her on set. Idk how much of an asshole abuser you have to be for someone like Charlize Theron to feel unsafe around you.

There are lots more to say so stay tuned for part 2

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If you have a problem with destruction of TERRORIST CAMPS , then I'm sorry to reveal this to you but YOU are the problem dawg 😭

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the intimacy of "how do you know that?"

"because I know you."

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I just wanna remind y'all that Krishna is also worshipped as a MOTHER GOD in Maharashtra in form of Vitthal mauli.

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Krishna is such a Loverboy. Like. You know what I mean without me needing to say it. He's a wife's man. Rukmini Mata will call him "Swami" and he will reply with "Ji, Swamini?" HE'S THAT CUTE. Idk how Mata survived being away bro I would be pinching his cheeks every hour. Such a Loverboy.

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Because we live in the realm of dualism, we see sexual energy as something to be indulged or denied, as though pleasure and restraint exist on opposite ends of a spectrum. Mars embodies the sacred fire of celibacy, the inner blaze that transmutes desire into spiritual power and preserves the vital bindu. Venus on the other hand carries the waters of Rati, the cosmic lover’s nectar that dissolves boundaries and awakens the senses that give it the power to revive the dead through the creation of new life. It is water that is used to extinguish flames, showing how the erotic current of Venus cools the ascetic fire of Mars. When these forces meet without a third principle to mediate, the fire of Brahmacharya is doused and the waters of Kama overflow, giving rise to a tide of unrestrained sexuality. Esoterically this marriage of Mars and Venus warns of temptation’s subtle workings, the message that the very flame that guards our inner discipline calls forth currents that seek to disperse it. Without Saturn’s stern eye or Mercury’s discerning mind to regulate the interaction, the aspirant finds that the vital essence meant for illumination leaks away in the pursuit of pleasure. In tantric lore, Shakti without Shiva becomes unruly water, and Shiva without Shakti is a sterile blaze. Only when the warrior’s fire of Mars is held in balance by Venus’s tides, tempered, measured, and guided by higher awareness, does sexual energy become a river of transformation rather than a flood of distraction.

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stop getting married between the ages of 18-25 like wtf are you thinking…?

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Was talking about how uttara bhadrapada is the “gates to heaven” idea found in christianity. then someone shared how their uttara bhadrapada sister’s name directly means “gates to heaven.” uttara bhadrapada is the kundalini itself which ties into the nagas being guardians of spiritual wisdom & the treasure which lies at the bottom of the sea. uttara bhadrapada is the strength and discipline required to cultivate one’s own spiritual being. purva bhadrapada is rapid, intense awakening, but without uttara bhadrapada, the lessons that we learned in purva bhadrapada would quickly fade away and be forgotten. uttara bhadrapada teaches us that discipline is required in order to attain moksha.

if we do not radically accept ourselves outside of what the dualistic world is trying to keep us entrapped in [*ashlesha—shatabhisha], we can never truly become spiritual beings. Maya will always be just that: Maya. The world will be full of things seducing us to come back and play over and over. The goal is to learn and play and then to ascend once one recognizes that nothing ever truly changes. The only thing that exists is Now. Revati is the state of timelessness. It is the concept of “be here, now.” It is completely beyond Maya, which allows the divine to act through Revati in order to directly play with the material world. This connects to Kamala, the exalted form of Lakshmi [Venus], and her being the fully realized form of Devi on Earth.

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Aja Ekapada [Purva Bhadrapada] represents overcoming the illusion of duality. Shatabhisha makes us realize that separation from God is an illusion.

Painted by Shatabhisha ☽ Michelangelo. Shatabhisha is our reunification with God, as separation from God is an illusion (☊) of Maya in the Earthly realms of existence. Varuna is lord of the skies and waters. Bodies of water are of the Earth and the sky is the heavens, yet both reflect each other. The visibility of the sky affects the visibility of streams or pools of water. This can be interpreted symbolically as well, with humans being the bodies of water and the sky being higher states of consciousness.

Uttara Phalguni is birth into duality [Adam & Eve awakening to good and evil], the Fall From Grace which causes man to fall and separate from God. Uttara Phalguni — Shatabhisha deities are invoked together, and Purva Bhadrapada shares an axis of energy with Uttara Phalguni

Varuna is the Lord of Shatabhisha & cosmic waters. He is heavily associated with Nagas, which are watery beings. The Nagas guard esoteric knowledge and are said to assist in the evolution of mankind [Uttara Phalguni & the serpent that caused the creation of mankind through awakening Eve]. Shatabhisha is the height of esoteric wisdom; all is revealed. Just like how Nagas guard sacred spiritual knowledge & wisdom, Varuna is said to be a bestower of wisdom. [side note: it is incredible how Shatabhisha acts as a stage for the realization that aliens are real, as the idea of a ‘reptilian alien’, it is essentially a Naga. The realization of this truth can be uncomfortable for many. Shatabhisha acts as a paradox that reflects the spiritual grade of the individual interacting with it. Whether or not they are ready for certain truths to be unveiled depends on their ability to harness the energy of the Nagas, which directly ties back to Ashlesha & Uttara Phalguni as Uttara Phalguni is the awakening of the dormant serpent that lies at the base of the spine].

After realizing that separation from God is an illusion in Shatabhisha, Purva Bhadrapada acts as intense, rapid escalation into true spiritual development. The illusion of duality, the play of Maya, is finally revealed in Shatabhisha, and Aja Ekapada stands on one foot to demonstrate the act of overcoming the illusion of duality.

The ability to master Purva Bhadrapada energy aptly is based upon the strength of one’s unique spiritual destiny & path, which is established in Uttara Phalguni. We are born into duality to immerse into Maya in Uttara Phalguni, then we begin to acknowledge that nothing is truly separate and all is one in Purva Bhadrapada. Purva Bhadrapada masters duality and calls out the hypocrisy of the material world and its ideas of “good” vs “bad” because everything is inherently interlinked and reflecting the other; everything is one. This is the spiritual truth found in Shatabhisha—Purva Bhadrapada. We begin to embrace and accept the fact that you cannot have one without the other, and thus the illusion of “good” vs “bad” begins to dissipate, and Purva Bhadrapada natives go the extreme to retaliate against the illusion of duality & seperation from God by acknowledging that they are God [as everything is one].

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If you're not Indian or Hindu and you're into Vedic astrology, yoga or some other practice rooted to Hinduism and you can't speak up for oppressed Hindus or when when Hindus get attacked & selectively murdered, then you have no business using them for your aesthetics or profiting off from those practices.

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Erotic Chaos: Kundalini, Ashlesha, Uttara Bhadrapada, and the Struggle for Control

In ancient Vedic texts, Kundalini is described as the “serpent power,” an intense, primal energy coiled at the base of the spine. This energy is tied to our ego and physical identity, anchoring us to the material world while also placing limits on our spiritual growth. Mastering Kundalini means learning to awaken and guide this energy upward through each chakra, each center representing a unique aspect of consciousness. A true Kundalini awakening is not just about spiritual insight — it also involves embracing sexual energy as a natural, powerful force within the spiritual journey, transforming raw desire into higher awareness. Source: Claire Nakti

Ashlesha nakshatra is deeply connected to this concept because it embodies the themes of binding and constriction — spiritually and energetically. Governed by the Nagas (serpent deities), Ashlesha represents the dual nature of serpents: they can bind and paralyze with poison but also possess the power to release and unbind. Being in the sensitive water sign of Cancer, Ashlesha is about preserving energy and maintaining purity. Nagas, associated with water, are highly sensitive to spiritual pollution and react strongly against actions that disrespect sacred knowledge. Their Yin nature means they don’t initiate but rather respond, acting as protectors of Dharma (spiritual order) and sacred practices. Uttara Bhadrapada, on the other hand, also has a restrictive quality, but its limitations are tied to Saturn’s influence and Pisces’ connection to the 12th house — the realm of isolation, subconscious depth, and hidden places like prisons or asylums. Its deity, Ahir Budhnya (the deep sea serpent or dragon), guards hidden treasures in the depths of the ocean, symbolizing the containment and protection of sacred knowledge. Uttara Bhadrapada’s connection to Kundalini is more refined — it is linked to the Ajna (third eye) chakra, where spiritual energy is stabilized. In this stage, Kundalini rises beyond ego and personal identity, bringing a profound shift where ambition and the desire for achievement fade away. The individual transcends their limited human self, merging with a higher state of consciousness and aligning with universal truth.

Ashlesha is about breaking free from “motherly” restrictions to avoid becoming frozen or paralyzed in a state of innocence or naivety. It represents the struggle of moving beyond a sheltered, virginal state. In “The Year of the Carnivore,” Cristin Milioti — an Ashlesha native — plays Sammy Smalls, a young woman stuck in a grocery store job she dislikes but keeps to avoid moving back in with her overbearing parents. Sammy’s life takes a turn when she develops a crush, and after an awkward sexual encounter, the guy tells her she is sexually immature due to her inexperience. This criticism triggers a spiral for Sammy, pushing her into a series of awkward, misguided sexual experiments as she tries to gain experience. One telling scene shows Sammy getting intimate with a guy but unable to stop laughing — a clear sign of discomfort with physical touch.

This aligns with the nature of Ashlesha, whose yoni (animal symbol) is the male cat, considered the least sexual yoni in terms of directness, reproduction, and penetration. Like a cat, Ashlesha can be finicky, picky, and indirect, preferring to preserve their energy. This focus on energy preservation is tied to Ashlesha’s connection with water — the most easily polluted element. Water signs like Cancer (Ashlesha’s zodiac sign) and Pisces are especially vulnerable to contamination, which is why Ashlesha women are often concerned with purity and self-protection. Ashlesha natives often need to explore sex in a way that genuinely gratifies them, and their indirect, cautious approach can sometimes lead to an aggressive or even predatory sexual expression — a “man-eating” or cannibalistic trope.

This is seen in “Raw,” where Garance Marillier — who has an Ashlesha ☽ and an Uttara Bhadrapada ↑ — plays Justine, a veterinary student raised as a strict vegetarian by her overprotective mother. When Justine is forced to eat raw rabbit meat during a hazing ritual, she develops an intense, almost uncontrollable craving for raw flesh, leading to a disturbing transformation. Her struggle with hunger and primal urges is a dark, exaggerated portrayal of Ashlesha’s conflicted relationship with instinct, hunger, and desire. After experiencing intense cravings for meat, Justine feels ashamed and begins secretly eating raw meat. Her hunger takes a darker turn when her sister Alexia accidentally cuts off her finger — and instead of helping, Justine picks it up and starts chewing on it. Justine’s hunger for human flesh intensifies and begins to blur with her feelings of lust, especially toward her roommate, Adrien. Adrien is more sexually experienced, while Justine is still a virgin and unfamiliar with her own desires. During a hazing ritual, she is pressured to kiss a boy but ends up biting his bottom lip instead. Later, when she has sex with Adrien, she struggles with an urge to devour him but manages to control herself, biting her own arm instead and experiencing an orgasm.

In “Jennifer’s Body,” Megan Fox — an Ashlesha ☽ native — plays Jennifer Check, a high school girl known for her wild reputation. One night, Jennifer and her best friend Needy go to a local bar to see an out-of-town band perform. The lead singer, mistakenly believing Jennifer is a virgin, decides to sacrifice her for fame and fortune. But the ritual backfires because Jennifer isn’t a virgin, and she is transformed into a succubus instead of dying. As a succubus, Jennifer begins seducing and killing local boys, feeding on them to maintain her beauty and vitality. If she goes too long without eating, she becomes pale and withered, needing “male meat” to stay healthy and beautiful. These stories highlight Ashlesha’s intense, pent-up feminine energy — a force that is both alluring and dangerous. Ashlesha is like a group of hidden, pure water creatures — sensitive, waiting, and filled with angsty, sexualized energy. It craves something strong enough to resist or contain it. When that strength is absent, Ashlesha’s energy can become consuming, uncoiling and rising like a serpent, leading to a kind of bliss or ecstasy. Despite its connection to inexperience or naivety, Ashlesha has a fierce, almost predatory side. Its intensity is rooted in a primal hunger, making it one of the most dangerously passionate nakshatras, especially when its desires are awakened.

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Uttara Bhadrapada, with its Saturnian influence and connection to the deep waters of the subconscious, often manifests as a struggle between repression and chaotic release, especially when it comes to sexuality. The nakshatra’s link to hidden depths means that emotions and desires are often buried, but when they surface, they can do so violently or in distorted ways. This is evident in two films featuring Uttara Bhadrapada natives: “The Piano Teacher” and “A Dangerous Method.” In “The Piano Teacher,” Erika Kohut (played by Uttara Bhadrapada ☽ Isabelle Huppert) is a rigid, troubled piano professor in her late thirties, living under the suffocating control of her elderly mother in Vienna. Her father spent years in a psychiatric asylum, and Erika’s entire life is a study in repression — she leads a scheduled, lonely existence, pouring all her energy into her strict, almost cruel teaching style. Her mastery of classical music, (which @invenusworld has linked to Saturn nakshatras) is her only source of pride, but it also becomes a prison. For Erika, who was conditioned to believe that only her piano skills had value, everything else — beauty, charm, or love — seems beyond her reach. Erika embodies the detached, mysterious qualities of Uttara Bhadrapada. She feels fundamentally excluded from the world around her, a theme captured in the novel by Elfriede Jelinek: “She feels left out of everything because she is left out of everything. Others go farther, even climbing over her. She looks like such a minor obstruction… The paper can’t get very far, it rots away right there. The rotting takes years, monotonous years.” This isolation and repression transform her desires into something dark and destructive. Her sexual needs, suppressed for so long, emerge through voyeurism, sadomasochism, and self-harm. Uttara Bhadrapada’s connection to Saturn (restriction) and the 12th house (hidden desires, self-undoing) makes Erika a prisoner of her own twisted cravings. Her attempt to control her sexuality leads to a disturbing power struggle with Walter Klemmer, a young pianist who becomes fascinated with her. Although she is impressed by his talent, she tries to sabotage his acceptance as her student, a reflection of her fear of losing control. Her insecurity peaks when she sabotages another student, Anna, injuring her to steal her performance opportunity. Walter’s interest in Erika turns into a toxic, violent relationship.

When she tries to control their encounters with a list of masochistic fantasies, Walter is disgusted and calls her sick. Uttara Bhadrapada, with its mix of Saturn’s restraint and the 12th house’s hidden darkness, can manifest as a craving for the forbidden — but also a fear of being consumed by it. Erika’s attempt to engage with her desires becomes self-destructive. Her repression is so severe that even when she tries to submit to Walter at an ice rink, she becomes overwhelmed and vomits. Later, when Walter arrives at her apartment and violently assaults her, acting out the fantasies she had described, it becomes the ultimate loss of control — a tragic consequence of her conflicted desires, which she never truly wanted to become reality. What Erika genuinely craved was affection and love, but her need for them was distorted into unhealthy perversion. The next day, she brings a knife to the concert hall where she is set to perform in Anna’s place. When she sees Walter laughing with his family, she calmly stabs herself in the shoulder and walks away, her self-harm a final act of despair and self-punishment.

The Andromeda myth, tied to Uttara Bhadrapada, is a story of captivity, sacrifice, and transformation. Andromeda, a princess chained to a rock as an offering to a sea monster, represents the themes of being trapped, suffering for the sins of others, and the potential for liberation through divine intervention. These themes echo the emotional and psychological struggles associated with Uttara Bhadrapada, where hidden fears, repressed desires, and subconscious turmoil create an internal prison. Yet, like Andromeda, the potential for transformation always exists, even in the darkest moments.

Uttara Bhadrapada’s connection to Andromeda can be seen in how its natives often experience deep psychological suffering or repression, feeling bound by invisible chains — whether through strict upbringing, oppressive relationships, or their own unresolved fears. This nakshatra is ruled by Ahir Budhnya, the serpent of the deep, a being bound to the ocean’s depths yet holding vast knowledge. Like Andromeda, who is saved by Perseus, Uttara Bhadrapada’s struggle is not without hope. Transformation comes when they confront the monstrous aspects of their subconscious, freeing themselves through self-awareness or a profound emotional release.

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This theme is vividly portrayed in “The Piano Teacher,” where Erika Kohut (Uttara Bhadrapada ☽ Isabelle Huppert) is emotionally chained by her controlling mother and repressed desires. Her strict, punishing approach to life is a form of self-imposed captivity, but beneath her cold exterior lies a sea of chaotic, unfulfilled desires. Her voyeurism, sadomasochism, and self-harm are expressions of this repressed energy breaking through, much like the sea monster in the Andromeda myth. When she meets Walter, their interactions become a cruel power struggle — a battle between her need for control and her longing for release. Walter initially seems like a liberator but becomes another form of torment when he violently acts out her fantasies, leaving Erika even more wounded. Her final act of self-harm before walking out of the concert hall is a twisted attempt at reclaiming her agency — a distorted form of freedom.

In “A Dangerous Method,” Sabina Spielrein (Uttara Bhadrapada ☉ Keira Knightley) is also trapped — by her traumatic memories and her intense, conflicted desires. Her hysteria and emotional suffering are symptoms of unprocessed trauma, but they are also the source of her transformation. Through her relationship with Carl Jung, she confronts the darkness of her past, ultimately transforming her suffering into insight, becoming a pioneer in psychoanalysis. Her journey from patient to healer reflects Uttara Bhadrapada’s power to turn pain into wisdom, just as Andromeda is saved and transformed by her ordeal.

“Augustine” portrays another trapped woman, Augustine (Uttara Bhadrapada ↑ Soko), who is institutionalized after violent fits and paralysis. Charcot’s obsessive study of her turns her suffering into a spectacle, reducing her to a subject of medical curiosity. But Augustine’s symptoms — seizures, loss of sensation, and fainting — are not just physical. They are expressions of repressed emotions and desires struggling to surface, much like Kundalini energy coiled in the depths. Her final escape from the institution, after using her supposed hysteria to manipulate Charcot, is a symbolic liberation, a rejection of being used and controlled.

Going back to the cannibalistic narratives of “Raw” (starring Ashlesha ☉, Uttara Bhadrapada ↑ Garance Marillier) and “Bones and All” (directed by Ashlesha ☉, Uttara Bhadrapada ☽ Luca Guadagnino and starring Uttara Bhadrapada ☽ Timothée Chalamet). In “Raw,” Justine is overwhelmed by her repressed hunger, both literal and metaphorical, which becomes monstrous when she tastes human flesh. Her descent into cannibalism is a grotesque form of transformation, where she must confront the darkness within herself — a classic Uttara Bhadrapada struggle. In “Bones and All,” Chalamet’s character lures his victims through seduction, a serpent-like dance that combines hunger, desire, and violence. His embrace of a man in the cornfield, wrapping around him before striking, is a direct nod to the snake symbolism of Ahir Budhnya — the hidden hunger that coils around its prey. These cannibalistic themes reveal the shadow side of Uttara Bhadrapada, where suppressed desires erupt in monstrous ways. But they also hint at the potential for transformation, as both characters are forced to confront the darkness within them. These stories show how Uttara Bhadrapada’s Andromeda connection is not just about suffering but about the choice to either remain trapped or transform — to either let the sea monster devour you or find a way to break free.