The final leg of this intense Mercury retrograde in Scorpio/Sagittarius reminds us that we are currently under a beautiful astrological configuration, brought about by the meeting of Jupiter in Cancer (at 24° 47′ degrees) together with Saturn (25° 15′), the North Node ( 24° 24′), Neptune in Pisces (29° 45′) and also Uranus in Taurus (29° 16′). These 4 massive planets of our solar system, together with the lunar nodal axis in Pisces/Virgo, are cozying up to each other within the span of 5 degrees and forming pleasant and harmonious trines and sextiles.

With so much soothing Water and Earth energy in the sky, the air feels thick with generative emotions, creating a fertile, spiritual ground for romantic ideas. But because Earth and Water romantic energy is often tinged with serious and rather heavy feelings such as melancholy, yearning, loss, sadness, possessiveness, forgiveness, and low self-worth, it develops a rather gothic and dark sheen.

Collectively speaking, it took us a while to get here after a year that began with considerable chaos and irritations (and I blame Jupiter in detriment in the sign of Gemini for that). At the beginning of this year, most of us felt lost, almost like we dissolved and had to let go of things and people we felt emotionally attached to. This loss created spaces in our hearts, in our minds and in our homes that are now being watered and replenished by the rich soil of new seeds, a life germinating with so much emotional potential. A life which awaits the simple spark of Saturn re-entering Aries in the month of February 2026 to light up. Until then, we have time to reflect on what exactly this year was, and I’m personally choosing to do so through the medium of film.

Saturn & the Bleeding Father Wound

I think it’s significant that from a cinematic viewpoint we began the year with big releases such as Nosferatu and are ending it with Frankenstein. The Zeitgeist denotes a growing fascination with horror in our collective, both in terms of movies, but also in the gaming world. Could it be that the realm of horror in art is helping us deal with our own crippling existential anxieties in a collapsing socio-political environment? We usually associate the Archetype of the Father with the spark of vitality, with the energy to overcome obstacles, to boldly face life’s challenges and to contribute to society. But as society and social norms are dissolving right before our eyes, is our conception of the protective and all-encompassing Father Figure also crumbling?

Much like it was gorgeously shown in Guillermo del Toro’s Frankenstein, are we left with hunting the monsters of our own psyche, placing upon those on the fringes of society the monstrous qualities of our unintegrated, collective Shadow? Is this why it feels so difficult to exist as a non-conformist, sensitive and creative person in a global village in which everyone thinks the same, looks the same and feels nothing?

If masculinity then appears distorted in our collective unconscious do we transform it into something perverse or perhaps expect it to be perverse? Because things usually exist in pairs, then we cannot speak of a ‘perverse’ or ‘distorted’ form of masculinity haunting the collective without shedding light on its opposite: the higher-minder, redeeming image of man, as a defender, protector and spiritual guide. This is why we may have these counter-trends proliferating in the collective at the moment, being swept over by both religious fervour (see Rapture Tok) and smutty satisfaction (see Werewolf Romances or Biker Tok). There’s a lot more to say on this topic but I’ll let Jungian Analyst and prolific fairy-tale collector, Marie-Louise von Franz explain the psychological tendencies:

People of all ages needed an inner guide to help them overcome life's trials. This need has prompted people to see in certain individuals, gods or deified inspired personalities, the personification of all the skills they are looking for. When people are confronted with this impulse, the father archetype often appears, bearing the image of a deified or god-like counselor.
- p. 255, Archetypal Symbols in Fairy-Tales: The Profane and the Magical.

So, at present, are we choosing (more or less consciously) to worship a Demonic Father, a Destructive God which imbued with our own unacknowledged heavy feelings, has the power to obliterate us? Are we then seeking redemption through destruction? And how do these collective energies in which we exist daily end up affecting our behaviours, especially our gendered attachments?

Some Uranus in Taurus Witchcraft

For me, 2025 started with a trip to the local movie house to see Nosferatu, a movie I was eagerly waiting for. Stuffed in my seat liked a tinned sardine with a big crowd in a room that was hellishly warm because the air conditioning was not at full capacity on that cold January evening, I was too distracted to enjoy the movie by the bickering couple sitting next to me who had also berated me for not sitting in my proper place (aka the one I bought the ticket for). Nonetheless, I loved the movie! The dark aesthetics lingered in my mind, as well as that unforgettable, final scene, symbolic of the painting Death and the Maiden (see first image of this post).

After the movie, I came home and felt a sudden and overwhelming urge to take a bath. But rationally I told myself “No, don’t take a bath, because you are during your period at your day with the highest flow and you will literally bathe in your own blood if you do”.

Stupidly enough, I listened to reason and learned to regret it, because I woke up the next day with a severe cold that locked me in bed for the next 3 days. After I recovered, and being an impressionable Pisces, I felt that somehow the dark and evil nature of the monster portrayed in Nosferatu was somehow “stuck” to me and made me feel physically ill. I did some occult research and discovered that bathing in your own blood is actually a protective strategy that can help someone let go of the slimy energetic strings that were attached to her through the malevolent evil eye of others (or in my case, the bad vibes of the bickering, dramatic couple sitting next to me in the cinema). Menstrual blood is especially powerful, as it contains both death and the seeds of life alongside with the protective energy of the discarded uterine lining.

The entire experience was yet another lesson in learning how to trust and listen to my insights, visions and intuition. For a while after that, I was kind of afraid of re-watching Nosferatu because I associated the movie with getting ill and did not want to repeat the experience. Nonetheless, I decided to face my fear and saw the movie once again, at the end of August this time, projected onto the barren wall of my bedroom. Alone, in stillness, only disturbed by a cool breeze from the summer air wafting through my room, the slow sound of traffic and the crickets outside, I finally enjoyed the movie. I also did not catch a cold or argued with strangers and I saved my pocket money for candles and crystals.

Just as a sidenote, having lived through a lot of things in life and travelled extensively, I generally recommend solitary experiences to collective ones. Solitude truly is a gift and we should learn to value it and appreciate it more. That being said, this post is about love 🙂

Or better said, it is about romance and the way it blends with love at the level of our unconscious dark fantasies under this blissful astrological configuration covering the months of November and December of 2025.

Jupiter, the Quirky Dark Romantic

When two of the planetary giants of our solar systems (Saturn and Jupiter) find themselves shining through two of the most sensitive, soft and romantic Water signs, a deep rollercoaster of emotions is unleashed onto the collective. Socially, we find ourselves at the mercy of attachment triggers, insecurity hot-spots and conflicting emotions. Much of the anger we get to experience in the collective, has at its root a terrifying sadness and fear of abandonment.

Despite, their romantic nature, sweetness and adaptability, Cancer and Pisces can be the bringers of great suffering and pain in their lives and the lives of those they come into contact with. This happens when instead of understanding, accepting and mastering their emotionality, they succumb to it or they repress it (by pushing what they feel deep in their unconscious), thereby fuelling their Shadow Selves. People who succumb to their Shadow and live governed by their unconscious desires, become that very thing that they fear: the monsters, those with a great capacity for harm and psychological damage.

Since Jupiterian matters are simultaneously light-hearted and yet filled with rich meaning, I need to say a couple of words here about the wonder-fest that Lisa Frankenstein is. I discovered this Diablo Cody creation this year and have already seen it thrice, I just love it so much! Flipping the script on the male-dominated plot of Frankenstein, this movie has a certain unique, camp charm combined with female ingenuity on the background of an 80s synth-wave trip. The plot revolves around strange Lisa who lives with her father, her step-mom and step-sister in a sleepy, suburban neighbourhood. Her life is marred by a gruesome event that traumatised her childhood and makes her rather reclusive. She takes her social awkwardness and fantasizes in a bachelor’s cemetery about her ideal boyfriend while dabbling in some light witchcraft.

Then on a stormy day she accidentally brings to life a young noble-man who zombies his way to her house to profess undying love to her. He is disabled and smells awful but his heart seems in the right place. To make him human-looking again she has to come up with some creative ideas, and thank God she knows how to sew! Chaos ensues in the sweetest and most psychotic way possible, and I guarantee you will find it hard to guess the ending.

The fascinating thing about Lisa Frankenstein is how her rage and overall teen angst is somehow projected onto the Creature, who ends up putting into action her murderous intent and sadistic fantasies, especially geared towards her borderline step-mother. By falling in love with her, the Creature somehow redeems Lisa of her lowest desires and darker feelings. Their weird, beyond-the-grave love has therefore, cathartic properties, reminding us (again, from a flipped gendered-perspective this time), that love has the power to quench rage and transform death into life again.

This is a delightful movie, considering how low on romantic outputs the past few years have been in Hollywood. I also love the trend of 80s inspired dark romances and slashers. Inevitably, this movie sent me thinking of Totally Killer, a movie I added to this year’s Halloween list of recommended frights.

Neptune or When you Love the Monster

Judging by the rising popularity of creepy, dark romance content on Book Tok, I think it can be said that this year, under the wounded and distorted, paternal energy of the Saturn-Neptune conjunction and Chiron in the sign of Aries (which I wrote about in a previous post), we are all unconsciously processing our strained relationship to men and masculinity, and especially to our fathers, the first men we loved.

Increasingly, it seems that the fine line between the sado-masochistic content of personal fantasies is pervading the collective, who find enjoyment and liberation in stirring up social discoussion around these darkly, ecstatic experiences. This is also driven by greed, a typical manifestation of Uranus in Taurus energy, because what is taboo, forbidden or mysterious usually sells really well.

Nonetheless, I wonder what this form of dark consumption is doing to our psyches in the long-run? Like a Halloween Bacchanal taking place in the privacy of your home and on your phone’s lit up screen, a gallery of perversions and dehumanising acts are misinterpreted as sexy and romantic to rather cringe-worthy heights. Could this be a marker of our sexual appetites changing or of a collective call for desensitization brought about by the transit of emotionally detached and freaky Pluto in Aquarius?

I’ll let you find your own answers to this one.

In all honesty, I’ve also been consuming this year a lot of analogue horror content and I began listening to heavy metal. With Jupiter’s transit into nostalgic Cancer, and at my therapist’s request, I started looking for ways to consume the pent-up rage I have been feeling towards my mother in the wake of my father’s death. Taking walks at night-time, drawing monsters and shadow figures, cursing people who harmed me and listening to heavy metal were such sublimation strategies to process my anger. And I admit that as time passes, these sublimation strategies are working and I felt lighter. My mind is also remembering the background to my teenage years, mired in the foreboding sound of bands like System of a Down, Korn and Slipknot. Paradoxically, hearing men scream feels like they are screaming for me, in my name, in the name of the soul inside of me grappling to catch light again.

However, using creepy symbols, scary masks and war paint, dancing and shouting were also survival strategies our ancestors used when faced with the dark forces of disease and violence. Sometimes you become scary when you feel at your most vulnerable and are frightened yourself. As a protective strategy – you become that which you fear in an effort to push back on the energy crossing your boundaries and consuming your identity. This is where the fathomless creatures of Neptune, the God of the Sea, rear their ugly heads, in the realm of dreams and in the silent waters of our inner emotional reservoir. We sometimes reach down inside this fantasy realm to gather the strength to fight the beasts surrounding us, whether human or imaginary. And sometimes to overcome the darkness, we must become it, this being the behaviour encouraged by the camouflaging tendencies of Neptune, domicile in the sign of Pisces.

Recently in the second season of Wednesday, we’ve seen the overt conflict between Tyler and Wednesday, as it is now revealed that he is indeed the Hyde and therefore highly dangerous. Tyler is locked away in an asylum, seething in his rage at being betrayed by the Addams family prodigy, he once felt so attracted to but also attempted to murder. Although both Tyler and Wednesday are exploring their difficult attachments to their mother figures in this season, the overall feeling I had while watching the narrative unfold is the terrible weight of loving somebody who is overwhelmed by their Shadow, to the point of having a monstrous alter-ego.

From a paternal point of view, I also found it interesting that Tyler’s father is ashamed of his son, while Wednesday’s father is proud of her. Could this psychological resource determine the boldness that Wednesday shows in directly facing Tyler in Hyde form, the monster she loves? (it is to be assumed that love is involved, since Wednesday so obviously displays psychopathic tendencies which normally inhibit affect).

Although Tyler is the one in visible chains, Wednesday is the one having to deal with the emotional repercussions of loving someone monstruous, someone who consistently helps her and also harms her. But this tendency exists inside of herself too. Underneath her amateur detective Persona, Wednesday harbours towards Tyler the simultaneous desire to help him while also fighting with him.

In general, it seems that in the absence of meaningful myths to guide us we have been seduced to fall into the cesspool of dark fantasy images produced by contemporary culture and social media. It could be an act of creative absolution to reclaim myths and fairy-tales that align with our values and personal identities and use these as meaningful shields against collective dissolution, meaninglessness and cheap thrills. Maybe experiencing dark romances or exploring our Shadow aspects in love connections, could be the liberating way forward, where instead of pressuring each other into unsustainable, positive ever-afters, we process our pain and wounding into powerful and energy-giving, romantic transformations.

With universal love,

Lexi