…is in the stars.
The subtext of George Clooney is not in any particular work of art he has had a hand in creating – whether as actor, director, writer, producer or all together — but rather the evolution of an on-screen persona. Rare for an actor, his core character strength is a work in progress that leaves artifacts – films, public appearances, mischievous pranks – for us to decode.
In overcoming the Heisenberg uncertainty principle, Clooney becomes an extremely hospitable guide to the paradigm leap. That he manages to do so while challenging his audience’s expectations, yet without self-conscious irony, indicates he is hooking into something beyond the postmodern.
The precise and even calculating manner that this artist — who labored for so long in the shadows under the burden of a consciousness of the very pitfalls of fame – chooses his vehicles for public expression is fascinating against the backdrop of his natal astrology chart. This has been true ever since his starring role in Steven Soderbergh’s 2002 remaking of Solaris, which reinterpreted the Stanisław Lem science fiction novel about an oceanic consciousness in outer space into the Ouroboric passage into the sacred marriage, via the Heisenberg uncertainty principle. While many films are about the anima, it is rare for a film to work out the anima problem as Solaris does within a non-linear story with a self-contained aesthetic. In the film, the beloved Rheya (derived from Rhea, the patriarchal mother goddess who destroys her children at the command of her husband, Cronus) evolves from seductress to conscious collaborator. The message is that conscious action in regards to relationship (Saturn in Libra) is an evolution into the eternal union of the sacred marriage.
The shift from the patriarchal to a new partnership model is the door into Clooney’s chart. Notice the fixed cross (in red) as the dominate configuration in the chart; this pattern connotes a surrender of previous patterns upon a new set of conditions that are both personal and universal (his Sun in the fixed cross with transcendental planets Uranus and Neptune).
His first house is shared by Pisces and Aries, so the Jupiter/Uranus conjunction passing between these two signs, the first and last of the zodiac, indicate that the lasting power of George Clooney’s celebrity is a harbinger of what is to come.
When Clooney was born, Venus, suddenly in view, had just begun to move forward after retrograding in the independent minded sign of Aries. While making no planetary aspects, it formed an EXACT conjunction first house conjunction with Vesta, the keeper of the Kundalini flame. This reveals a containment of the Kundalini via the route of evolving (Vesta) the anima principle (Venus) publicly through the labor (North Node in Virgo in the Sixth House) of expressing (Mercury) his talent (conjunct the second house Sun).
ICON AS SUBTEXT
At the moment of this posting, the archetype of the hieros gamos is constellating. The signature is the conjunction of Venus/Mars in Scorpio as Venus moves into a retrograde station.
In Clooney’s chart, the configuration triggers his eighth house Neptune while Saturn/Sun conjuncted ( Sept. 30) the partnership sign of Libra. It is quite an amazing pattern, given that Jupiter (in conjunction with Uranus) in Pisces is EXACTLY on the ascendent! Also, the Moon is in Leo opposing Neptune in Aquarius, making the personal (Leo) anima complicit in the universal (Aquarius) quality of the sacred marriage!
See below, how the sacred marriage (Mars/Venus conjunction) hits Clooney’s chart: (1) Transiting Sun/Saturn (seventh house of partnership) opposing his Venus (first house) (2). Venus/Mars conjunct his Neptune in Scorpio (eighth house of marriage) opposing his Taurus Sun.
notably the innovation Frances McDormand character whose female proactive desire drives the action in the film, and the joke is that this desire stems from the urge to fit the societal female idea via plastic surgery, yet the Clooney character accepts her as she is.
I happened upon this excerpt from Bill Tiierney’s Dynamics of Aspect Analysis which sums up the solitary position of Clooney’s Venus:
Usually our estimations of how any planet might act out its impulses are prompted by the presence of aspects to that planet. But with no aspects to consider, what is an astrologer to expect in terms of that planet’s expression? There are probably other unknown factors in existence that regulate the manifestation of life principle beyond what is presently realized through the structure of astrology as it has now evolved. Astrology is as subject to the evolutionary process as is everything else (which should be evident every time a new planets is discovered and added to the structure). We should not assume that all that is is exclusively contained within solar system based astrological archetypes (as we do when describing life processes indicated by the Zodiac). What if earth-based astrology is simply the necessary springboard for human beings to eventually tap into completely alien concepts of being? What if even more powerful galactic archetypes unknown to us nevertheless direct the mechanism of earth-based astrological phenomena? Frankly, we just do not know if the astrological formulae we apply to our human condition are unconditional. Thus, if an unaspected planet tends to show a periodic lack of control in its actions or moments of oscillating expression that are hard to account for, it could be prompted to activate this way due to the processes that we are not ready to know about yet. These planets have been shown to undergo periods of spurtlike activity for no apparent reason (i.e. not
because of transits or progressions). With our limited knowledge, it is hard to explain how these planets are generated into expression without any aspect stimuli. (p. 173)
Because the art world is both stymied by its commercial sellout during the boom years and comatose as a result of the economic downturn, there is an urgency for the celebrity/movie star to fill the void. After all, what does the term movie star mean but an archetypal constellation patterned in a human being?
If the August 20th Mars/Venus/Saturn gathering in the sign of Libra could bring the Palenstinians and Israelis together for peace talks, then couldn’t we expect to see some bold strokes from the arts of the paradigm leap catalyzed by the cardinal T-square of the last month?
Could it be that the popular culture is too corporate controlled to allow for self-examination?
Which makes George Clooney all the more valuable, and explains his universal appeal. A movie star who reminds us of our own humanity through his very public humanitarian persona.
Fortunately, along with his grey hairs revealing the maturity separating him from other leading men, Clooney has developed his innate gift of timing.
Just three days after his acceptance speech for winning the Bob Hope Humanitarian Award, The American hit the theaters. Why was a film based on a book titled An Extremely Private Gentleman re-titled as The American? Good question that the score of reviews of The American undoubtedly failed to probe. But for an astrologer it was a crucial clue to the super consciousness that appears to be guiding George Clooney. The comparison of Clooney’s chart with the USA Sibly chart reveals a karmic connection related to his widespread appeal: Clooney’s Jupiter is EXACTLY conjunct the USA South Node.
Modernism dictated genius as a singular work, a masterpiece. Under the paradigm shift that artists, like everyone else, must acknowledge today, the requirement for art is the sacred marriage of opposites: the shedding of the personal subconscious and then accessing the collective unconscious and finding the vehicle of containment (Saturn) for that dose of super-consciousness (Uranus).
We can’t forget that two planets, Saturn and Uranus, rule Aquarius, the sign of genius, which is placed in Clooney’s chart by way of the ruler of his mid-heaven, Jupiter. This dictates that his very calling demands that he hold the tension of the opposites — the Leo-Aquarius polarity — during this crucial time of transition between the breakdown of patriarchal archetypes and rise of the Aquarian Age icon, the sacred marriage. In fact, the very ability to maintain a center is how the sacred marriage icon takes hold!
With this insight regarding is position in the collective consciousness (Jupiter in his 11th house), the title of his most recent film is a form of coding. That the character of Jack is an American in a foreign country is obvious. But what about “the American” as the archetype our forefathers coded into the American nation?
Let’s look at the charts in comparison.
Here we discover that George Clooney’s Jupiter is EXACTLY on the USA South Node while his Mars in Leo opposition conjuncts the USA North Node. Here is the opposition of Aquarius/Leo, the human and the movie star.
What is more significant is his Moon in Capricorn EXACTLY on the USA Pluto, with his Saturn only two degrees away. What this signifies is an uncanny instinct (the Moon) to uncover deep state (Capricorn) secrets (Pluto). We will see how he has been going about this in his recent films.
Moreover, Jupiter makes this highly karmic position a stellum, so this archetype of heaven/earth, human/celestial is imbedded into Clooney’s persona (Moon) as a sense of personal duty. The position in the 11th (Aquarius) house only adds to a personal narrative that is reflected in the collective: a commitment (Saturn) to truth (Aquarius) seeking (Jupiter ruling the Midheaven, the calling).
SYMBOLS, CYCLES & ARCHETYPES
What is uncanny about The American is the use of the symbol and archetypal characters drawn from the Spaghetti western (the priest and prostitute both offering redemption from opposite ends of the chakra spectrum: spirit vs. the body). The physical labyrinth, representing the journey of self-discovery with its unknown twists and turns — is embedded in the streets of the Italian village where the assassin is hiding out. Along with its geographical isolation, this elevated landscape conveys the mood of the yearning for transcendence of a new archetype. This is personal for the character but also pertains to the American nation, with its two primary exports revealed in the film: munitions and culture (the spaghetti western on the restaurant TV). The primary symbol of the film is the butterfly, which connects the physical body image (the tattoo on the assassin’s back) with the ethereal concept of the sacred marriage. This newly emerging archetype was to be located in arcadia by early American spiritualists (the Theosophists) translated into the film as a paradise where Jack would bring the female anima figures of death (the female assassin) and rebirth (the prostitute); both women gave him the nickname farfalla (butterfly).
On one level, the butterfly, along with the film’s premise, is a cliché about the quest for transcendence. In this case, however, the butterfly is a live presence in arcadia where the trained assassin is confronted with two females. The first will be his killer. And the other? The Beloved.
On a more mundane level, the butterfly is the quest for the freedom to be human, an emotional being. But in a hidden coding that illuminates the ambiguity of plot, butterfly references Project Monarch in which CIA operatives are subject to mind control, which makes them slaves to an external authority.
When a person is undergoing trauma induced by electroshock, a feeling of light-headedness is evidenced; as if one is floating or fluttering like a butterfly. There is also a symbolic representation pertaining to the transformation or metamorphosis of this beautiful insect: from a caterpillar to a cocoon (dormancy, inactivity), to a butterfly (new creation) which will return to its point of origin. Such is the migratory pattern that makes this species unique.
Occult symbolism may give additional insight into the true meaning Psyche is the word for both “soul” and “butterfly” coming from the belief that human souls become butterflies while searching for a new reincarnation. (source: Project Monarch: Nazi Mind Control by Ron Patton)
Was this association intentional or the unconscious at work? The American, rather than butterfly, was the assassin’s nickname in the book. Could this film character be symbolic of the illuminati mind control of the American masses by the collusion of government intelligence and the corporate entertainment media?
In fact, the cyclical manner that violence is treated in the film – the very gun that the hitman so meticulously crafts is the instrument of his own death – is a mirror in which America’s exportation of violence has turned back on ourselves, creating technological slaves immune to emotion via America’s two largest exports: our entertainment culture and munitions industry.
Could this be a higher intelligence working through the Clooney subtext that the star himself isn’t even aware of? A message informing Americans to connect with our humanity so we may together evolve into a liberating new archetype — or otherwise making us unwitting victims of illuminati mind control?
It seems that the true guerilla approach to creating a revolution in a media driven society is to use the mechanisms of the globalization of culture to mirror the very process by which the unquestioning adherence to the American dream is undermining the very freedom guaranteed by our constitution. How does this bear out with Clooney and the emergence of a new icon out of the postmodern decay of the patriarchal archetypes?
SUBTEXT IN TRAJECTORY
An early Clooney film was a 1996 formulaic romantic comedy with Michelle Pfeiffer about a social dilemma — the frazzled life of the single parent. One Fine Day cast Clooney in the light of the archetypal puer aeternus. He returned to this archetype with his indelible 2009 characters in Burn After Reading and Up in the Air, where the insecurities of age transform puer into senex. These portraits reveal the puer/senex polarity as crucial to the American myth, the innocence coupled with cynicism stemming from an inability to evolve –whereas consumerism has filled the void left by the non-emotionalism of the American male.
In Men Who Stare at Goats he takes the shadow by the horns, so to speak (the goat is the symbol for Capricorn, the mythological Cronus or patriarchal shadow). We are served in this film an antidote, the surrender to the feminine in a common goal of caring for the Earth. Such a whooping message is delivered, as it only could be in the entertainment culture, with characteristic Clooney humor. But even his humor is a vehicle for revealing the overblown violence in media, which, as Michael Parenti states in his Make-Believe Media: The Politics of Entertainment“… violence cultivates exaggerated notions about danger in the real world. The exaggerated sense of risk may lead to increased demand for protection and increasing pressure for force by established authorities.”
But The American was a departure from the humorous vehicle for shattering a consensus reality so ingrained in the American psyche that no film critic could even detect it, despite the freedom of thought supposedly allowed by the Internet. It was deadly (excuse the pun) serious examination of the American character that has become completely desensitized. America’s penchant for violence, manufactured and exported in our military industrial complex and entertainment industry, will — like the carefully hand crafted weapon of George Clooney’s assassin — be turned on ourselves one day.
Perhaps it already has