Hollywood and the Neptune Factor: How Neptune's Transits Have Shaped the Movies

by Ra Rishikavi Raghudas

We sit in the darkness with great anticipation. Suddenly, a stream of ethereal light creates moving pictures on a screen before us, and we are enchanted. Welcome to the realm of Neptune!

In modern astrology, everything that belongs to the boundless, the unfettered, the selfless--is said to belong to Neptune’s realm. Neptune is the God principle and the creative Muse--that elusive thing we call magic. This profound energy is deeply embedded in the human heart, which flees from the ordinary, and seeks to dream. And for that purpose--we have the cinema.

Film is considered highly Neptunian. Movies are magic. The projector sends forth a dancing beam of light reflected upon a “silver screen”...an ethereal image projected into outward reality. Watching a movie, we fill ourselves with images sent forth from the invisible ethers.

From out this magical space, the film industry provides images in the collective psyche, part of a mass participation in creating thought forms--which then take on more solid substance. Filmmaker and audience dance together and literally create many of the energies which permeate society. These give rise to our social, national and world culture. Film has power.

Using the tropical zodiac, we can look at the transits of Neptune and actually see Hollywood history and the evolution of film. So let’s start at the beginning.

Neptune in Gemini: The Invention of Cinema

Movies as we’ve come to know them were invented as Neptune transited the Mercury-ruled sign of Gemini, an Air Sign associated with communication. It was an era of many inventions, including Thomas Edison’s “kinetograph,” a device capable of recording and then displaying whatever was in motion before it.

On June 21, 1889, William Friese-Greene was issued a patent for his “chronophotographic” camera, which took up to ten pictures per second using perforated celluloid film. This led to a three-second scene of motion-picture pioneer William Dickson moving his hat while his other hand reached out. Dickson Greeting was filmed in May, 1891, in collaboration with Edison.

It was among the first moving pictures shown to a paying public, during the World’s Columbian Exposition in Chicago in 1893. Fair-goers, the movies’ first real audience, marveled at the effects.

Neptune in Cancer: Emotion Rules

Neptune entered Cancer for good on May 21, 1902. The USA’s Sun-sign is Cancer. With Neptune entering this nurturing, sensitized sign, it was astrologically a very fertile time period for the growth of new arts in the country. Accordingly, this era saw the rapid rise of the silent movie industry. Thus, Hollywood as we know it was born.

Early silent films were accompanied by live music. Technical aspects of film production, designed to encourage audience response, now became more sophisticated. Actors went about wringing amped-up emotion out of simplistic scenes. And emotion, as we know, is Cancer’s stock in trade.

Representative of this era was George Melies’ short film, A Trip to the Moon (1902), which featured a rocket ship giving the Man in the Moon a black eye. (Astrologically, of course, the Moon rules Cancer.)

D.W. Griffith’s The Birth of a Nation (1915), appalling as it is in retrospect because it features the Klan saving America, illustrates how appealing to emotion reached its height just as Pluto slid into Cancer and Neptune was retrograding late in the same sign. With its nativist bent, it perfectly suited America’s moody Sun-sign. It’s a sad fact that this racist yet popular film, with its proto-Leo showmanship, marked the real beginning of Hollywood.

In 1915 also came a consolidation of small American film companies into a trust...later broken up by the government. (Capricorn, Cancer’s polarity sign, rules government and big business.) The movies, which had been centered around New York, moved westward to sunny Southern California.

Neptune in Leo: The Lure of Spectacle

Neptune entered Leo for good on July 19, 1915. A few days later came a Sun-Jupiter conjunction. And this was the time when Hollywood came of age.

It was estimated that in the early 1920s half the American populace went to the movies on a weekly basis. Because actors were the face of the studio, this era saw the development of both the studio system and the star system. Actors and actresses were groomed for stardom (very Leo) and given a publicity machine to support their films. “Movie palaces” were built in order to lure the audience. Showmanship was all. Again, the astrological polarity: the USA’s Moon is in Aquarius, representing the people. And the people came.

If Charlie Chaplin’s empathetic Tramp character brought audiences out, Hollywood’s first diva and her swashbuckling husband--Mary Pickford and Douglas Fairbanks--were the first film moguls. Together, they formed United Artists studio, along with Chaplin, producing and distributing their own films. Appropriately for pioneers, the Sun-sign of both Chaplin and Pickford was Aries. Yet on the screen, Mary mostly played sweet ingenues, the first woman to become “America’s Sweetheart.”

Mary’s Aries Sun and Aquarius rising made her very independent. Venus in Gemini gave her fluidity of expression--perfect for silent films. Venus is loosely conjoined to the exact Neptune-Pluto conjunction, making her part of the early Hollywood zeitgeist. But Mary’s Moon in neurotic Virgo made a square to that Gemini stellium, from the late 7th House of partnerships.

Her second marriage, with Fairbanks, set the template for all the celebrity tumultuous celebrity unions to come. Saturn in the 8th gave her intimacy problems and Mars in Capricorn in the 12th is indicative of her secret love affairs. After three marriages and much public turmoil, Mary Pickford withdrew from the limelight. She became an alcoholic and near-recluse until her death in her Beverly Hills mansion in 1979. But her legacy looms large. In 1976, she received an Honorary Lifetime Achievement Oscar from the Academy she had helped to found in 1927.

But by the latter part of the 1920s, as Neptune approached the technical sign of Virgo, increasingly sophisticated technology threatened to upend everything Hollywood had yet built. Synchronized sound could now be added to film, marking the advent of “talkies.” The transition into talkies coincided with the transition of Neptune from Leo to Virgo in the years 1927-1929. The ruler of Virgo is Mercury, patron of technical details and synchronized systems. He is also the lord of speech.

Neptune in Virgo: Escape From Hardship

Another of the proofs of astrological synchronicity is the Hays Code, set up to ensure enforcement of public morals in the film industry. From the beginning, puritanical forces distrusted motion pictures because they often depicted life as different from conservative religious and cultural values. Government leaned on Hollywood studios, who in turn promised self-regulation. But the advent of sound prompted new concerns and a strict new Production Code was established in 1930, just as Neptune entered the sign of the Virgin.

And everything went through one man--Joseph Breen, a blue-nosed, dogmatic Catholic who saw it as his God-ordained right to regulate public morality. For the next thirty years, violence, disrespect for authorities, curse words, romance, and especially and always sex, were strictly censored by a code which was essentially a religious intrusion into a public artform. You could hardly find a better example of Virgoan Neptune than censorious Breen and the Hays Production Code.

Neptune entered Virgo for good on July 24, 1929, just before the Wall Street Crash and the beginning of the Great Depression. Virgo is the sign of Neptune’s fall, creating a need for dreaming amid life’s hardships. And in the 1930s, the humble working class had a great need for dreams. When you are selling pencils on the corner, Hollywood glitter is a long way away from everyday life.

So, Hollywood’s developed the high concept of GLAMOUR. Stars were trotted out as fantasies come true, glamorous companions to a life of drudgery, and their hard- pressed audiences loved them for it. This perfectly fits the influence of Pisces--Virgo’s imaginative polarity sign.

With Mercury ruling Virgo, Neptune in this sign created a host of fast-talking, witty comedies like You Can’t Take It With You (1938) and His Girl Friday (1940) and a skewering of the upper classes as in the Marx Brothers films. Dance films with stars like Fred Astaire and Ginger Rogers, and Busby Berkeley musicals titillated modestly. A bevy of Shirley Temple films filled the need for wholesome entertainment.

Shirley’s chart shows Saturn in her 1st House, making her mature for her very young age. A Sun-Taurus conjunction in the 5th House shows a capacity for healing through entertainment, with a wide Venus-Jupiter-Mercury stellium in Aries, also in the 5th, gives an indication of her storied verve. And the 5th House rules children. With Moon in late Gemini sextiling an elevated Neptune in the 9th, Shirley Temple was a natural, and achieved stardom early in life as Jupiter transited her upper hemisphere. She lived out her dream.

But alas, after Pearl Harbor, there was no time for dreaming any more. As the war effort cranked up, the Neptune in Virgo themes of work and service (in this case, to one’s country), reached their urgent culmination.

Neptune in Libra: Battlefields, Personal & Professional

Neptune didn’t enter Libra for good until August 2, 1943, in the middle of World War II. But by then the basic themes of this energy cycle had already started to be seen.

As adjuncts to America’s fighting forces, Hollywood producers made many films starring war heroes, emphasizing the theme of bravery vs. cowardice. (Aries, sign of the warrior, is Libra’s polarity twin.) Westerns also served this purpose, both as slanted white history and allegories for personal courage. John Wayne was an omnipresent star. Even Rosie the Riveter, social symbol of female can-do spirit, was made a film star. Spunky Judy Garland was the Hollywood equivalent.

But Libra being ruled by Venus, many films also emphasized romance, sometimes with lovers torn apart by war, e.g., Casablanca (1942). Hollywood also emphasized, at least in women, the desire for marital bliss. And men’s quest for love and mating is what drives On the Town (1949), Father of the Bride (1950), and Marty (1955).

Yet after the war rose film noir, where danger lay lurking around the corner for every man (especially a detective) in the form of female sexuality. It’s hard not to see here the hypocrisy and misogyny of Hollywood studios. They had celebrated liberated women, but found that men wanted a more domesticized life after coming home, So female characters were shown as either yearning for domesticity or portrayed as too-hot-to- handle and inherently evil. It was an attempt to put women’s power back into the bottle.

At the same time, that hotness was celebrated in the form of female stars like Ava Gardner, Rita Hayworth, Jayne Mansfield, Lauren Bacall, Lana Turner, Veronica Lake, Audrey Hepburn Grace Kelly...and most famously, Marilyn Monroe.

Marilyn was not without intelligence--she had a Sun-Mercury conjunction in Gemini and an Aquarius Moon in the 7th House, widely conjunct Jupiter. An elevated Venus in the 9th is indicative of international stardom. But it’s Neptune in the 1st House, in the showbiz sign of Leo, opposite her Moon, that is the key to Marilyn’s chart and her life.

Marilyn created her own persona, and was able to switch it on and off at will. She famously had boundary issues, was victimized by men, and struggled with substance abuse. And Neptune closely squares hard-knocks Saturn in the 4th. She had a rough early life and died at the young age of 36.  Of such beauty and poignancy are Neptunian lives made.

The darker side of this period is also represented by McCarthyism and the rise of blacklisting, which resulted in the destruction of whole careers by virtue of guilt by association and innuendo. Directors, screenwriters and even stars who espoused liberal mindsets were accused of being communists. This fear-mongering reflected the lack of personal and social trust brought about by the Cold War.

In film, a sort of forced optimism prevailed, the legacy of war and atomic insecurity. And then, it all changed.

Neptune in Scorpio: A Great Sea Change

In 1954, revolutionary Uranus made a lingering square to Neptune, resulting in a major tonal shift in American and world culture. As Neptune hovered at the cusp of Scorpio, the cultural tides shifted.

The transition of Neptune into the Scorpio, sign of sexuality, underground movements and extremes of behavior, coincided with the birth of rock and roll.It also coincided with the decline and fall of the “Golden Age of Hollywood” and the end of the studio system.

Hollywood was a factory, keeping its stars on public display, but privately on a very short leash. Actors belonged to the studio, and were not yet multi-millionaire free agents. All this changed during this period, and for much of it Hollywood simply dragged its feet. But the popularity of television forced the studios’ hand. Most heads of studios were elderly by now, and they acted like it, greenlighting such moralizing epics as The Ten Commandments (1956) and Lawrence of Arabia (1962).

Low-budget horror dramas kept coming courtesy of director Roger Corman, along with superficial comedies like Gidget (1959), The Nutty Professor (1963), and Beach Blanket Bingo (1965).

With Neptune back in a Water Sign, there was also a vogue for movie musicals, such as West Side Story (1961), Mary Poppins (1964), My Fair Lady (1964), The Sound of Music (1965), and Camelot (1967).

Neptune in psychoanalytical Scorpio also produced, when the focus was on depth, some of the best psychological thrillers ever made, such as Alfred Hitchcock’s North By Northwest (1959) and Psycho (1960), and political thrillers like The Manchurian Candidate (1962) and Dr. Strangelove (1964).

The biggest bust of the period also produced the most scandal: the historical epic Cleopatra (1963). It featured two of the biggest stars of the time--Richard Burton and Elizabeth Taylor--and their extramarital hijinx during filming gave 20th Century Fox major heartburn. Cleopatra nearly bankrupted  the studio. But Liz and Dick also act as the avatars and culminations of the Neptune in Scorpio era.

Each had charisma to spare. La Liz’s chart has a Sun-Mercury conjunction in Pisces in a tight opposition to a retrograde Neptune, with Mars in early Pisces also lurking near the Sun. Her Moon, naturally, is in Scorpio, and it’s quincunx an explosive and exact Venus-Uranus conjunction in Aries. With Jupiter in Leo square the Moon and trine that Venus-Uranus, you would expect her to have extravagant tastes; and live large she did. But nobody with Venus-Uranus square Pluto in Cardinal Signs lacks for excitement and upheaval in their personal life, and La Liz sought a constancy in love that kept eluding her.

Richard Burton’s chart is closely tied to hers, with his powerful Scorpio Sun-Saturn conjunction astride her Moon and in a harsh quincunx to Elizabeth’s volatile Venus- Uranus conjunction. With his devoted Virgo Moon in a close opposition to her Pisces Sun-Mercury conjunction, and his beauty-loving Venus nestled prominently on his show-the-world Capricorn Midheaven, he was a goner for Liz the moment they met. Their relationship karma is self-evident from the charts. It was up to them to not kill each other.

And they came close to it. Married to each other twice and moving from scandal to scandal amid beautiful locales, gifts of gigantic diamond jewelry, and explosive personal circumstances, they chewed up the world as they chewed up Hollywood scenery. But in the end, they saved the relevancy of film.

Taylor and Burton were cast together in Who’s Afraid of Virginia Wolfe (1966), as a middle-aged couple whose marriage is on the rocks, and their emotional savagery forced the long-dying Production Code to its knees. Hollywood had largely been ignoring the social upheavals splitting open society. But under the revolutionary impulse of the Uranus-Pluto conjunction, the rawness of Virginia Wolfe opened the door to more honest, graphic and true-to-life films. The violent Bonnie and Clyde (1967) and In the Heat of the Night (1967) furthered the notion, and the outdated Code was dropped entirely in 1968, replaced with a voluntary ratings system.

Then, better late than never, came zeitgeist-capturing films like The Graduate (1967), 2001: A Space Odyssey (1968), Midnight Cowboy (1969), Easy Rider (1969), and Bob & Carol & Ted & Alice (1969).

A greater fusion began to develop between film and popular culture as the studio system died a long-overdue death. And from it sprang a rebirth of popularity for Hollywood. Movies were about to pervade the entire world.

Neptune in Sagittarius: More, More, More!

With the new decade came a change of signs, as Neptune entered the fun-loving, international and philosophical sign of Sagittarius for good on November 6, 1970. Moviemaking followed suit.

The “New Hollywood’s” favorite word was auteur: the individualistic, non-conformist artist, generally a director. A number of young guns appeared who were to change the course of the movie industry: Francis Ford Coppola, Woody Allen, Robert Altman, Roman Polanski, George Lucas, Steven Spielberg, and Martin Scorsese. Coppola gave the world The Godfather (1972), Polanski Chinatown (1974), Woody Allen Annie Hall (1977), Altman Nashville (1976), and Scorcese Raging Bull (1980). This abundance of riches was distinctly Sagittarian...a moving beyond previous filmic boundaries in search of Big Themes.

Serious political and social themes were explored in such films as The Candidate (1972), All the President’s Men (1976), Network (1976), Coming Home (1978), and Norma Rae (1979). But we can also add blaxploitation films like Shaft (1971) and the rise of the porn industry, embodied in the Mob-financed Deep Throat (1972).

But the aftermath of the tumult of the Sixties saw a cleavage in American moviegoers’ tastes, between those who wanted socially relevant films (it was the era of women’s liberation, the gay rights movement, and resentment of the Vietnam War) and those who simply wanted entertainment. The film market shifted as a result, helped along by a big fish named Jaws (1975). Spielberg’s thriller changed Hollywood by exploding the summer box office, instantly changing the industry’s schedule, and George Lucas’s original Star Wars (1977) proved a bonanza for reaching young audiences. The industry began to think in terms of blockbusters, not small films of artistic worth.

Spielberg’s chart provides us with an insightful glimpse into his creative genius and destiny. Born a Sagittarius, his Sun sits exactly on the Galactic Center (26 degrees), making him an instrument of collective visions. His Sun in the 6th House also makes a wide opposition to Uranus in the 12th, giving him originality in 12th House matters like film and dreams. (Spielberg actually co-founded a company called DreamWorks.) His Moon conjuncts Chiron in deep-feeling Scorpio, giving him healing potential through conveying his very active imagination.

Venus and Jupiter conjoin in the 5th House of creativity and children, and Spielberg is well-known for the childlike sense of wonder conveyed through his imagery. They also make a flowing trine to the Pisces Midheaven (ruled by Neptune), giving him a relatively easy path to success. With 10 Cancer rising, his Ascendant also conjoins the USA’s Sun, giving him celebrity potential early in life.

Relevancy faded as Hollywood craved the sheer profits they saw generated by relatively mindless movies, churning out populist comedies like Airplane (1980) and Caddyshack (1980). The Star Wars and Indiana Jones franchises became pop culture touchstones.Film budgets and stars’ salaries ballooned sharply, but profits soared. Hollywood began to think in global terms. And thus began today’s international film market, just as Neptune approached the business-oriented sign of Capricorn.

Neptune in Capricorn: It’s Called Show Business, Baby!

Neptune entered Capricorn for good on November 21, 1984. This became the era of the Hollywood “bean counters,” when profits mattered more than the actual product. Many of the mini-studios were sold to studios or were consolidated with larger corporations. Some studios opened “boutique” outlets, which were nameplates owned by the larger corporation, but targeted to specific audiences or genres. Toward the end of this period, Spielberg, Jeffrey Katzenberg (formerly of Disney), and music mogul David Geffen formed DreamWorks SKG, a small studio that grew large.

This was the era of the super-agent, where the power bases shifted from the studios to the talent agencies. Wheeling and dealing was the rule in both Hollywood and Wall Street during this era, as personified by Michael Ovitz, co-founder and major player in the high-flying Creative Artists Agency (CAA). 

In a pushback to all of this corporate profiteering came a surge in independent filmmaking, fueled by film festivals such as Sundance (begun by Robert Redford), Telluride and SXSW.  The mainstream success of the small-budgeted indie flick, sex, lies and videotape (1989), opened audiences up to independent film.

Disney experienced a rebirth under the management of Michael Eisner and Katzenberg, going from a rather fallow period to new heights of glory as an animation studio, with The Little Mermaid (1989), Beauty and the Beast (1991), Aladdin (1992), The Lion King (1994).Pixar Animation Studios was also established at this time. Astrologically, the positive reception of these animated films exemplifies the “child/parent” motif of the Cancer/Capricorn axis. These films allowed even grown-up children to rediscover a youthful sense of wonder.

Neptune at this time was opposite the USA’s Sun in Cancer. Because Cancer corresponds to protecting the homeland, there was a whole genre of films during this Reagan/Bush period that emphasized macho-style patriotic idealism in movies, witness the Rambo and Die Hard franchises and Top Gun with Tom Cruise (1986). 

It was during this period that Cruise’s star first rose. One debatable chart gives him Scorpio rising with Neptune in the 1st House, explaining his film career and charisma, and his pull toward Scientology. Tom’s Sun at 11 Cancer conjuncts the USA’s Sun. He is seen as a personification of the American spirit and an archetypal leading man.

Tom’s Jupiter also trines his and the USA’s Sun--about as fortunate as you can get. Mercury precisely sextile to Venus gives him charm and well-articulated (if sometimes loony) views, but that Saturn on the South Node, square to Uranus, sometimes makes him a piece of work. Moon in radiant Leo also makes sense. Tom was experiencing his second Jupiter Return just as Top Gun was released, and it made him a superstar.

Neptune in Capricorn (ruled by Saturn/Chronos: time) also produced a number of time-travel movies and period films, among them the Back to the Future and Terminator franchises, Dances With Wolves (1990), L.A. Confidential (1997) and Titanic (1997).

Franchises were everything now--the studios discovered that the easiest way to make money was to simply repeat themselves. Horror franchises thrived--cheap costs, cheap thrills, big profits. DVDs began replacing VHS tapes, making home entertainment--and studio profits--even more feasible.

Computer-generated imagery (CGI) developed greatly, corresponding with the 1993 Uranus-Neptune conjunction in Capricorn. Under the mutual reception between Saturn and Uranus, technology took a big step forward, resulting in the Internet. But as special effects began to outrun good storylines, CGI would become the story.

Neptune in Aquarius: New Tech, Old Ideas

Neptune strode into Aquarius for good on November 27, 1998, and by doing so, embraced technology while simultaneously dropping many of the creative norms that made quality films what they were...witness George Lucas’s negatively reviewed Star Wars prequels. Battles were fought over copyright and downloading issues, and studio control splintered, further complicated by the development of mobile devices which dispensed content far and wide--fulfilling the Aquarian promise of mass connection.

Millennium-era films such as Armageddon (1998), often had apocalyptic themes. Then came 9/11 and Middle Eastern wars, which made those fears real. Dystopian visions ensued, along with an obsession with the undead (the Twilight series), torture porn like Saw (2004), and the Dark Knight franchise. Even comedies seemed to lack a real heart, like Jackass (2002). A bright spot was the Aquarian penchant for myth and mysticism, seen in the Harry Potter and The Lord of the Rings franchises, reaching its pinnacle with James Cameron’s Avatar (2009). The superhero movie trend also began, fulfilling the Leo-Aquarius theme of a hero saving the masses. Witness, Iron Man (2008).

Neptune in Pisces: A Flood of Creativity

Neptune entered Pisces to stay on February 3, 2012. Neptune in its own sign doubles its potency. The current era of film has seen superheroes continue their leadership at the box office, as fantasy and imagination (prime Pisces characteristics) have manifested strongly in Peter Jackson’s Hobbit trilogy, the Star Wars sequels and the Guardians of the Galaxy series. Piscean themes of suffering, sacrifice and redemption have been evident in the popularity of Oscar-winners Twelve Years A Slave (2014), Moonlight (2016) and Parasite (2019). Pain sells. Here we must astrologically hail 50 Shades of Grey, which actually has its heroine volunteer for pain!

Pisces also rules the feet, and the success of the charming La La Land portends more dance films and musicals--witness Spielberg’s remake of West Side Story (2020).

La La Land’s star Emma Stone is a Scorpio with her North Node in Pisces, so she was perfect for the role as a struggling waitress dreaming of stardom. Her 3rd House Sun-Pluto conjunction gives her tremendous focus, even profundity. A Moon-Venus conjunction in Libra provides soft femininity, making a tight square to Neptune in Capricorn in the 5th. With Leo rising and a Saturn-Uranus conjunction trining the Ascendant, she was born to shine. And with Jupiter in the 10th, she’ll have a long, bright career.

The Korean film Parasite asked the very Neptune in Pisces question, “Who is the real victim of society, and who is the real parasite?” But its 2020 Oscars success also points to the now-global reach and inspiration of the film industry. Silent films were once termed, “the toy that grew up.” That toy, a century-and-a-quarter later, now has almost the entire world involved in the creation of movies.

Looking ahead, we can expect technology to change how we actually view a film. Streaming services will provide more access, but the trend is toward the immersive rather than simply being a passive viewer. AR/VR technologies and holographic imaging will enable full-dimensional experiences of film within a few years. Who knows? Perhaps as Neptune enters into Aries, we may be able to spontaneously create films, as our brains are hooked up to the latest technology and we physically manifest our thoughts. One way or another, the process and experience of the movies is about to become very cosmic, very shortly indeed.

Movies act as the personal and collective filter of our dreams--graceful moving pictures captured within projected beams of light.

The Dream Factory...is eternal.

Chart data sources:
Mary Pickford, Astro-Databank (ADB), unknown original source. Rodden Rating C. Sy Scholfield's research corrected day and year, rectified time. Koch houses.
Shirley Temple, ADB quotes BC/BR in hand, Rodden Rating AA. Koch houses.
Marilyn Monroe, ADB, BC/BR in hand, Rodden Rating AA. Koch houses.
Elizabeth Taylor, ADB, BC/BR in hand, Rodden Rating AA. Koch houses.
Richard Burton, ADB, conflicting/unverified data, Rodden Rating DD. Koch houses.
Steven Spielberg, ADB, BC/BR in hand, Rodden Rating AA. Koch houses.
Tom Cruise, ADB, no birth time, Rodden Rating X. Koch houses.
Emma Stone, ADB, datasource unverified, Rodden Rating DD. Koch houses.

Image sources:
Planet Neptune: NASA photo, Public Domain
Cinema Movie Projector: Public domain art, clipartbay.com
Dickson Greeting: Still photo from film, Dickson Greeting, Wikipedia, Public Domain
A Trip to the Moon: Still photo, Wikipedia, Georges Méliès / Public domain
Mary Pickford: Photo in Photo-Play Journal, 1916, Rufus Porter Moody / Public domain
Shirley Temple: Still photo from "Glad Rags to Riches" (1933),  Charles Lamont / Public domain
Casablanca: Bill Gold / Public domain
Lawrence of Arabia: Incorporates artwork by Howard Terpning / Public domain
Elizabeth Taylor and Richard Burton: Movie studio, The Sandpiper 1965 / Public domain
Steven Spielberg Romain DUBOIS / CC BY-SA (https://creativecommons.org/licenses/by-sa/3.0)
Tom Cruise, PH2 Michael D.P. Flynn, U.S. Navy / Public domain
The Lord of the Rings: https://www.freepnglogos.com/images/lord-of-the-rings-png-logo-6405.html / Public domain
The Hobbit: Pseudopanax at English Wikipedia / Public domain

To be published at: ivcconference.com/constellation-news/, 2020.

Author:
RA RISHIKAVI RAGHUDAS has been a professional astrologer for nearly 40 years and has a broad metaphysical background. He is the Education Director for NCGR, Los Angeles. A poet, screenwriter and producer himself, his clientele includes many prominent entertainment and business figures. Ra is known for astrologically predicting the Oscar winners each year and has spoken at astrology conferences around the world. He has been widely published in such astrological magazines as Dell Horoscope, ISAR Journal, and Constellation News. His latest book is "The Astrology of Bond---James Bond." Ra makes astrology FUN! Book a consultation with Ra at www.starpresence.net.

© 2020 - Ra Rishikavi Raghudas - Constellation News

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