Your Horoscopes — Week Of May 22, 2018 (


You’ll suffer from a continuing inability to enjoy anything but the company of friends and family, the satisfaction of a job well done, and the knowledge that you have lived a life of dignity.


You’ll finally find a man who loves you for who you are, but unfortunately he’s every bit as miserable as you might expect.


If you had just one piece of wisdom to impart to future generations, it would probably be unspeakably filthy.


This is a time of great uncertainty for you, but that doesn’t mean the odds of drawing to an inside straight will improve at all.


You’re not the kind of person who lets your physical handicaps stop you, but that’s because you prey on people with even fewer limbs than yourself, you sick bastard.


Artistic expression has never been your strength, so it’s frankly mystifying when the National Gallery puts your margin doodles on display just to trash them.


Sometimes it’s good to just sit back and watch the universe unfolding. But other times, such as next Tuesday, it’s good to stop baby carriages from rolling in front of buses.


Due to your optimism, your death next week with come as a big surprise; however, due to your devout Christianity, what comes after will be a terrible shock.


A hot bowl of soup and a good night’s sleep can cure many ills, it’s true, but you might want to consider the possibility that you have the world’s worst oncologist.


Unfortunately for your dream of having multiple gorgeous sex partners, attitudes toward sex will become much more open-minded just as attitudes toward nutrition and personal hygiene go right down the tubes.


This is a great time for romance in the workplace, if you’re the sort of idiot who thinks that’s even close to a good idea.


Mythic News from Caroline Casey (

Coyote Network News

Uranus has entered Taurus

Now tis true, last time, August 19, 1934 – Hitler elected; fascism in Europe; New Deal in America; Hitler Youth in Europe; Boy Scouts in America (not founded but way popular…) …Now kinda the reverse….
“Fascism arises in the absence of Magic.” 
* … and is trining Saturn, in own sign of Capricorn, Earth trine, time of incarnating a culture of sane reverence, a Renaissance of Democratic Animism, also a great time to dance our prayers, embody our dedication…

* Jupiter is trining Neptune – all that has ever moved humans to conscious kinship is available for fresh vernacular expression…


“Discovering Eris, An Archetype of and for Our Time of Evolutionary Challenges”

This is the title of Zoē Robinson’s Sunday Meeting talk on June 17, 2018:  “Discovering Eris, An Archetype of and for Our Time of Evolutionary Challenges”

Zoë’s talk is an exploration of the archetypal characteristics, themes and patterns in human experience of the mythological Goddess of Strife, Eris.  And will include how these themes are symbolic and significant in our current times and the necessity of their integration for working with the challenges confronting us today.

Her talk is based on Keiron Le Grice’s book, “Discovering ERIS. The Symbolism and significance of a new planetary archetype,” published in 2012, written following the discovery in 2005 of Eris–a dwarf planet beyond Pluto.

Hugh John Malanaphy, H.W., m., is introducing her.

Link here: 

You can also dial in using your phone. 
United States: +1 (312) 757-3121 
Access Code: 560-979-613

First GoToMeeting? Let’s do a quick system check:




forbid2My friend recently told me that the movie Forbidden Planet (1956), the science fiction monster movie, ripped off Shakespeare’s play The Tempest.  All I could say is: huh? what?  I couldn’t believe this comparison, not just because they are two different genres, but one is a classical stage play and the other is…well, it’s science fiction with a big robot.  Then I thought about it.  I can’t deny the similarities.  Forbidden Planet is The Tempest!

What is The Tempest?

The Tempest is one of the last plays Shakespeare wrote in his life and contains elements like magic, revenge, and classical romance.  The main character is Prospero, who has been stranded on an island with his daughter, Miranda.  He is also a powerful sorcerer and sends a massive storm against his brother Antonio, hoping to sink his ship and get revenge for being exiled.

forbid1He strands the crew, consisting of Alonso, Ferdinand, and Antonio on the island, then summons his servant Ariel to help him watch them.  His other servant is named Caliban, who tries to betray Prospero, attacking him.  Meanwhile, Ferdinand and Miranda fall in love and decide to get married, but Prospero wants his daughter to have nothing to do with Ferdinand.  Caliban joins up with two other men from the shipwreck to plot against Prospero, but Prospero stops him.  Ultimately, Prospero forgives his enemies, even Caliban for being stupid.  He lets his daughter marry Ferdinand and helps everyone off the island.

Excuse this superficial summary for one of the greatest classical plays ever, but if you know Forbidden Planet, I think you’ll agree that there are similarities.

What’s similar?

To begin with, I would have to say that the planet Altair IV is like Prospero’s island, and it is a place where Dr. Edward Morbius lives in isolation with his daughter.  Whether by choice or not is probably debatable, but Morbius is alone with Altaira, just like Prospero and Miranda.  It’s exactly the same setup.

forbid3  Prospero controls magic and summons a storm to attack a ship at sea.  Morbius doesn’t exactly “summon” the monster, but his unconscious self does, and it attacks the spacecraft and the visiting men.  Just like Prospero has mastered magic, Morbius seems to have mastered technology.  Or at least he says he has.  The use of technology in Forbidden Planet represents the magic Prospero uses in The Tempest, albeit with less success.

One of the visitors is John Adams, played by a young Leslie Nielsen.  I enjoy Nielsen in this movie, but it is not the most emotional performance.  Of course, he is Ferdinand and he falls in love with Miranda, represented by Altaira, played by Anne Francis.  She later falls in love with Adams and the two end up together at the end of the movie.

This movie is the first appearance of Robby the Robot, who inspired other science fiction robots in movies and television, most notably The Robot in Lost in Space.  He is Ariel, a spirit of air summoned by Prospero to be his servant.  Robby is helpful like Ariel and tries to obey his master’s commands.  Ariel is a spirit of the air, merely a cloud wavering in the wind.  The first appearance of Robby is as he drives up to the spaceshift in a cloud of dust, an obvious parallel.

Being native to the wild island, Caliban represents The Monster, and both are untamed forces.  Prospero tries to control him, but he cannot.  At the end, Caliban refuses to serve Prospero and plots his death, attacking him for his cruelty, just like The Monster of the Id.  Both the Monster and Caliban are natural forces, bent on destruction, but both encounter resistance.    Prospero succeeds in using magic against Caliban, but Morbius doesn’t succeed in using technology against The Monster.

What’s different?

forbd4The movie and the play teach two different lessons, which is where the main difference lies.  Morbius may say that he has total control over technology, but he does not.  In fact, he cannot do much to help the spaceship crew when his daughter asks for him to intervene, because he sees that his technology has gotten way out of control.  The movie teaches that if humans want to control technology, they better control themselves first.  The ending of The Tempest gives us the opposite lesson, building a harmony between nature and magic, and between all the characters.  The Tempest has a happy ending, but Forbidden Planet ends with the destruction of Altair IV and Morbius.

forbid6I hope that wasn’t too boring, because I can see now that Forbidden Planet is The Tempest.  I’m not sure if this was done on purpose or not, but I’ll just assume it was for the purposes of my piece of mind. In any case, Forbidden Planet is a great movie.  It has good effects for an early movie like this one, especially the animations done by Joshua Meador, who worked for Disney.  The matte paintings are just perfect and the world looks beautiful.  The saucer coming down to land at the beginning just looks awesome, come on, you have to admit that.  Check out the picture at the top of the page to see for yourself.

There aren’t many flaws or things lacking in the effects department, cause they went all-out to make it look as good as possible.  This movie cost around 1 million dollars to make.  Even the monster looks like you might imagine a realistic electric demon to be.  I like this movie even more now that it has been stamped with some Shakespeare pedigree, but even if that doesn’t interest you, it is still a good science fiction adventure, filled with great visuals.

Are these the same thing?

The Tempest

Forbidden Planet





An island

The planet Altair IV


The Monster


Robby the Robot


Leslie Nielsen as John Adams

Nature and Magic



(Recommended by Melissa Goodnight, H.W., M.)



Translation is a 5-step system of syllogistic reasoning using words and their meanings and histories to transform the testimony of the senses and uncover the underlying timeless reality of Being/Consciousness.

Translators:  Hanz Bolen, Melissa Goodnight, Richard Branam, Mike Zonta.

Sense testimony:  Individuals that unconsciously block communications in order to stay in control can cause harm.


1) Truth is indivisible/individual consciousness knowing together; unblockable consciousness in common; always the control, never the copy; always the Chief, never the indian.
2)  Truth is always perfectly reflecting upon its own effulgent radiant SELF, individuating as free-flowing Stream of Consciousness [THAT I AM], which incorruptibly maintains the sovereignty of oneness and wholeness.
3)  Truth is inviolate abundant powerful knowing presence, self evident Communicating and Being Universal Integrity whole and complete sound and agreeable Now Always Everywhere.
4)  To come.

The Sunday Night Translation Group meets at 7pm Pacific time via Skype. There is also a Sunday morning Translation group which meets at 7am Pacific time via  See Upcoming Events on the BB to join, or start a group of your own.


Author: Bret Easton Ellis

Bret Easton Ellis (born March 7, 1964) is an American author, screenwriter, and short story writer. His works have been translated into 27 languages.[2] He was at first regarded as one of the so-called literary Brat Pack,[3] which also included Tama Janowitz and Jay McInerney. He is a self-proclaimed satirist whose trademark technique, as a writer, is the expression of extreme acts and opinions in an affectless style.[4][5] Ellis employs a technique of linking novels with common, recurring characters.

Ellis made his debut at age 21 with the controversial bestseller Less Than Zero (1985), published by Simon & Schuster, a zeitgeist novel about wealthy amoral young people in Los Angeles. His third novel, American Psycho (1991) was his most successful. On its release, the literary establishment widely condemned the novel as overly violent and misogynistic. Though many petitions to ban the book saw Ellis dropped by Simon & Schuster, the resounding controversy convinced Alfred A. Knopf to release it as a paperback later that year. In later years, Ellis’ novels have become increasingly metafictionalLunar Park (2005), a pseudo-memoir and ghost story, received positive reviews. Imperial Bedrooms (2010), marketed as a sequel to Less Than Zero, continues in this vein.

Four of Ellis’s works have been made into films. Less Than Zero was rapidly adapted for screen, leading to the release of a starkly different film of the same name in 1987. Mary Harron‘s adaptation of American Psycho was released to generally positive reviews in 2000 and went on to achieve cult statusRoger Avary‘s 2002 adaptation The Rules of Attraction made modest box office returns but went on to attract a cult following. 2008’s The Informers, based on Ellis’s collection of short stories, was critically panned. Ellis also wrote the screenplay for the critically derided 2013 film The Canyons, an original work.

Life and career

Ellis was born in Los Angeles and raised in Sherman Oaks in the San Fernando Valley. His father, Robert Martin Ellis, was a property developer, and his mother, Dale (Dennis) Ellis, was a homemaker.[6] They divorced in 1982. Ellis stated, during the initial release of his third novel American Psycho, that his father was abusive, and he became the basis of that book’s best-known character Patrick Bateman. Later, Ellis claimed the character was not in fact based on his father, but on Ellis himself, saying that all of his work came from a specific place of pain he was going through in his life during the writing of each of his books. Ellis claims that while his family life growing up was somewhat difficult due to the divorce, he mostly had an “idyllic” California childhood.[7]

Ellis was educated at The Buckley School in California; he then attended Bennington College in Vermont, where he originally studied music then gradually gravitated to writing, which had been one of his passions since childhood. There he met and befriended Donna Tartt and Jonathan Lethem, who both would later become published writers. Bennington College was also where Ellis completed a novel he had been working on for many years. That book, Less Than Zero, went on to be published while Ellis was just 21 and still in college, thus propelling him to instant fame.

After the success and controversy of Less Than Zero in 1985, Ellis became closely associated and good friends with fellow Brat Pack writer Jay McInerney: the two became known as the “toxic twins” for their highly publicized late night debauchery.

Ellis became a pariah for a time following the release of American Psycho (1991), which later became a critical and cult hit, more so after its 2000 movie adaptation. It is now regarded as Ellis’ magnum opus and is favorably looked upon by academics. The Informers (1994) was offered to his publisher during Glamoramas long writing history. Ellis wrote a screenplay for The Rules of Attractions film adaptation, which was not used. Ellis records a fictionalized version of his life story up until this point in the first chapter of Lunar Park (2005). After the death of his lover Michael Wade Kaplan, Ellis was spurred to finish Lunar Park and inflected it with a new tone of wistfulness.[8]

Ellis was approached by young screenwriter Nicholas Jarecki to adapt The Informers into a film; the script they co-wrote was cut from 150 to 94 pages and taken from Jarecki to give to Australian director Gregor Jordan, whose light-on-humor vision of the film was met with unanimously negative reviews[citation needed][9] when the filmwas released in 2009.[citation needed]

Despite setbacks as a screenwriter, Ellis teamed up with acclaimed director Gus Van Sant in 2009 to adapt the Vanity Fair article “The Golden Suicides” into a film of the same name, depicting the paranoid final days and suicides of celebrity artists Theresa Duncan and Jeremy Blake. The film, as of 2014, has never been made. When Van Sant appeared on The Bret Easton Ellis Podcast on February 12, 2014, he stated that he was never attached to the project as a screenwriter or a director, merely a consultant, claiming that the material seemed too tricky for him to properly render on screen. Ellis and Van Sant mentioned that Naomi Watts and Ryan Gosling were approached to star as Duncan and Blake, respectively. Ellis confirmed that he and his producing partner Braxton Pope are still working on the project, with Ellis revisiting the screenplay from time to time. As of April 2014, radical filmmaker Gaspar Noé was officially attached to direct if the film went into production, but he proved troublesome to work with due to his erratic behavior.[7]

In 2010, Ellis released Imperial Bedrooms, the sequel to his début novel. Ellis wrote it following his return to LA and fictionalizes his work on the film adaptation of The Informers, from the perspective of Clay. Positive reviews felt it was a culmination of the themes begun respectively in Less Than Zero, American Psycho and Lunar Park.[citation needed] Negative reviews noted the novel’s rehashed themes and listless writing.[citation needed]

Ellis expressed interest in writing the screenplay for the Fifty Shades of Grey film adaptation. He discussed casting with his followers, and even mentioned meeting with the film’s producers, as well as noting he felt it went well.[10][11][12] The job eventually went to Kelly MarcelPatrick Marber and Mark Bomback.[13]

In 2012, Ellis wrote the screenplay for the independent film The Canyons and helped raise money for its production.[14] The film was released in 2013 and although critically panned, was a small financial success, with the performance of Lindsay Lohan in the lead role earning some positive reviews.

Personal life

When asked in an interview in 2002 whether he was gay, Ellis explained that he does not identify himself as gay or straight; he is comfortable being thought of as homosexual, bisexual, or heterosexual, and enjoys playing with his persona, identifying variously as gay, straight, and bisexual to different people over the years.[15]

In a 1999 interview, the author suggested that his reluctance to definitively label his sexuality is for “artistic reasons”. He commented: “if people knew that I was straight, they’d read [my books] in a different way. If they knew I was gay, Psycho would be read as a different book.”[16] In an interview with Robert F. Coleman, Ellis said his was an “indeterminate sexuality,” that “any other interviewer out there will get a different answer and it just depends on the mood I am in.”[17] In a 2011 interview with James Brown, Ellis again stated that his answers to questions about his sexuality have varied from interviewer to interviewer, and he cited an example where his reluctance to refuse the label “bi” had him labelled as such by a Details interviewer. “I think the last time I slept with a woman was five or six years ago, so the bi thing can only be played out so long,” he clarified. “But I still use it, I still say it.”[18] Responding to Dan Savage‘s It Gets Better campaign, aimed at preventing suicide among LGBT youth, Ellis tweeted: “Not to bum everyone out, but can we get a reality check here? It gets worse.”[19] In a 2012 op-ed for The Daily Beast, while apologizing for a series of controversial tweets, Ellis identified himself as a gay man.[20]

Lunar Park was dedicated to his lover, Michael Wade Kaplan, and Ellis’ father, Robert Ellis, who died in 1992. In one interview, Ellis described feeling a liberation in the completion of the novel that allowed him to come to terms with unresolved issues regarding his father.[21] In the “author Q&A” for Lunar Park on the Random Housewebsite, Ellis comments on his relationship with Robert, and says he feels that his father was a “tough case” who left him damaged. Having grown older and having “mellow[ed] out”, Ellis describes how his opinion of his father changed since 15 years ago when writing Glamorama (in which the central conspiracy concerns the relationship of a father and son).[22] Even earlier in his career, Ellis based the character of Patrick Bateman from American Psycho on his father.[23] In a 2010 interview, however, he claims to have lied about this explanation. Explaining that “Patrick Bateman was about me,” he confesses “I didn’t want to finally own up to the responsibility of being Patrick Bateman, so I laid it on my father, I laid it on Wall Street.” In reality, the book had been “about me at the time, and I wrote about all my rage and feelings.”[17] To James Brown, he clarified Bateman was based on “my father a little bit but I was living that lifestyle; my father wasn’t in New York the same age as Patrick Bateman, living in the same building, going to the same places that Patrick Bateman was going to.”[18]

More at:


Expression, education, communication, community