Visions of Aquarius: Reflections Appearing on Our Screens
The Oracle: the Lady of the Moon
As the Age of Aquarius continues to unfold, one of its defining signatures is the dissolving boundary between the conscious and subconscious, the seen and the unseen, the personal psyche and the collective mind. The image of Aquarius — the Water Bearer pouring forth water from a vessel — symbolically captures this release of consciousness. The “water” once contained within the subconscious is now being circulated into awareness: what was once hidden is now being poured into the collective, and the collective into the individual.
Understanding the symbolism of Aquarius helps explain why themes once reserved for dreams, archetypes, or esoteric circles are increasingly appearing in mainstream media. And recently, two predictions I wrote about surfaced almost unmistakably on screen.
The Archetypal Shift of the serial killer
The prediction I made in my previous blog post on The Age of Aquarius Zodiac Killer came to life in Netflix’s newest Monsters season on Ed Gein.
In that post, I wrote that the “serial killer” archetype would shift in the Aquarian age — away from the narcissistic, self-mythologizing predator of the past and toward a more fractured, hallucinatory psyche. A figure whose violence isn’t driven by domination or ego, but by delusion, loneliness, grief, or a psychic split from reality.
Not a killer who revels in terror, but one whose broken psyche clings to a distorted moral code. A figure born of trauma rather than ego, driven by loneliness, obsession, or a warped sense of purpose. Less a villain to fear, more a fragmented “shadow brother” whose darkness could end up serving the collective in some way.
Not excused.
But contextualized.
The Ed Gein season delivered exactly that — portraying him not only through the lens of his crimes, but through the context of his schizophrenia, and, in his final chapter after receiving the right medication, his voluntary role in helping investigators identify and stop other serial killers. He became the shadow assisting the light — a distorted contribution to collective evolution.
This is the pivot point I foresaw: the shift in focus from violent predator to misguided protector.
The Sea of Japan & the Collective Nightmare Materialized
In my blog post on Navigating the Matrix , I wrote about the Sea of Japan being the geographic location of the “far West” — the realm of the subconscious, the dreamworld, and the place where collective nightmares accumulate before rising to the surface.
Shortly after, Netflix released a film called A House of Dynamite, built around a mysterious nuclear missile targeted at the Sea of Japan — a storyline that externalizes this archetype perfectly: the nightmare of annihilation aimed at the locus of the subconscious itself.
Instead of a metaphor, the collective psyche placed its most primal fear — destruction — in the exact symbolic location associated with the unconscious, as if to say: we are ready to look at what we fear most instead of repressing it.
This is not coincidence. This is the collective mythmaking mechanism of the Aquarian age turning inward, making the invisible visible.
Aquarius doesn’t let shadows remain hidden. It pours them out for collective processing.
The Antithesis Has Begun to Form
Alongside these shadow expressions emerging in the collective, I’ve been developing a creative concept that reflects the opposite pole of this Aquarian shift — one not about exposing the subconscious in the form of horror, but about evolving it intentionally.
It’s a Limited Series called MirrorWorld.
MirrorWorld explores what happens when a young woman gains lucid, conscious access to the subconscious realm — not only her own, but the Collective Unconscious itself. Rather than being haunted by it, consumed by it, or victimized by the shadow, she learns to co-create with it.
Through curiosity, agency, and increasing mastery, she begins shaping the world the way one shapes a dream while lucid. Over time, she becomes an architect of the collective psyche, gradually cultivating a utopia.
If the current media landscape is revealing the subconscious’ nightmares, MirrorWorld offers the next evolutionary step: a space for the writing room to explore the subconscious’ dreams by asking: What happens when we move from passive witness to active participant?
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