Here Are Your July Horoscopes


What the stars have in store for you this month

There must be some scientific fact that can explain the reason why the winter months this year felt 60 days long each while June flew by so fast it's not quite clear if it even happened. No, I'm sure it happened. I'm sure it happened because most of June felt like the first time our country's citizens were made acutely aware of the inhumane treatment imposed on those who seek refuge here; especially those who seek refuge from the gang violence and wars in South and Central America for which our country holds a lot of responsibility.

And, there are a lot of astrologers, a lot of people who study the sky, who know that the events occurring now—their irreparable cruelty—are part of a powerful shift intended to rupture the very foundation of how we live. Not because it hasn't happened before, but because it has. And, it's true that while winter was a shit show, it's also true that it's just now that the Supreme Court passed the travel ban, which serves as a death sentence to so many. It's true that a woman's right to choose her own life over one that doesn't even exist is in danger; it's also true that one would be hard pressed to find “pro-life" advocates donating to foundations which aim to keep asylum-seeking families together and out of detention centers.

All of it is true and still we mean to go on. How to reconcile days spent lolling at the beach or eating sliced apples on clean blankets in the park with these days of horror—which is also a kind of awe—with what humans are willing to put others through under auspices of a higher authority or the promise of a better wage? How to imagine our individual lives, our futures, pressed up against so many futures suppressed, disallowed, and revoked?

Whoever you are, wherever you are, know this: I wrote these horoscopes because I know that in times of suffering, those in danger still mean to make art, fall in love, go to the movies, wear that special dress. I wrote these horoscopes knowing that if you're in danger then I'm in danger. I wrote these horoscopes because I feel the revolution coming, because we are tethered, you in I, in the stars and in the streets.

It might surprise you to hear, Aries, that every Aries in my life has taught me something about the light. It might be of use to you in this moment, especially if you feel heavy with shadow, to remember the many ways you yourself have been a light worker. There is nothing wrong with sitting with our shadows, Aries, nothing wrong with recognizing where darkness resides in us. Darkness will show you what you hunger for and how deeply your hunger roots in you. Your darkness is a sacred and fertile place. Still, to believe that your darkness is total, to convince yourself that pain must be both your teacher and your prison, is to snuff out the fire of your curiosity. Eternal student, pain is only one of your teachers and if there is a prison within you then there is a ring of keys within you too and it chimes a freedom song. 

What doors are you willing to unlock within you? What prison have you chosen for yourself? In your life, there are matters of circumstance and matters of habit. Circumstances change on their own but habits and cycles are either chosen or broken. 

Aries, your Tarot card is The Emperor, and an emperor at his best always has a plan, understands his position, and knows how to navigate his power. An emperor can build prisons and abolish them. In this age of empire and its cruel ubiquitous reach, its valuable for us to think about power—where it comes from and how we use it. If you carry the energy of the emperor then you carry the energy of a chosen king. A chosen king is blessed by God and by his people; a good king means to serve both before he serves himself. To serve God, one listens for the call of lightness and walks with faith toward that call. And, yes, the Indigo Girls were right about one thing at least, “lightness is a call that’s hard to hear,” so listen: in the mortal realm, lightness is what lifts you up, what gives you forward meaning and refutes shame. When you allow yourself to hear it within you, you will hear it within your people and it will fill you with a supreme love for all your relations. 


Nail polish is for novices

Fashion label The Blonds is known for its high-intensity looks that you'd only wear if you wanted to stand out (and who doesn't?). For its runway shows, wild press-on nails are the beauty step that can't be missed. So, since the brand has partnered with CND since it was founded, we thought it best to get prepped for the show with Jan Arnold, CND's co-founder.

See why you should take your nail look from a zero to a 10, in the video above.

Shot by Charlotte Prager
Edited by Gretta Wilson
Produced by Alexandra Hsie
Production Assistant: Polina Buchak
Featuring Jan Arnold of CND Nails and The Blonds



Photo courtesy of Warner Bros. Pictures.

It would've been nice if someone said the word "fat"

Back in November, Rebel Wilson claimed to be the first plus-sized lead in a romantic comedy when she appeared on Ellen to talk about her role in Isn't It Romantic. Wilson was not only wrong, but she was—even if inadvertently—erasing the work of Black plus-size actresses like Queen Latifah and Mo'Nique, both of whom have expansive resumes that include romantic comedies.

Wilson's comment isn't the first example of white women taking up a little too much space in the fat acceptance ethos. It's actually quite common. But there is a reason why women like Wilson—women who are blonde, pretty, successful, and white—get put front and center in calls for body positivity. In the same way that feminism—the movement from which body positivity was born—has often failed to address how gender intersects with other identities like race and class; so, too, has body positivity been championed as a cause for otherwise privileged women. And that's why it's no surprise that Isn't It Romantic, which aspires to be both a spot-on mockery of rom-coms and a celebration of body positivity, is actually a perfect example of how very white both the movie genre and the body positivity movement tend to be.

In the film, Wilson plays Natalie, an architect based in New York, who is single and plus-sized—the archetypal rom-com underdog. Very early on in the movie, she endures the double humiliation of both being hit by a runaway food cart and then accosted by its owner for not stopping it with her "cement truck"-like body. At work, Natalie is similarly disrespected: The office manager hands off troubleshooting tasks to Natalie; another colleague always tasks Natalie to throw out his trash; her assistant Whitney (Betty Gilpin) won't stop watching movies (rom-coms, naturally) while in the office; and Natalie is so afraid to present her ideas for more innovative parking garage designs that she isn't even widely known in the firm as an architect, and is treated like an intern.

But is Natalie just a doormat? Or is it that she isn't asking for what she wants? And isn't very nice about not getting it? If Natalie's life is any example, the bar on suffering is set pretty low for white women. In her personal life, Natalie lives alone with her dog, and seems to be pretty well-off, financially; her best friend is actually her slacker assistant, Whitney, and she's close with another coworker, Josh (Adam Devine), who gives Natalie constant emotional support. She's decidedly anti-romantic, having been told by her mother from a young age that there's no such thing as real-life fairy tales; she's level-headed and practical. But also, she's filled with self-loathing. This leads her to be crass, sarcastic, and disconnected from people. And it was this last part that was hard for me. As a fat Black woman who grew up broke, does not have an assistant, and would get fired if I didn't do my job well, it was hard, if not impossible, to root for her.

For Natalie, though, everything changes when she bangs her head while fighting off a mugger. Her mundane life is tinted through rosy rom-com glasses. Suddenly, all the things that sucked about her life are gone, and everything is beautiful and perfect. But was her life so bad before? It didn't really seem to be.

And yet, looking around the theater at the mostly white, female audience, I accepted that my feelings didn't seem to be shared. But that almost seems to be by design; this feels like a movie for a white, female audience. There is only one person of color in the movie who even has a name: It's Isabelle (Priyanka Chopra), who shows up about halfway through the film—after everything has been rom-com filtered—as a yoga ambassador and swimsuit model. But a name is all Isabella has. A supporting character at best, she doesn't have any connection to anyone other than her white boyfriend, and is sketchily drawn. We learn nothing of her familial or ethnic background, and, even when she is shown at her wedding, there is nobody from her family celebrating with her. This huge oversight is particularly bizarre, given that Natalie has already bemoaned the lack of diversity in romantic films.

Another huge oversight? The presence of the word "fat." I don't think I heard it used a single time. Natalie only references her weight indirectly, by commenting on the appearance of straight-sized women; when talking about her own body, the word "fat" is replaced with "girl like me." But by ignoring this aspect of herself, and refusing to address it head-on, Natalie is succumbing to the same fatphobia that shapes her world, whether she identifies it as being a problem or not.

Before her life becomes a rom-com, Natalie feels invisible at work and in the world. Some of this is certainly her fault, but fatphobia is also at play. Fatphobia chips away at the humanity of fat people from different angles. It means that Natalie gets used to being dehumanized; she doesn't expect others to have empathy for her when she's physically hurt, because they don't value her body. And it's no coincidence that Natalie's fantasy world includes a magically bigger apartment with unlimited clothing options, because discrimination against fat people isn't just a matter aesthetics and preferences—it affects everything from our ability to dress ourselves to our ability to make and save money, since there's a price to pay for being fat, even if it's just having to pay more to travel. Just as much as gender and race intersect with fat bodies, so, too, do economics and class.

I knew I could count on a plus-sized white comedian to take down a genre of films that prioritized thin women. But I ventured to see if Wilson could go further than that, and challenge what it means to be white and well-off and fat in the process; it isn't just about taking down rom-coms but about doing so in a way that isn't just a mouthpiece for white feminist values. But, in the end, that isn't what happened. Isn't It Romantic is fine, but it needed to do more than target an audience of girls who are 10 to 30 pounds overweight and still too jolted by the word "fat" to ever apply it to themselves, so they go for acceptable alternatives, like curvy, plus-sized—or thicc, if they're hip. But I'm not afraid to say I'm fat, I'm just disappointed I will be waiting even longer to see a realistic reflection of that experience onscreen.

Isn't It Romantic is in theaters now.