, as Eva Green fights to save herself from damnation.
This battle for survival, for better or worse, is Cancer’s bread and butter. When is the next meal? Where will I live? Who is going to love me? At their core, every Cancer is a little bit: tapped into a higher emotional spectrum and unable to secure a feeling of safety, prone to spinning out, dissociating, and not leaving well enough alone. “I think you know how to love better than any of us,” Fleabag’s father tells her. “That’s why you find it all so painful.
Not every Cancer is willing to live in liminal pain — just ask some of its male all-stars. Under the threat of contemporary masculinity, some Cancers cleave to the crab’s baser tendencies: clawing its way to success and never letting go, and hiding its feelings in an impenetrable shell. The need for security with no mode of advanced emotional expression becomes a totally selfish tenacity, embodied through 50 Cent’sethos.
This is M.I.A.’s “World Town,” where future children party in the ruins of colonialism, capitalism, and racism. If the crab carries its home on its back,— her Sri Lankan family, the culture she cultivated as a brown girl in South London, and the conditions of refugees, “terrorists,” exiles, and hustlers forever without a place. Though she populates her music with sounds from around the world, she is telling one story. M.I.A.
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