Inside Florence Pugh's Capricorn stellium, Gemini Moon, and the 2026 Pluto transit reshaping her public voice — read from her birth data.
Photo: Frank Sun · CC BY-SA 4.0
The Little Drummer Girl
The show is a six-episode BBC/AMC adaptation from 2018, directed by Park Chan-wook, based on the 1983 le Carré novel. Pugh plays Charlie, a young radical British actress who gets pulled into a long-con Mossad operation in the late 1970s. The role is brutal in a specific way — it asks the performer to be compelling for six hours while playing a woman who is, by design, unstable on her own point of view. Park Chan-wook, per the BBC's production notes, built the visual grammar of the series around that instability. It needs an actor who can stay legible through constant character-within-a-character work. That is not a generic cast. You need someone whose chart supports it.
Pugh was twenty-one when it aired, one year after Lady Macbeth and a year before Midsommar. The resurgence on Netflix in April 2026 sits in an odd register — it is not about the project being current, it is about people rediscovering what she was already able to do at twenty-one, which looks more legible now that she is six months from thirty and the career arc is clearer. That rediscovery, plus this week's UK press cycle about industry double standards, is pulling two separate streams of search traffic back to her name. Both, as it turns out, land on the same parts of her chart.
Capricorn Sun at 12°23′, Mars at 26°07′, Jupiter at 0°02′, Uranus at 29°29′, and Neptune at 24°46′ — five of the ten classical bodies sit inside the sign of long winters and built things. That is unusual. Most charts have maybe two planets clumped. Five is a concentration that reorganizes the whole personality around one motif: get to work, finish the thing, measure yourself against a standard nobody else can see.
Capricorn is the sign astrologers describe as responsible, ambitious, craft-obsessed. Saturn rules it, and Saturn's job in a chart is to set a bar and refuse to move it. In Pugh's chart, Jupiter — the planet of expansion — sits at the very first degree of that bar-setter sign. Her Sun sits ten degrees later. Mars, the drive planet, lands at the late end. What this produces, as a personality signature, is somebody who treats performance like an apprenticeship. You don't stumble into Lady Macbeth at twenty-one, or anchor Midsommar's third act at twenty-three, or hold your own across a scene with Cillian Murphy in Oppenheimer, if you're winging it. You get there by grinding. The stellium is the grind. It is the same signature Jessie Buckley's Capricorn Sun and Jeremy Strong's Capricorn Sun carry, and it tends to produce the same kind of performer: precise, slightly private, unable to phone it in.
But a five-planet Capricorn stellium is also one of the heavier configurations a person can be born with. Capricorn matures in reverse — people born under it often describe feeling like an adult at twelve and like a kid at forty. When five bodies pile into the same sign, that weight compounds. What gets asked of the person by their own chart is ambitious in a way that can tip into punishing. There is a reason Pugh speaks, repeatedly, about exhaustion, about having been told to lose weight at nineteen, about having to set hard perimeters around her own body in an industry that reads female Capricorn ambition as a resource to mine. The stellium that makes the craft work is the same stellium that makes those asks land the way they do.
The specific triple conjunction worth naming is Mars, Uranus, and Neptune all within a few degrees of each other in late Capricorn — Mars at 26°, Uranus at 29°, Neptune at 24°. Three disciplined-Capricorn planets in a narrow band, but the ingredients are anything but tame. Mars supplies drive, Uranus supplies shock, Neptune supplies porousness. The fusion reads on screen as unpredictability within precision — the thing critics keep describing, almost helplessly, as intensity. It is what Midsommar used in the May Queen scene, what Lady Macbeth used for the still-water menace, and what The Little Drummer Girl used to sell a character who is supposed to be performing at all times. Capricorn Mars doesn't improvise. Capricorn Mars-Uranus-Neptune builds the improvisation into the plan.
Her Moon sits at 16° Gemini, and because the Moon stays within that sign across the entire day she was born, it is safe to use regardless of her exact hour of birth. Mercury and Venus both sit in Aquarius — Mercury at 1°48′, Venus at 15°41′. Those three placements explain the part of her public persona that is not discipline. Gemini Moon makes a person multi-tonal: funny, verbal, quick to modulate between registers. Aquarius Mercury makes them intellectually stubborn and unwilling to soften the point for the comfort of the room. Aquarius Venus makes affection feel cool and non-performative. Put all three together and you get someone who can be warm on a press couch, tart in an interview, and still land a punchline a minute later. It is the tonal range.
The aspect worth flagging is a natal Mercury sextile Pluto — and it is within a fifth of a degree of exact, one of the tightest contacts in the whole chart. Mercury-Pluto contacts produce people who compulsively investigate, and compulsively say the uncomfortable part out loud. In a mild expression, it is a journalist. In a performer, it is the actor who refuses to do polite. When Pugh speaks in 2026 about double standards, about being instructed on her body, about the gap between how male and female leads get described in press rooms, that is not a PR strategy. It is a natal Mercury doing what a Mercury-Pluto sextile forces it to do.
What this costs: Aquarius Mercury does not land softly. It lands accurately, which is not the same thing. Pugh has paid, repeatedly, for the directness — the most publicized example is the response she drew for the sheer Valentino dress she wore to the July 2022 Rome show, and the statement she published afterward defending her own body. Aquarius Mercury does not apologize for the point it is making. It can be read as cold by people who wanted warmth. That is the trade-off the chart sets up, and it is the reason her interviews go viral in both directions.
Two aspects to the Moon matter for the performance work. The Moon-Venus trine is within a degree of exact — 0.97° — and trines are the easy-flow aspects, the ones that open rather than obstruct. Moon-Venus is the classic likeability signature, the placement that makes a performer read as warm even when the character is not. Gemini Moon trine Aquarius Venus gives Pugh the quicksilver charm you see in the press tour clips. Nothing performed. Just there.
The Moon also squares Saturn by 2.9 degrees, applying. That is the harder one. Moon-Saturn squares tend to map onto a specific early emotional climate — a sense that comfort had to be earned, that warmth was not assumed, that the inner child learned young to hold things up. In performance, it shows up as weight. It is what makes the tenderness in her roles feel used rather than imagined. A Moon-Venus trine by itself would produce charm. A Moon-Venus trine plus a Moon-Saturn square produces charm with weight, the combination that reads to audiences as real.
What this costs: Moon-Saturn squares do not fully let up. The melancholy stays underneath, even when the career is going well. You can see it in interviews where Pugh is funny and present and, a beat later, mentions exhaustion with a candour most publicists would edit out. The square is the part of her that will not pretend things are fine when they are not. The trine is what makes that honesty land as sympathy rather than complaint. Subtract either one and the public voice stops working.
The transit to flag, more than any other in her chart right now, is Pluto crossing her natal Mercury. Pluto entered Aquarius at the start of 2024 and sits at 5°27′ Aquarius on this date — within 3.65 degrees of a conjunction to her Mercury at 1°48′ Aquarius. Pluto moves roughly one degree every twelve to eighteen months at this stage in its cycle, which means this transit has been tightening for nearly two years and will keep tightening until it reaches exact in 2027, then retrograde back over the point before it finishes.
Pluto conjunct Mercury is one of the specific planetary shapes astrologers point to when a person's public voice undergoes a forced rebuild. It pressurizes language. The things you used to say about yourself stop being usable. The person going through it typically emerges on the other side speaking with an authority and a bluntness they did not have before — but they have to burn through the old voice to get there. It is the transit Pugh is currently inside, and the 2026 interviews — on double standards, on industry bodies, on the specific word intimidating that keeps getting applied to her — are Pluto-Mercury territory. The vocabulary she is using now is not the vocabulary she was using in 2022. The chart supports why.
This is a multi-year transit and it does not get completed in a single cycle. Structurally, what it does is change what the person can say in public. The accommodating press answers she might have given at twenty-two are not coming back. The more direct, more weighted voice audible in the 2026 interviews is the one that will consolidate over the next two to three years. It is also the reason the 2026 coverage is sticking: Pluto-Mercury material tends to land harder than the quote itself warrants, because it is carrying the pressure of the transit and not just the weight of the words.
Two other transits are live as of April 2026. Saturn in Aries at 8°04′ is within 4.3 degrees of a square to her Capricorn Sun. Saturn-Sun squares are the classic reality-check transit — they ask the person to prove the identity they have been building is durable without the usual scaffolding. For an actor approaching thirty, this often correlates with the stretch where the early-career breakout fades and the mid-career version of the artist has to assert itself on its own terms. Pugh is in that stretch now. It is the same transit category Anya Taylor-Joy has been working through at a slightly earlier stage, and Zendaya is navigating inside her Saturn return — a generational cohort getting Saturn-audited at roughly the same time.
Running alongside Saturn is a Jupiter opposition to her Sun — transit Jupiter at 17°42′ Cancer opposing natal Sun at 12°23′ Capricorn, within a 5-degree orb. Jupiter oppositions produce high-visibility public moments, often tied to partnerships or collaborators. They also produce overexposure risk. What Jupiter brings by opposition, Saturn simultaneously sobers by square. The two transits are essentially in dialogue: Jupiter is handing her a public stage, Saturn is stripping out the parts of her old approach that will not survive the next five years. Both are the same chart asking her to upgrade, in different registers, at the same time. It is an uncomfortable but productive combination, and it almost always correlates with a piece of work that gets remembered.
A fair version of this analysis has to name what the data will not cover. Florence Pugh's exact birth time is not a matter of public record. Astrotheme lists her with a noon chart because no certified time has ever been published. That means the rising sign, the Midheaven, and every house placement in her chart are off the table. They are calculated from the minute of birth, and a guess would be irresponsible. You will see other sites publish them anyway, usually with a default house system quietly plugged in. That is not what is happening here.
What we can say confidently from her chart: a five-planet Capricorn stellium explains the work ethic and the public weight; a Gemini Moon and Aquarius Mercury-Venus explain the tonal range; Mercury sextile Pluto explains the public voice; and three active 2026 transits — Pluto conjunct Mercury, Saturn square Sun, Jupiter opposite Sun — map onto the specific moment the career is in right now. That is enough to read meaningfully without pretending to know more than the data supports. It is also why, if and when a verified birth time eventually surfaces, this page will be updated rather than rewritten. The sign-level and aspect-level readings above do not depend on the hour. For more verified-data astrology profiles, explore our full celebrity chart directory.
Florence Pugh is a Capricorn. She was born on 3 January 1996 in Oxford, England, which places her Sun at 12 degrees of Capricorn. Her chart does not stop there. She also has Mars, Jupiter, Uranus, and Neptune in the same sign, a five-planet Capricorn stellium that amplifies the craft-driven side of the sign.
Her exact birth time is not publicly verified, so her rising sign cannot be responsibly stated. Her Moon, however, sits in Gemini across the entire day she was born, so that placement is reliable regardless of hour. Any rising sign or house-based interpretation you see elsewhere online is a guess rather than a calculation.
A stellium is three or more planets in one sign. Pugh has five — Sun, Mars, Jupiter, Uranus, and Neptune all in Capricorn. The effect is a personality organized around discipline and craft, with a shock-and-unpredictability note from the Mars-Uranus-Neptune triple conjunction that reads on screen as the intensity critics keep pointing to in her performances.
The clearest signature is Mercury sextile Pluto, one of the tightest aspects in her chart at a 0.23 degree orb. Mercury-Pluto contacts compel people to investigate and voice uncomfortable truths. Transiting Pluto is currently crossing her natal Mercury, the exact transit astrologers associate with a public voice being rebuilt under pressure.
Three matter. Pluto in Aquarius is within roughly four degrees of conjunction to her natal Mercury, a multi-year voice-transformation transit. Saturn in Aries squares her Capricorn Sun, a reality-check on her mid-career identity. Jupiter in Cancer opposes her Sun, bringing public visibility through collaborators and partnerships — often simultaneously.