moonshine snake plant for sale Moonshine
SKU: 34111900233
moonshine snake plant for sale

moonshine snake plant for sale Moonshine

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Description

moonshine snake plant for sale MoonshineDracaena (Sansevieria) trifasciata 'Moonshine' Dracaena trifasciata 'Moonshine' is a light toned snake plant with broad, upright leaves and a soft grey green surface. The leaves rise from the base in firm, lance shaped fans, with faint horizontal markings and a narrow darker edge. Its colour gives the plant a calm appearance while keeping the strong structure of a snake plant. This cultivar has light grey green foliage on firm vertical leaves. The

Dracaena (Sansevieria) trifasciata 'Moonshine'

Dracaena trifasciata 'Moonshine' is a light-toned snake plant with broad, upright leaves and a soft grey-green surface. The leaves rise from the base in firm, lance-shaped fans, with faint horizontal markings and a narrow darker edge. Its colour gives the plant a calm appearance while keeping the strong structure of a snake plant.

This cultivar has light grey-green foliage on firm vertical leaves. The smooth surface catches light in simple pots, while growth comes from a rhizome below the substrate. New leaves appear from the base and slowly increase the density of the clump.

Light leaves with a fine green edge

  • Leaf colour: Light grey-green blades give the plant a cool, bright look.
  • Leaf edge: A fine dark green margin outlines the leaves and sharpens the light-toned foliage.
  • Growth base: New leaves rise from the rhizome and slowly fill the pot.
  • Indoor shape: Upright, lance-shaped leaves give height from a compact base.
  • Flowering: Mature plants may occasionally produce pale, fragrant flower spikes in settled indoor conditions.

How Moonshine grows in a pot

Dracaena trifasciata is native from southern Nigeria to western Central Tropical Africa and Tanzania, where it grows in seasonally dry tropical conditions. Its firm leaves store water, while the rhizome needs a clear drying phase between waterings. Air around the rhizome is especially important after watering in cooler indoor conditions.

'Moonshine' keeps the firm sword-leaf form of the species, while the light foliage makes dust, splash marks and handling damage easier to notice. New leaves may emerge very light and then settle into a cooler grey-green tone as they mature. In bright indirect light, the leaves usually stay firm and evenly coloured.

The plant usually grows slowly indoors. A snug, stable pot is appropriate because the rhizome does not need a large volume of damp mix around it. When several new shoots have filled the pot or the container begins to deform, move it into a slightly larger pot with fresh, open substrate.

Care for light grey-green foliage

  • Light: In bright indirect light, leaves stay firm and the grey-green colour remains clear. In dimmer rooms, growth slows and the pot dries more gradually.
  • Watering: Water after the mix has dried deeply. Soak evenly, drain fully and let the lower pot dry again before repeating.
  • Substrate: A free-draining mix with pumice, lava rock, coarse sand or fine bark keeps the rhizome aerated after watering.
  • Pot choice: Choose a pot with drainage holes and enough weight to balance the leaves. Empty decorative cover pots after watering.
  • Temperature: Keep it in steady indoor warmth, ideally around 18–27 °C. The root zone should stay warm after watering.
  • Humidity: Average household humidity is enough. Normal room air is adequate for this cultivar.
  • Feeding: Feed lightly during active growth with a diluted balanced or cactus fertiliser. Slow rhizome-based growth needs modest nutrition.
  • Repotting: Repot when the plant has filled the container or the substrate has lost structure. Increase pot size carefully so the new mix dries predictably.
  • Propagation: Divide rooted clumps to keep the light cultivar look consistent. Leaf cuttings can root and may produce growth that does not match the parent plant.

Marks and stress on light leaves

  • Soft bases: Inspect the substrate line, rhizome area and cover pot. Soft tissue near the base usually means the lower plant stayed wet too long.
  • Wrinkled leaves: Check the root system as well as dryness. Root damage can make leaves wrinkle even when the pot has been watered.
  • Brown tips or edges: Review watering consistency, mineral buildup, old knocks and temperature dips. Trim only dry tissue if needed.
  • Marked foliage: Wipe leaves gently with a soft damp cloth. The light surface shows dust and water spots quickly.
  • Weak new growth: Move the plant closer to bright filtered light and check that the pot size matches the root system.

Placement around pets

Keep Dracaena trifasciata 'Moonshine' away from pets and small children who may chew the leaves. Snake plants contain saponins, which can cause nausea, vomiting or diarrhoea in cats and dogs if ingested. A raised, stable position also helps keep the light leaves free from knocks and bite marks.

The name behind Dracaena trifasciata

The accepted botanical name for the species is Dracaena trifasciata, while Sansevieria trifasciata remains the older name still widely used in houseplant retail and care information. The genus name Dracaena comes from the Greek drakaina, meaning “female dragon”, historically linked to red resin in some dragon tree relatives. The species epithet trifasciata means “three-banded” or “marked with three bands”, referring to the banded foliage pattern associated with the species.

Dracaena trifasciata 'Moonshine' has soft grey-green leaves, faint markings and slow basal growth in an upright clump.

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SKU: 34111900233

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★★★★★ 3
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I would give it a 5 based on the appearance after the mask is removed your skin is glassy but the moisture level is lacking. It leaves behind an oily residue and my face didn’t feel hydrated. The search continues.
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John P. Jones III
Houston, US
★★★★★ 5
“The fragments of a life”…
A formidable movie, in the stricter sense of the word. In a looser sense, it has helped shape the way that I’ve seen the world, ‘lo these past six decades. I saw this movie when it first came out, in 1963, at one of my favorite art theaters in Pittsburgh. Like most of us at the time, we’d only viewed rather straightforward movies of “good and evil,” Westerners, and the like. Predictable endings. The director of “8 ½,” Federico Fellini, offered something radically different, a foreshadowing of the stream-of-consciousness technique in literature, how the fragments of one’s life get all jumbled up in the brain. And he provided some takeaways that have long been with me. I was 16 at the time and took a date who was 15. In re-watching it now, if I thought it somewhat baffling at 16, I wonder what my date thought about the portrayal of the women in the movie, who are “fragments” in the life of the movie director, Guido Anselmi, excellently played by Marcello Mastroianni. There is his wife, Luisa, wonderfully played by Anouk Aimée, who was the motive force behind the re-watching of it now. There is the “virginal” Claudia Cardinale, usually in white (I had not realized that she was originally Tunisian). Sandra Milo plays Guido’s flighty bimbo of a mistress. And so many others: The airline stewardess; the caring mom who wraps the infant Guido in a blanket; the first stripper; the insightful and nagging friend of his wife… “Upstairs when you are 40.” That was one of the big takeaways. Anselmi is having this male fantasy about his “harem,” all those fragmented women who are there to serve him and do so in complete harmony when he realizes that the “stripper” is now 40 and must go upstairs, the metaphor for being placed on the “discard pile” for being too old. He gets out his bull whip even, to drive her up the stairs. Even at 16, when 40 is more than twice your life away, it did seem a bit harsh, particularly when the same rule does not apply to the guy with the bull whip. It was also my first viewing of the prototype of those pompous pedantic critics of movies or literature who toss around expressions like “impoverished poetic imagination,” “overabundant symbols,” and, of course, “self-indulgent.” I was in parochial high school at the time, so the scenes in which the priests were chasing down the young student Guido in order to shame and humiliate him because he found sexual imagery to be of interest, imagine that, strongly resonated. It was also the era that the Catholic Church published “The Index of Forbidden Books,” (which now seems to have been taken over by the woke crowd of today), and thus the scene in which Anselmi has to pay homage to the Cardinal also resonated. Anouk Aimée is absolutely mesmerizing. She has been a “fragment” of my own life, ever since I viewed “A Man and a Woman” in the ’60’s. Again, she played opposite the equally formidable Jean-Louis Trintignant, of “Z,” “Three Colors, Red,” and so much else, fame. Far more relevantly, the two of them recently played in “The Best Years of Our Lives,” again directed by Claude Lelouch. Aimée is now a young 90. In her role as Anselmi’s wife, Luisa, she wore those glasses that connotated a greater thoughtfulness than him. I searched that ever-so-youthful face watching for the subtle expressions of later movies. It struck to the core. Luisa is utterly fed up with Guido’s philandering and constant lies. And Guido is suffering from “director’s block” in trying to finish his movie, with what sort of message? Luisa fires off THE classic line that I have long remembered: “But what can you say to strangers when you can’t tell the truth to the one closest to you…”. The only problem is that I’ve felt that line was said in Ingmar Bergman’s “Scenes from a Marriage.” And maybe that line was ALSO said in Bergman’s movie, which means one more movie I need to watch to find out. As I said earlier, things can tend to get jumbled up in the brain, even more so as one ages. Fellini would understand, maybe Aimée would also. 5-stars, plus for Fellini’s classic, formidable film.
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Reviewed in the United States on March 14, 2023
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Stephen McLeod
Port Orchard, US
★★★★★ 5
One of the greatest in SPECTACULAR DVD package
This new Criterion Collection edition of *8 1/2* is one of the best DVD "special edition" sets I've come across. The Movie: Fellini's breakthrough film is a movie about itself. It is archetypal in the Fellini canon because it both settles old scores and announces a new cinema. The film's hero is an Italian filmaker (Mastroianni as "Guido" a quasi-alter ego for the director) who has just had his first major hit (=La Dolce Vita). He is not resting on his laurels, however. He is confronted with the necessity of the next movie. This necessity is both personal to the director and apparently contractual: the producer is forever hovering... To Guido, it is an inner necessity, an unrest, a creative suffocation, objectified in the opening sequence of the movie where Guido is seen/not seen by the camera, trapped inside a tiny car that is itself trapped in a traffic jam that stretches endlessly beyond available light as the car fills with toxic gas. We see the as yet unidentified hero in silhouette from behind. We see his hands and feet from outside the car, through the window as he desparately tries to escape. Then, he mysteriously escapes through the car's roof like a new bird escaping its shell and is carried off into the clouds, etc. The trouble is, this is a wish fulfillment dream. In "real" life, Guido is about to make a movie, and he has no idea what it's going to be about, or what to do with all the actors and extras, and the giant launching pad for some kind of space-ship that is the only thing even close to a concrete idea for the projected picture. The film is not, however, a perfect autobiographical fit. For one thing, Fellini gets to finish his movie and Guido, evidently, does not. But, that said, the movie is a virtual mirror of itself, which was a very hard thing to pull off in 1962, before the concept of "virtual" was annexed by the codifiers of computer jargon, and *8 1/2* is nothing if not a virtuoso performance. Fellini's breakthrough is the film we watch. But in the film, the hero finds the resolution to his anguish, not in finding the project - that is, in making what would have been the film-about-itself within the film-about-itself within the film-about-itself that we are, finally, watching - but in letting go of the project, in surrendering to the impossibility of finding it or making it. Precisely *on the other side of his own fantasy-suicide*, at the moment when he apparently gives in to despair, he discovers the circle of life and becomes able to join into the procession of lives into which his own life is finally intertwined. So, this is an essential film. And it is a film so rich in texture that a person could watch the movie a hundred times and find new things to wonder at, and discover new connections between the One and the Many - Fellini's personal/existential problem. The DVD: First disc contains a sparkling transfer of the movie that restores a luster to the angular lights and shadows in Fellini's final black & white movie. Audio commentary by a couple of scholars and Fellini's former close accomplice Gideon Bachman. Second disc contains Fellini's famous "Director's Notebook" of 1968(-9), an hour-long movie that was originally made for television, as well as another documentary about composer Nino Rota, and various interviews, including one with the ever-fiesty Lina Wertmueller who was Fellini's Asst. Director on *8 1/2*. The package also comes with a really interesting little booklet with lots of information and a thoughtful mini-essay. Overall a great package that I'll not regret buying.
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Reviewed in the United States on January 5, 2002

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