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is euphorbia tithymaloides indoor plant

is euphorbia tithymaloides indoor plant Shop 'Devils Backbone Plant - Euphorbia tithymaloides' Care & Info

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Description

is euphorbia tithymaloides indoor plant Shop 'Devils Backbone Plant - Euphorbia tithymaloides' Care & InfoIntroducing the devil's backbone plant, known as Euphorbia tithymaloides (formerly called Pedilanthus tithymaloides), which is a popular succulent that is known for its crooked growth pattern on upright stems. Native to the tropical regions of Central America and the Caribbean, with its distinctive zigzag pattern along the stems, it's hard to miss this intriguing plant. Apart from Devil's Backbone, this Euphorbia tithymaloides has a lot of other

Introducing the devil's backbone plant, known as Euphorbia tithymaloides (formerly called Pedilanthus tithymaloides), which is a popular succulent that is known for its crooked growth pattern on upright stems. Native to the tropical regions of Central America and the Caribbean, with its distinctive zigzag pattern along the stems, it's hard to miss this intriguing plant. 

Apart from Devil's Backbone, this Euphorbia tithymaloides has a lot of other common names used by gardners, such as: Redbird Cactus, Jacob's Ladder plant, Zig zag Plant, Red Slipper Spurge, Buck Thorn, Christmas Candle, Cimora Misha, Fiddle Flower, Ipecacuahana, Japanese Poinsettia, Jewbush, Milk Hedge, Jew's Slipper, Myrtle-leaved Spurge, Padus-leaved Clipper Plant, Redbird Flower, Slipper Flower, Slipper Plant, and Timora Misha. These names reflect its characteristic zigzag growth pattern and the vibrant red coloration of its stems.  


The Devil's Backbone plant has thick, fleshy bony ridge stems that grow in a zigzag manner with floral leaves, resembling the backbone of a mythical creature.

The stems are typically green, but they turn reddish-pink or maroon when exposed to bright light. The leaves are small and inconspicuous, often falling off as your devil's backbone plant matures.

With numerous branches growing from the base, the devil's backbone plant can grow up to 8 feet tall.

The Devil's Backbone plant flowers are typically red or burgundy in color and this plant generally flowers in the mid-spring. The plant has both true flowers and red leaf bracts, which some gardeners refer to as slipper flowers due to their shoe-shaped appearance.

When and How to Water Your Devils Backbone Plant  

Like other succulents, the Devil's Backbone plant stores water in its leaves and stems. Devil's backbone can withstand dry conditions quite well, so even if you forget to water it occasionally or are unable to do so because of travel or another busy schedule, it will still thrive. 

It's best to let the soil dry out between waterings. This Euphorbia tithymaloides devil backbone plant prefers well-draining soil, so make sure the pot has drainage holes. When you do water it, give it a good soak until the water drains out of the bottom. Allow the soil to completely dry out before watering again. 

In the spring and summer, during the growing season, you can water the Devil's Backbone plant once every two to three weeks. In the winter months, when the plant is in its dormant phase, you can reduce watering to once a month or even less, depending on the conditions. 

Remember, it's always a good idea to check the moisture level of the soil before watering. Stick your finger about an inch into the soil; if it feels dry, it's time to water. Just be careful not to overwater it, as that can lead to root rot. 

Light Requirements - Where to Place Your Devils Backbone Plant

When growing the devil’s backbone plant indoors, it thrives in bright, indirect light. Place it near a window where it will receive bright, filtered sunlight throughout the day. Avoid placing your devil's backbone potted plant in direct sunlight, as the intense rays can scorch its leaves. If you notice that your Euphorbia tithymaloides devils’ backbone plant leaning towards the light source, rotate it periodically to ensure even growth. 

If grown outdoors, it prefers partial shade to full sun. Find a spot in your garden or patio that receives 4-6 hours of direct sunlight in the morning or late afternoon, while offering some shade during the hottest part of the day. This will help prevent leaf burn and maintain the devil's backbone plant's vibrant appearance. 

The devil's backbone plant is known for its adaptability to different light conditions. It can tolerate lower light levels, but this may result in slower growth and less vibrant foliage. On the other hand, too much direct sunlight can cause leaf discoloration or sunburn. Striking a balance between light and shade will help your devil backbone plant thrive and maintain its unique appearance. 

Remember, every plant is unique, and it's important to observe how your Euphorbia tithymaloides respond to its specific light conditions. If it's growing well and maintaining its characteristic zigzag stems and vibrant leaves, then you've found the right balance! 

Optimal Soil & fertilizer Needs 

When it comes to soil, your Euphorbia tithymaloide plant prefers well-drained nutrient-rich soil. A combination of regular potting soil and perlite or sand can work well. The goal is to provide good drainage so that the roots don't sit in water, which can lead to root rot. Make sure the pot has drainage holes to allow excess water to drain. Instead, make or buy a well-draining potting mix, or ideally use our specialized succulent potting mix that contains 5 natural substrates and mycorrhizae to promote the development of a strong root system that helps your devil backbone succulent to thrive. 

As for fertilizer, the Devil's Backbone plant doesn't require frequent feeding. You can use a balanced (5-10-5), water-soluble NPK fertilizer diluted to half-strength. During the growing season, which is typically spring, you can fertilize your devil’s backbone plant once a year. In the winter months, when it is in its dormant phase, you can skip fertilizing altogether. 

It's important not to over-fertilize your plant, as it can be sensitive to excessive nutrients. If you notice any signs of fertilizer burn, such as brown or crispy leaf tips, reduce the frequency or strength of the fertilizer. Always follow the instructions and err on the side of caution. 

Remember, it's always a good idea to observe your devil's backbone plant Euphorbia tithymaloide, and adjust accordingly. If it's growing well and maintaining its vibrant appearance, then you're on the right track! 

Hardiness Zone & More 

The Devil's Backbone plant is native to tropical regions, so it prefers warm temperatures and high humidity. If growing indoors, it thrives in average room temperatures between 65°F to 75°F. Keep your Euphorbias away from drafts and extreme temperature fluctuations. As for humidity, it appreciates higher levels, so you can mist the leaves occasionally or place a tray of water near the devil's backbone plant to increase humidity. 

If grown outdoors, these devil's backbone plant is hardy in USDA zones 10-11. It prefers a warm and tropical climate, with temperatures ranging from 50°F to 85°F. However, it's important to protect it from frost or freezing temperatures, as it is not frost-tolerant. It can tolerate temperatures outside of its ideal range, but extreme heat or cold may negatively affect its growth. Additionally, your devil's backbone plant can adapt to lower humidity levels, but it may benefit from occasional misting or placement in a more humid environment. 

Remember to monitor the temperature and humidity levels around your Euphorbia tithymaloide Devil's Backbone plant, both indoors and outdoors, to ensure it remains happy and healthy. 

Devils Backbone Plant Propagation

Euphorbia tithymaloidesn can be propagated through stem cuttings. To propagate this plant, simply cut a healthy stem from the mother plant and allow it to callous over for a few days before planting it in well-draining soil. Keep the soil consistently moist but not waterlogged, and place the cutting in a warm, bright location to encourage root growth. With proper care, the cutting should develop roots within a few weeks and can be transferred to a larger pot once established.

Key Takeaways 

  1. The Devil's Backbone plant (Euphorbia tithymaloides) is a popular choice among plant enthusiasts, with its unique zigzag-shaped stems (hence the name zigzag plant) and vibrant green leaves, that make it a visually striking addition to any indoor or outdoor space..
  2. One of the great things about this plant is that it's relatively low maintenance, making it perfect for both beginner and experienced plant owners.
  3. The Euphorbia tithymaloides thrives in bright, indirect light and prefers well-draining soil.
  4. With a moderate watering routine and occasional pruning to maintain its shape, it can bring a touch of exotic beauty to your home or garden.
  5. So, if you're looking for an eye-catching plant that's easy to care for, the Devil's Backbone plant is definitely worth considering!
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John P. Jones III
Cuba, 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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Stephen McLeod
Alexandria, US
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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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