[HOROSCOPE HIGHLIGHTS] Jupiter & Neptune in Pisces w/ Christopher Renstrom
This is your Horoscope Highlight for the week of April 10th – April 16th, 2022 with world-class astrologer, historian, and author of The Cosmic Calendar, Christopher Renstrom. On April 12th, Jupiter and Neptune meet in the sign of Pisces, creating a great feeling of hope, joy, and optimism. This week, Christopher shows you how to better understand this transit by sharing the tale of his favorite book: The Red Balloon.
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00:47 Jupiter & Neptune Conjunction
2:48 Balloons & Bubbles
5:45 The Red Balloon
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This transcript is automatically generated. Some miswording might be present.
Amanda Pua Walsh 0:03
Hi there and welcome. This is Amanda, the founder of astrology hub. And you’re listening to our week ahead snapshot with world class astrologer, historian and author of the cosmic calendar, Christopher Renstrom. This show is designed to give you a quick overview of the week ahead, enabling you the gift of choice and how you navigate and weave these energies into your daily life. Enjoy.
Christopher Renstrom 0:31
Hello, my name is Christopher Renstrom. And I’m your weekly horoscope columnist here on astrology hub. And this week, I wanted to talk to you about the Jupiter and Neptune conjunction Pisces taking place on April 12. Now, if you’ve been following different astrologers and different columns and podcasts and things like that, then you know that this is a pretty big deal. Jupiter and Neptune are the two rulers of the zodiac sign of Pisces coming together and conjoining in the zodiac sign of Pisces on April 12. The last time that something like this happened was I think it’s about 165 years ago, which means that the two of them won’t come together again in the zodiac sign of Pisces for another 165 years since both planets really have to do with our dreams and hopes and the fulfillment of our hopes and dreams. Well, there’s a lot of pressure on right now to see the fulfillment of the things that you want to happen most in your life materialize right before your eyes. I mean, this is basically the understanding of what these two planets are supposed to do, in terms of astrology, of hopes and dreams and wishes, all coming together on the single day, April 12. Pressure much Well, I think this is one of the times when we sort of like have to take a couple of steps back and really examine what’s coming together with the conjunction of these two planets, and I did a lot of thinking. Wow, okay, so Jupiter is the planet of good fortune and higher purpose. It’s basically Jupiter is the planet of what I believe in astrology. And Neptune. Neptune is a planet that’s associated to hopes and dreams and wishes. It’s a planet that’s connected to illusions and enchantment. It’s the it brings this sense of wonder. And it brings this sense of mystery these are the things that that Neptune is associated or connected with, in astrology. So with these two planets coming together, well these should be ideas that we should see resonating or materializing as I said in our lives, but the other thing that we have to keep in mind when we’re dealing with the planets Jupiter and Neptune, or what, at least came to my mind when I’m thinking of the planets. Jupiter and Neptune are balloons and bubbles. Now that might seem like a really silly idea. Why Christopher would you be thinking of balloons and bubbles? When we’re looking at this very auspicious conjunction of planets? First time they’re coming together in 165 years? Well, I think of balloons when I think of Jupiter because it’s the idea of something becoming. It’s the idea of something inflating or becoming larger, okay? Ballooning, okay, is what we say when something is becoming larger. And Jupiter being the largest planet in our solar system is an is an energy of planetary energy that’s connected with benevolence and making something that’s good, even better, right? And then Bubbles, bubbles is something that comes to mind when I think of Neptune. Not only because bubbles is what fish and what we make, when we’re under the sea and swimming, we we say bubbles up to the surface. But the idea of you know, the housing market a number of years ago was talked was was spoken about or referred to as as a bubble, you know, so it’s something on which there’s great expectations. And then there’s a kind of like bubble effect that that takes place or happens, which is of course, followed by the inevitable burst, balloons burst or pop, and bubbles burst and pop as well. So these are two ideas that I’m sort of keeping in mind when I’m thinking of Jupiter and Neptune, the CO rulers of Pisces coming together in the astrological sign of Pisces. And this got me thinking this, actually, actually this got me reminiscing. This got me remembering something that was very beloved to me, a film that I saw that was very beloved to me in my childhood. I think I saw it like once or twice and then my mom got me the book, but it was is a film that was shown in grade school back when they had film projectors, you know, where the teacher would be struggling with trying to get the film into the projector and like, you know, like, like wouldn’t be able to do it right and like Billy and somehow Billy was technically apt at you know, getting the film into the projector and starting it up. And so Billy would go and put the film on the projector and it would begin and, and and Sally, could you turn the lights off, and Sally would go and turn the lights off. And we would all sort of sit down in our desks and look forward to a screen that had been pulled down over the chalkboard, where the film from this film projector was going to be shown. It was always so exciting. It was all sorts of exciting watching watching a film in class when I was child growing up. And this one particular film that was shown in my class as a child when I was growing up, one that has stayed with me all of these years and is such a beloved memory of mine and a beloved film. And you can see it I think on like HBO, Max or YouTube. It’s a little film that was called the red balloon. It was called the red balloon, and it was made in 1956. And it was a French movie that was made. It was the winner of the Louis to look for best film, it won the Palme d’Or from Khan. And it also won the Oscar for Best Original Screenplay, which was really quite unique, because the red balloon had been entered in the short film category. And this was the first time that a short film had actually won an original Best Screenplay, outside of the short film category. I mean, it won Best Original Screenplay for the Oscars, and in 1956, or 57. Or whenever those those particular Oscars took place. And it’s the story, it has very little dialogue, I think it’s got maybe like three or five lines of dialogue in the whole 34 minute film. And it’s a story of a little boy whose name is Pascal, we actually find out his name is Pascal, just because someone calls out to him at one point in the film. And so it starts out with this young boy named Pascal, who’s probably about six or seven years old. He’s on his way to school in Paris. And we know that he’s on his way to school, because he’s carrying around one of those little, I guess, briefcase would be the best way of putting it. But it’s actually a very flat bag that is a briefcase that he’s carrying around his books and, and papers and things like this. And so it’s early morning, and he’s marching along the streets of Paris. And he’s actually on a hill in Paris. And he’s about to descend some stairs and he sees below on the stairs are red balloon of magnificent red helium balloon with a long cord or string that has tied itself around a lamppost. It’s kind of a lit, they’re like, like the way a bird would perch on a lamppost. And he sees this marvelous red balloon and it’s a gorgeous red. And he puts his bookbag down, and he grabs the post. And he, you know,
Christopher Renstrom 8:05
I mean, he’s, he’s a child, he’s like a monkey child. Okay, so this is what children can do at the age of six. It’s like, we cannot do them at the current age. But, you know, he climbs up the post with his legs against the wall, and he climbs up to the post, and he unwraps the white string, and he gathers it in his mouth, and crunches his teeth, and he comes on down from the pole and emerges with red balloon in hand. Okay, this is marvelously magnificently red, bright balloon in hand. And so he he then continues on his on his way to school. And what Prescott does is that he takes he takes a streetcar to school every day, and this is 1956 and Paris, and there’s all these people who are bustling about, they have little shops, they have little displays in front of their stores and things like that some, and there are a number of people that are getting onto the streetcar. So he’s marching with his red balloon and his bookbag his briefcase, he marches up to the streetcar. And the fellow who’s reading the streetcar, you know, shakes his head and says no, any, any points at the at the balloon, basically, indicating that post scowl cannot come on board the streetcar with this with this balloon. And so it’s either he takes the streetcar or he’s going to have to walk to school. And the school having just discovered this marvelous balloon, decides that he’s going to run to school, and he runs to school, he races down the streets and he’s rushing up to the streetcar with balloon in hand and he gets to school late, the doors are closed. And this is Paris like when the doors are closed. The doors are closed, you cannot enter you know, and so he’s knocking at the door and, and there’s a friendly janitor who’s willing to let him in and he very quickly turns around and he finds an old fellow who’s sweeping the street you know, rather humbly You know, in front of the shop getting ready for the day, and he passes the balloon to the fellow and he says, please look out for this balloon, please look out after it for me, I’ll come and get it at the end of the day and the fellow like nods, and he’ll hold on to the balloon and Pesco goes in, and he goes in for a day of school. So at the end of the school day, he comes on out. And there’s a rush of children who are all coming out of the school and they’re being greeted by parents or they’re, you know, forming in little groups and cliques and things like this. And he comes on out and the fellow passes him the balloon that he’s watched faithfully, and Pascale takes his blue and he starts to march on down the street. But the skies are cloudy, it’s a it’s a rainy day, and it begins to rain, and it begins to rain a great deal. And then what follows is such a lovely, it’s
Christopher Renstrom 10:49
just a little thing, but it’s such lovely images, I Pascal turns to an old man who’s got like maybe a clubfoot or something like that. And he’s walking with an umbrella, he just he points to the umbrella and fell who you know not and he lifts his umbrella up, so that it covers both the balloon which is nestled under this umbrella, and the Boy Scout and the old man, and they walk down the street together. And as they walk down the street together, they get to the old man’s apartment and you know, waves goodbye and takes his umbrella. And POSCO immediately meets a young housewife. And she offers her umbrella, and the balloon is tucked under the umbrella as Pascal and they walk down the street away. And then they meet two nuns who extend their umbrellas and and it’s just this lovely image of this red balloon being sort of tucked underneath an umbrella like under the wing of a bird, you know, and the boy and they’re walking down the street and at one point there’s a there’s a line of French soldiers but their horse they’re on horseback there’s a particular name for them or whatever and they nod and whatever because you know it’s this brilliantly red balloon on a dismally gray rainy day and people are noticing and it makes them smile, you know, a boy in his balloon is something that makes them makes them smile and want to protect a shelter or, or a skirt for a little while or, or something along those lines. But what’s lovely is that he’s embraced by a stranger, you know, it’s never like neighbors or hey Pascal, how you do is someone that he knows these are strangers who immediately take on the sort of sheltering or protecting energy. This is Jupiter in astrology. You know, Jupiter is the planet that shelters and protects. And so you see this image that showing up with shelter and protecting and then joy, you know, camaraderie. Jupiter’s ability to make friends with people it’s never met before a stranger is someone who’s not a friend yet, you know, is with this idea of Jupiter. It’s good fellowship. And so this is what we’re seeing demonstrated with Pascal and his marvelous, marvelous red balloon, Pisco gets gets home, and is greeted by his grandmother at the door, and he lives in apartment. He’s like maybe on the fourth of the fifth floor of this apartment, and they’re all French windows, you know, it’s Paris, I mean, what else do you want. And so the camera pans up to maybe about the fifth floor, and you see, you know, this row of Windows, and all of a sudden, these French windows open up, and the grandmother tosses the balloon outside, you know, she’s not, she’s not going to let this balloon into the apartment. So she, she tosses the balloon outside and the balloon sort of rolls itself, you know, with its white tail of a string, you know, and begins to sort of float up, and then it stops, okay. And at that time, she’s closed the French windows and she’s gone about her day, and the camera just sort of stays. And the thing that’s very remarkable is that you have this row of French windows to this apartment building, but a balloon that is not flying right on up, it’s actually lingering, it’s it’s lingering, and it’s staying outside Pascal’s window. And so then then the Camera Cuts to Pascal inside. And he comes to the window and he sees the red balloon outside of it. And the red balloon is kind of nudging you know, against the window, and he like lifts his hand you know, and then he opens up the window and the balloon sort of like floats towards him and he takes the balloon and he brings it inside and it’s this lovely magical moment it’s almost like the balloon is like a dog that he’s led inside inside the house it’s it’s his it didn’t leave it stayed and it’s an it’s his it’s his red balloon. So the following morning the French doors open up again the French windows open up again. And POSCO lets go of the balloon string and the balloon goes in it sort of floats there and he’s like, you know indicates meet me downstairs. And so the loon lowers. And Pascal comes out, you know, and the balloon meets him. And Pascal says to the balloon be good, you know, be good behave yourself today. And so he goes walking off to school. And but before he goes, he tries to grab the string of the balloon and the balloon is kind of in a mischievous mood, you know it, it, you know raises a little bit it hops almost out of reach of postcards you try. And postcard tries to grab the string, a number of times in the balloon won’t let the boy grab the string. And so
Christopher Renstrom 15:34
you know, and he turns around, and he kind of like marches on down the street. And the boom balloon then follows Pascal obediently right behind him. And so Pascal turns around and tries to reach for the string again, and the balloon backs off. And he turns around and he walks in the balloon follows and he can tell that the balloon is following him. So he goes in, he hides behind the corner, and the balloon gets very worried. I mean, it’s amazing how expressive this red balloon can be in this film, but what do you want it’s like a brilliant French film Alright, so So the balloon becomes kind of like worried and it goes looking for Pascal and Pascal you know, surprises it had grabbed it by the string and the balloons happy and they march to the street car and they meet with the same reaction that they met with before the conductor’s having none of it you are not getting on board this streetcar with this new balloon that you brought with you today and you’re going to have to let it go or you’re going to have to you know, he indicates you’re gonna you know, it’s there’s the road you know, you can ride to school. So Pascal, lets go up the balloon and the balloon flies up a little bit. And he aborts the streetcar and the streetcar, you know, goes rambling on down the street. And the balloon then re enters the frame of the film, and follows the streetcar, it follows the streetcar as it makes as it meanders and makes its way to the school. And so this immediately captures the attention of the other passengers who are like marveling at this red balloon that’s following and then it’s such a beautiful shot as the as the streetcar goes through the streets of Paris, you know, the different periods zones are, are following it. And they’re in awe and they’re like pointing and they’re laughing and, and this this simple red balloon following this the streetcar doing this impossible thing, this boy brings so much joy and it brings so much delight to the faces and hearts of everyone who has the good fortune of witnessing it. And so Pascal gets to gets to school. And he’s made to sort of enter the school and to line up and the balloon actually obediently waits outside. You know, and so they line up and the boys are marched on into the school. But it’s at this point that the boys at school, it’s a school for boys, notice the bloom, you know, they noticed that, you know, that it’s following Pisco around, and they each tried to go and they grab that the string or whatever, and the balloon again, will will escape their grasps and things like that. And the boys are kind of like delighted and frustrated. And kind of like, you know, like what’s going on here, you know, type of thing and they can’t get the balloon. But Pascal can they see that the balloon will respond to the skull, you know, the balloon, and he lets go the string it moves out of whatever as he goes on into school. And the boys take note of this, you know, and another person who takes note of this is the principal who happens to be crossing the courtyard at at the same time that they’re entering into the classroom. And so the principal Aspies he sees the balloon sort of nudge open one of the upper windows, there’s the doors and then there’s upper windows to this school. And the blue kind of nudges the upper window and makes its way into the classroom. And the principal sees this and he immediately crosses over and in an instant he emerges with a scowl you know grabbed him by the hand or maybe he’s gotten by the air and then he merges with Pascal and the balloon is following and he takes Pascal to a room and he locks him in the room you know and tells him to stay there because he’s got things that he has to go and take care of in town and so the balloon goes and follows the principal
Christopher Renstrom 19:11
and the principle again like everyone else tries to grab it the string you know and it’s always being yanked you know, it’s the single string that’s always being yanked out of reach and and he goes about his day but the balloon sort of Bob’s behind the principles so that people are taking notice of of this old man and they’re like, what’s this old man doing with this balloon and why isn’t this balloon following away? I mean, it’s become an object of curiosity and wonder But what looks good on a little boy, you know, which is kind of delightful and innocent with an old man that kind of like what’s up what’s going on with this? And he’s like, you know, a humorless Saturnian like principal you know, so there’s no there’s no joy in his heart he’s got to deal with Beastie Boys and an all boys school all day or whatever. So he’s like over them and, and whatever but this balloon kind of because it fun follows him kind of mocks him and he or at least he feels mocked I don’t know if the balloons mocking him but he feels mocked made fun of like the balloon is making him look silly and ridiculous to people who are pointing and laughing and and trying to get the principal to laugh but he’s a humorless man. So he, at the end of his, you know, workday of chores and, and things like that the principal returns let’s put skull out of the little room that he’s locked him in child and balloon are reunited. And he’s like, Get out of here use little pest, you know, he says Get out of here you little. You know, that’s like the fifth line of dialogue, this movie, and so and so, he he heads on home with with the balloon on his way home. He goes by one of those, he goes by one of those, like fantastic flea markets that you see in Paris, you know, and he’s like, looking through old antiques and things like that. And you’re just longing as he’s kind of like, you know, rumbling through these different antiques and stuff. You’re just it’s 1956 Paris. So you’re like, oh my god, that piece of furniture or that lamp or that picture that frame, when I want to give to have that, you know, it’s just your, but anyway, so he’s going through, and he goes through the street markets and things like that with his red balloon. And he’s walking along a street on the way home. And Pascal is walking in this direction. And there’s a little blonde girl who’s walking in a different direction. And actually in real life, Pascal is the real name of the actor. He was the six year old son of the filmmaker, I think it’s what’s his fellow’s name, it’s Albear it’s out there memories. And so Pascal is a six year old boy. And the girl was a sister. Okay, so as the boy Pascal was walking in one direction, and an opposite direction is a little longer on. So Pascal has got his red balloon, you know, he’s walking like this, and the blonde girls walking past him and she’s got a little blue balloon. And so the red balloon escapes, you know, Pascal’s grip, you know, and goes floating and follows the blue balloon walking along and nudges against it almost like a little kiss, you know, it’s so French. And so the girl looks up and Pascal comes running and then he you know fetches he fetches the string of his little red balloon, you know, and turns around and walks opposite you know, the girl and the girl like smiles and but Pascal is walking away because his balloon was disobedient. And at that moment, the blue balloon escapes the little girl’s grace, which is surprising because you just think it’s the red balloon that could do this. The blue balloon escapes the little girl’s grasp and it goes racing after Pascal and his red balloon and nudges up against them. And the girl comes running over and Pascal fetches you know the string and gives it to her and then they go their separate way. So it’s really this like, lovely moment, you know, where the balloons make contact with each other. And it’s really, really quite darling. In the exchange, it’s very, very sweet, but it also foreshadows what’s going to come. Okay, so so so these balloons can sort of act independently and the red balloon isn’t the only one that can act like this. So, so on but what’s seen by this, okay, this, this, this exchange, okay, between Pascal and the little girl and, and the balloons having, you know, left the grasp and the red balloon showing this kind of independent behavior.
Christopher Renstrom 23:35
What what’s a spider witnessed by this from around a corner is that is is a gang of street boys, okay, and they see the way that the balloon behaves, that it doesn’t fly away, like a balloon should fly away. At that it doesn’t lose its air, like a balloon should lose its air, you know that it’s vibrant, and it has very much a mind of its its own by seeing this, this red color which draws attention to itself by seeing this mystery, this wonder, you know, and and what we’ve seen is that so far the appearance of the balloon has caused people to laugh with delight or, or to point out or to just be happy, you know, but what inspires in these boys? Is is envy and covetousness. Okay, and so they, they give chase, they chase after Pascal with his red balloon. And they they chase after him because they want to get this balloon. They chase him and they’re actually going to catch up with him. And at that moment, he lets go of the string and the balloon goes flying up and it and the boys grasp at it. You know, they’re almost like they’re hungry. You know, they’re so like, jealous, okay, and they grasp and they snatch You know, at the string and it dangles just out of reach, and it floats over their heads. And Pascal runs home. And the boys follow him home, and they see where he lives. And you know, they see him enter his apartment building. And they see on the fifth floor, the French doors fly open, and Pascal comes to the little balcony, and he reaches out, you know, and the balloon, which is flown up, descends down into Pascal’s arms and enters the apartment and the windows close. And the boys matter among themselves. You know, he’s outfoxed us. So so they, they definitely have plans to to procure this balloon to take it that we then cut to the next day or the next few days, which is Sunday. And Pascal is being dragged off to church with his grandmother. So he goes from the little jumpsuit that he’s been in to like a proper little suit jacket, and the jumpsuit underneath it. Okay, but anyway, he’s got a little suit jacket. And you know, his grandmother is marching him off to church, and they go up the steps of the church. And of course, the balloon follows them to church as well. They enter the church, you know, and you hear singing and stuff that you hear a silence. And then there’s there’s almost like this sort of grandiose church guardsman or something like that, who emerges with Pascal in hand. And it’s taken him out, followed by the grandmother, you know, who’s trying to explain things and the red balloon because the red balloon had followed Pascal on to church, and obviously was distracting everyone from the mass. And they were all looking at this strange red balloon church, but we don’t see that we just see them enter that exit. Yeah. And so postcards deposited deposited rather unceremoniously on the steps of the Church of the grandmother, you know, is talking to the guard trying to explain things. And they’ve been ejected from church for that Sunday, at least. And so postcard goes, you know, walking off and the balloon doodlee dutifully follows. You know, he’s heading home, and it’s a Sunday. And he’s a French kid, you know, six, six years old. And he stops by the window of a patisserie, you know, he looks in there. And he sees like, you know, he sees a castle, you know, and it’s like, he looks really young. I mean, come on, it’s just anyway, so it looks really yummy. And he turns blue needs to stay outside and wait for me, you know, and the bloom does. And he goes on in to purchase a croissant. Which those buttery, lovely croissants and I think it’s an almond paste one that he that he has, they’re just so amazing. So he goes in to do that. Well, the gang of boys had been following her skull. And so they they turned the corner they see the patisserie window, they’re like making, you know, faces like, looks so good. You know, and then they see the bloom.
Christopher Renstrom 27:57
They see the bloom standing waiting, floating, lingering outside the door of the Patisserie. And so they snatch it, they snatch it and they go running off with it. So that when Pascal re emerges with quest hand, the balloon is nowhere to be found, okay, it’s gone. And he calls out to uh, you know, like belong belong, you know, and it doesn’t respond. And um, you know, he goes he goes in search of it, and you know, the boys and there’s like maybe like 10 of them, you know, take this balloon and what they do is that they’ve gone and they’ve tied it even longer string to it. So the balloon has its own string but they found like maybe even light rope or something like that and it’s not really a rope it’s like a string it’s a longer string and so the balloon is it’s trailing behind them the boys it’s really this image of their you know, you see it in pirate films are whatever they’re dragging someone who’s who’s roped them they’re captive and and the captive behind you know and behind the balloon itself even as another no one does malicious wretched little boy children like the French there’s this like little you know malicious blonde boy who’s got like a stick and he’s beating at the balloon you know as as they you know march in this in this line and they take the balloon up to the hills above the apartments that are lots probably bombed out lots or houses have been taken down or whatever it’s the 50s you know lots and here they they tie the balloon to to the branch of a tree or maybe even a rigging of construction and they throw rocks at it you know and a couple of them even take out slingshots and fire and the balloon being the balloon dodges you know it dodges the rocks and really quite successfully which again creates wonder and anger and frustration in these in these you know boys put Scott has got in search of the balloon he’s up in the hills, and he sees the balloon actually floating above where the boys have have captured it. And so he goes running on down. But he can’t enter the lot, the gate is locked and closed. And, and he calls up an envelope to the balloon and the balloon recognizes him and it lowers but it’s on a long enough string, that it can lower over the wall. And that’s where Pascal is able to untie the voice string from the string of the balloon and you freeze the balloon, and he goes running. And the boys immediately see what’s happened. And they give pursuit, they go running for a little bit, and they come to an iron fence. And Pascal being six can slip through it. But the boys being a little older can’t there are a stymied, you know, so they they pursue Chase even more, somehow, I don’t know their ranks, well, there must be about maybe 15 to 20 boys at this point, who are racing after Pascal on the balloon. So they’re racing after Pascal in the balloon, and they corner him in a lot where the boys have come from all directions. It’s a chase seat, but the boys have cornered him from all directions. And he’s standing there with the balloon. And they’re, you know, menacing, you know, they’re closing in around him. So Pascal, of course, lets go of the blue. And he says, fly, fly Fly away, you know, and the balloon starts to fly away. But it’s at that moment, it’s it’s at that moment when the boys close in and Pascal and you know, they’re gonna rough him up. I mean, that’s clearly what they’re going to do. There’s so many of them. And they obviously outnumber Pascal who’s who’s a very small boy. And the balloon pauses, the balloon pauses. And it begins to lower and come closer to Pascal. And it’s at that point, that one of the boys takes the slingshot aims it and this time hits the balloon, okay? Or the balloon allows itself to be hit, you really don’t know, you know that it’s a moment, you know that it’s a moment of sacrifice that’s taking place here. And, and the balloon doesn’t pop, what it does, it’s really an extraordinary effect, it begins to sort of wrinkle, it’s almost as if the air is escaping it. So it leaves this full splendor, you know, of redness that you’ve been following through this whole film. And it almost becomes pockmarked, you know, and it begins to wrinkle, and deflate just a little. And it comes on down to the ground, you know where it sort of like, bounces lightly on the ground. And then in this you just see one of the boys, his foot, go and smash
Christopher Renstrom 32:49
the balloon on the ground, you know, it’s already kind of limping along and the foot of the boy smashes the balloon out of the ground onto the ground, it doesn’t pop again, it just flattens out, you know? And it’s dead. You know. And in that moment in that moment, when that foot so cruelly, just smashes, you know, in that moment, the film cuts to two little girls with two light blue balloons, and all of a sudden the light blue balloons dart out of their hands. The film cuts to another child walking around with a green blue and the green blue just darts out of his hand. You know, there’s another, there’s a baby in a mother’s holding a balloon in the stroller and the balloon just starts out of his hand. It just darts you know, it just leaves just just speeds out of their hands. And in that moment, all of these balloons from all over Paris, leave the hands or the clutches or the grass of babies and children, they leave apartments, they dart out of parties, and they don’t. They leave from vendors, they they they they depart parks, they depart playgrounds, stores, fairs, they sail out of windows, they sail through the streets, they sail over the river, they they gather. You know they gather from these neighborhoods, so that they become almost like a cloud of color. In the skies over Paris, this cloud of innumerable blooms, this cloud of joyful color, and it’s when they become a cloud that they begin to descend. And what they discover is Pascal sitting crying over his destroyed balloon and they offer to Pascal their strings They offered to Pascal their cords they offer to Peskov their tails. And at first, it’s one or two or three, but then it’s more, Scott looks up. And he’s surrounded by these balloons and their tails that are being offered. So he goes, and he takes one or two, or three or four, or five. And he goes, and he, he, he, he really, he goes in, he bunches together, these strings, he bunches together these strings, these balloons that have surrounded him in this joyful cloud, he bunches them together. And when he’s been to them all together, and he’s class them close to his chest, with a little bit of a bounce, almost like a warning that the balloons do a little bit of a bounce. And he holds the strings close, they lift him, they lift him up into the air. And it’s this wondrous image of this boy being lifted into the air above the streets and buildings and towers and cathedrals of Paris, and him floating over the cityscape up into the sky surrounded by this color surrounded by these balloons. And that’s the end of the film. I remember as a child and just weeping, you know, just I’d still to this day, and because what it represented so much, you know, I mean, it’s clear what the balloon represents, it represents happiness. It represents joy. It represents wonder, represents magic. You know, and, and that’s the way that different. That’s why different people react to the balloon differently. There are people you know, in the streets of Paris who point and are delighted, you know, that just like what a wonderful thing there is. There’s the crotchety old principal who’s annoyed and calls it a pest cause happiness, a pest. There’s a grandmother who’s completely unmoved by it, but we’ll go solidly to church. Okay, I think you can fill in the blanks on that one. You know, there’s the little girl who gets the kindred spirit and an instant, you know,
Christopher Renstrom 37:32
and the, and the fact that that balloon responded to the red balloon for shadows, of course, all the balloons responding to the demise of their of their fellow Blum. It also you see in the image with the boys, that happiness makes them covetous, makes the mean, makes them brutal, you know, their delight. At first, they’re kind of like, delighted that they’re intrigued, then they feel, you know, the anger and the hostility, and their happiness will be based on trampling the happiness of someone else underfoot. You know, and so it points to, to those unfortunate souls in the world. But this transcendent image of this boy lifted from suffering and loss into something that is so resplendent. This is the message of Jupiter and Neptune. Together, you know, if you see Jupiter and Neptune and their conjunction in Pisces, as I’ve got my hopes pinned on this, if you see it as a lottery ticket, you know, if you see it as some sort of mysterious form of Fortune that’s going to come out and change your life or this this, this this occurrence that you know will will will alter your being you know, because it happens on this day because of these two planets. If you see happiness like that, if you see wonder, like that, if you see mystery and magic and delight and joy, like that, then you will see it as ephemeral. You will see it as something that is passing and you will see it as something that can be crushed. underfoot. Maybe it’s crushed underfoot by mean spirited people. Or maybe it’s crushed underfoot by the mirror, unfeeling circumstances or sometimes brutal circumstances of your life. But and this is the magic of Pisces. But if you see that joy, and that happiness and delight as inside yourself okay, If you see it as something that you carry in yourself, as your as your own special connection to the universe, to the planets, to the people in your life, if you see it the magic, not as something extravagant and fantastical. But the way the citizens of Paris he magic in this film, which is mundane and daily and what the French might just say as typical, you know that that magic is typical that enchantment is typical. If you see it like that, you know, then that’s a happiness. That’s a joy. That’s a delight. And that’s a sense of wonder. That nothing that nothing on this planet can ever take away.
Amanda Pua Walsh 41:02
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