How Cultural Expectations Limit Our Potential w/ Christopher Renstrom

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Breaking Free

This is your Horoscope Highlight for the week of March 27th to April 2nd, 2023 with world-class astrologer, historian, and author of The Cosmic Calendar, Christopher Renstrom. In this episode, Renstrom explores the power of unconventional relationships and the importance of breaking free from cultural expectations. Through an analysis of the classic film, Now, Voyager, he delves into the healing potential of love and the journey towards self-discovery. With a nod to Walt Whitman's poem, “The Untold Want,” Christopher encourages listeners to seek and find their own paths, guided by the stars. Tune in to discover how you can build a fulfilling future by breaking free from the limitations of the past.

Chapters 📺

0:00 Intro

0:46 The Malefics in Astrology

1:52 The Benefits of a Trine

2:41 Now, Voyager

1:06:08 Closing Thoughts

🌟 There’s room in our Star Family! 🌟

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[00:00:00] 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.

[00:00:27] Enjoy.

[00:00:29] this podcast episode is brought to you by astrology hubs inner circle Oh, wait, can your soul find connection and transform your life with the world's top astrologers in a heart-centered community


[00:00:45] 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 Mars and cancer trying Saturn in Pisces on March 30th.

Mars & Saturn as Malefics in Astrology

[00:01:00] Now, what's remarkable about this particular rine, aside from the fact that it's the first major trying, taking place with Saturn, having entered the Zodiac sign of Pisces, what's remarkable about this trying is that it involves the two maleic in astrology, maleic in astrology are planets Mm, which kind of have a reputation for doing bad things.

[00:01:23] Now it's. Completely deserved, but it sort of is, um, well hard to deny. Okay. Uh, Mars is a planet which is often associated to being aggressive and angry and combat. Um, and we get that because Mars is named after the Roman God of war and Saturn. Saturn is associated with being. Old and crotchety and restrictive and controlling, and Myers early, both emotionally and financially.

[00:01:58] And we get that from, from Saturn being named after the um, Roman God of time.

Benefits of a Trine

[00:02:06] So here they are forming arine, in the Zodiac signs of cancer and Pisces and Arine is a good thing. Why is Arine a good thing? Arine is a good thing because when planets are trending, they are in two zodiac signs that share the same element.

[00:02:24] So that what that creates is a kind of harmony. It's a rapport, it's an understanding between the two planets, and even in their trying aspect, it has a tendency to bring out the better part of the two planets rather than the negative. So for those of you who often say, um, you know, what could be good about Mars, what could possibly be, you know, wonderful about Saturn?

[00:02:49] Well, this week they're going to show off their kinder and their gentler dispositions. ,

Story of Now Voyager

[00:02:55] what I'm going to do is actually share with you the story of one of my favorite films. I love this film so much. I love this film so much. It's one of my favorite films. It's called Now Voyager. It was made in 1942, I believe, and it starred Betty Davis.

[00:03:12] It's one of Betty Davis' best movies ever. Okay. It's Stars Betty Davis, Paul on Reid, and, Claude Rains, who's one of the most, unsung actors in Hollywood nowadays. A real gen genius. And, and he was really brilliant with his career and did so many great roles. But anyway, okay, so it's Betty Davis.

[00:03:31] It's Paul and Reid, and it's Claude Rains. They star in this film. And it is called now Voyager. Now Voyager basically is, Washington Square. If you're familiar with the book, Washington Square, by, Henry James. It's basically Washington Square. But told by a woman, okay, it's a woman's version of Washington Square.

[00:03:55] , and so there's much more of psychology and depth to it. In, in Washington Square, it's an Aris who comes from a very well to do family who's dominated by her father.

[00:04:07] And in now Voyager. It is an Aris, who is, dominated by her tyrannical mother. She hails from the Boston veils. The veils are evidently the most prominent family in Boston, and so Charlotte Veil is played by Betty. So as I talk to you about this film, what I wanna demonstrate is a few things. The big thing I wanna demonstrate is actually how a Mars and Saturn trying works, because I think in the narration of the film, it really demonstrates that, Mars and Saturn, as I said before, are associated with being malevolent planets.

[00:04:46] But in their aspect of a trying, they're actually very positive. But they're positive. But in their being positive, they never lose their Mars and they never lose their Saturn ness. . Okay? So there's a kind of tough love thing that combines with, self, champion chip against, staggering odds, which are associated to these two planetary energies.

[00:05:11] The other, planetary energies that I want you to listen for in the, story that I'm about to tell you is the moon. Because the moon obviously is the ruler of the Zodiac sign of Cancer. Mars is in cancer. So you're going to hear some very strong lunar themes. The other theme that you're going to hear is Pisces.

[00:05:31] And Pisces, as we know, has two ruling planets. Uh, it's ancient ruler, which is Jupiter, and its modern ruler, which is Neptune. And, all of these things, of the moon, Jupiter and Neptune are going to come forth. In, in the story of now Voyager, what we see is actually how Monolithics enshrine, give us fortitude and perseverance to go through.

[00:05:59] Very staggering challenges, in this case, because we're dealing with water sign in the story of now Voyager. It's more psychological difficulties and psychological challenges that have to be faced, that have to be owned. And the victory isn't a fiery victory where, you know, I won the guy and I get to celebrate this in triumph, or I won the money and I'm a no.

[00:06:25] It it, it's not a fiery triumph. It's a personal, a psychological and really it's a triumph of the soul. , and that's something that I want you to listen to as we, as we begin our story now at the start of the film. We see a Boston Mansion, modern day. It's 1940s and it's raining. Um, and, and inside the servants are getting ready for a visitor who's showing up.

[00:06:53] And the visitor is, um, ELCA Chase, who's like one of my favorite like side actresses ever. Okay. The visitor is like Oka Chase, who plays the daughter-in-law, to the matron of this Boston family. The veils, who's played by Gladys Cooper. Um, and so ELCA Chase shows up with Claude Rains, who plays a psychologist and they've shown up, because.

[00:07:16] ELCA Chase has, has, has besieged, uh, Claude Rains, who's the psychiatrist. His name is, Dr. Jaqui. She has besieged Dr. Jackwat, who's the most, foremost famous psychiatrist in America at this time, to come and examine her, sister-in-law, Charlotte Veil. Now Charlotte, lives in this house, which is a very, very wealthy house, but it's very cold and it's very austere house.

[00:07:39] And her mother is really, this tyrannical woman, very understated, almost skeletal and appearance. The hair is drawn back severely. Um, the, the, the skin is very, uh, sharp and crisp. You know, she's, she's older and she's unyielding in, in every aspect of her appearance and in every aspect of her manner. She speaks in a very brusque sharp.

[00:08:07] Clipped manor. And so, the sister-in-law has brought this famous psychiatrist to the house. It's kind of an intervention actually is what it is. And so, they have this first conversation where the sister-in-law is saying, you know, what's going to go on? And, and Dr. Jaquez says, yes, I'm a psychologist and I'm here to examine your daughter, Charlotte.

[00:08:29] Who, who has been, uh, reported to me is, is, is very troubled. And the mother, , says, you know, No matter what, Lisa might have told you, my daughter is no more ill than a malting canary. Okay? So that's basically her view of psychology at that point. And so the doctor says, well, I understand that that's what you think, but um, you know, please, what I'm gonna ask you to do is not refer to me as a doctor.

[00:08:56] Refer to me as Mr. Jaqui, and let's just have a casual, relaxed conversation with, with your daughter Charlotte, so I can examine her and, and see what's going on. And the mother's like very well. And she's like, Charlotte. Charlotte, you know, she calls up. And so, you know, at first you see, uh, Betty Davis, Betty Davis play, Charlotte Veil.

[00:09:14] It's su uh, at first you see her, her feet coming down the stairs. And, and what you see right away are these, like old shoes and these stockings, you know? And you're like, oh my goodness, what's coming down the stairs? And so there's, you know, that famous down the stair shot, you know, so you just see the feet coming down the stairs, and then you see Charlotte emerge.

[00:09:35] and Charlotte is, um, 25 pounds, 30 pounds over. Her hair is, is, is combed, you know, out of the parted in the middle and, and tied tautly on both sides. She wear wears glasses and she has this unibrow and she's wearing the most unflattering, frumpy dress that you could possibly imagine. And she looks dreadful.

[00:10:03] I mean, there's no there, there's no being there. She looks dreadful. And so, um, the doctor sees her, you know, and the mother says, Charlotte, Charlotte, come over here. And, and basically, uh, the mother does all the talking, you know, and, and she says basically, you know, this is my daughter. And, and she's my sole companion.

[00:10:21] And, you know, she takes care of me and I control the finances. She basically outlines the fact that, you know, this is an old only daughter, who was essentially an unwanted child, who's going to take care of the mother in her old age and probably inherit everything. But, um, in the process, the mother has completely, tyrannized her.

[00:10:42] She, uh, she, there is no youth in her look, there's no spontaneity in the way that she, uh, acts. Um, she's really like a beaten and obedient dog. And this is what, emerges. . And so they're having this conversation, the doctor's asking questions, and of course, Charlotte isn't answering a single one of them.

[00:11:01] And you know, the mother then says, you know, listen, Charlotte, you have to, you have to participate in this conversation. After all, this is a doctor, this is doctor who's come here to examine you, whe examine whether to, uh, see whether you're mentally ill or not, whether you're going to have a mental breakdown.

[00:11:16] Do you think you're going to have a mental breakdown? Charlotte, you know, and Charlotte, of course. And, and you know, Dr. Jaquith is like, great, okay. That one like went out the window, you know? And the mother, of course has deliberately spoiled it because she's exercising her dominance over her, over her daughter.

[00:11:32] As they talk amongst themselves and the sister-in-law sort of picks up the conversation, um, Charlotte departs and the doctor departs with her. And she goes up the stairs and the doctor follows her and he is like, I'm wondering if you might not be able to give me a tour of the house. Um, you know, and she's, she just sort of like, says a few perfunctory remark remarks and he is like, well, could I see the room that you that, that you live in?

[00:11:56] You know? And so she, she lets the doctor into her room and immediately what the doctor spies on her drawing room desk, her bedroom desk is these. Ivory boxes, that she carves this extraordinary filigree, this beautiful detail. And the doctor notices that. And he's, and he's like, where did you get these?

[00:12:17] And she's like, well, well, I made them. And he's like, these are astonishing. I mean, look at the craftsmanship of this. Look at the detail. And he's not just saying that to be a good therapist. The, they're really quite exquisite. They're really quite gorgeous. And they are, of course, an expression of, uh, Charlotte's stifled creativity.

[00:12:36] Um, and so and so they begin talking about that and Charlotte begins to Open up. And, and at that point, you know, the doctor's kind of examining the room and he sees that there, there's, uh, that in the waste paper basket are some tissues. And he looks around the tissues and there are some snub cigarettes that, that Charlotte smokes in her room, you know, and he notices that the books are arranged in such a way as to hide things.

[00:13:02] And basically, and this is very Mars in cancer. It's, it's the hiding, the covering of the traces that's going on. And, and so, you know, he examines these things and he is trying to make her feel comfortable. And then all of a sudden she just has this outburst about her mother and how her mother dominates every aspect of her life.

[00:13:21] And there's not anything that she can do without, you know, her mother, you know, her mother's approval or her mother's interference, and there's nothing about her, you know, that's, that's sacred or private to her, you know? And so the doctor's like, okay, whoa, okay. I touched a nerve , you know, . And, um, you know, he's like, well, maybe we'll go back downstairs and, and, and join your mother and, and your sister-in-law.

[00:13:43] So she does. And so there's another family relative who joins them. Uh, it's actually the sister-in-law's daughter who's downstairs, um, and who's kind of like, uh, having part of the conversation. She's very buoyant, very blonde, very pretty, very everything that Charlotte should be. Okay. She's, she's amusing, she's buoyant.

[00:14:01] She's and Charlotte. Absolutely this beaten down, um, uh, uh, aunt, aunt Charlotte, this spinster, aunt Charlotte. And so the niece begins to make fun of Charlotte, you know, because everyone in the family makes fun of Charlotte. There's the, this is the member of the family that everyone, dominates, that everyone, verbally and emotionally abuses, because there's always that scapegoat, that often shows up in families.

[00:14:29] And Charlotte is, is is hers. And so the niece is making fun of her. And Charlotte, you know, all of a sudden just breaks down and says, you know, um, You know, stop it, stop it, stop making fun of me. Stop treating me like a monkey, you know? And, and she runs outta the room, you know, in tears. And, um, you know, the mother looks after her and she's like, well, whatever happened.

[00:14:52] And, and, and you know, they're like, and, and the niece is like, well, I didn't mean to. I mean, it's not anything like I haven't done before or whatever. And the doctor looks at the mother and, uh, and the mother says, no member of the Veo family has ever had a nervous breakdown. And Dr. Jackwat shoots back, well, there's one, having one now.

[00:15:10] So the mother gets up out of the chair to confront the doctor, you know, to dominate him.

[00:15:14] And the doctor, you know, stands his ground, uh, locking eyes on her. And he says, my dear Ms. Veil, if you had deliberately and maliciously planned to destroy your daughter's life, you couldn't have done it. More complet. . And on that line, , the scene ends. And what happens is that Charlotte goes to his sanitarium, he runs a sanitarium, which is kind of like on this ranch, and she goes to, um, his sanitarium to recover.

[00:15:45] And what he's basically done is removed her from this Boston house, uh, to his sanitarium. And, and there she begins to build up her confidence. There. She begins to get more of her sense again, uh, more of a sense of he. Again, and she does therapy with him. She's doing, psychotherapy with him and, and he finds out about an affair that she had had, or not an affair that she had, you know, uh, was making out with, um, a cruise director or something like that when she and her mother took a cruise when she was younger.

[00:16:18] And, and the mother went looking for where her daughter was with the captain because she's got all of this money and they find them making out in the back of the car. Um, you know, that's, that's on this cruise ship, kind of like, uh, Titanic, I think. But, um, you know, but, but it's 1940s, but they're making out of the back of the car.

[00:16:34] And so it's really humiliating and the. Cruise director says, well, I intend to marry your daughter. And, and you know, the mother's like . They said, well, she has a CRISPR of delivery, but it's like, like hell, you are, you're not mailing, you're not marrying into the veil family. But she squashes it. And so by doing this, she has intruded on Charlotte's sexuality.

[00:16:54] She's intruded on her spirit. And she's intruded on who she is and what we see here, um, with Mars and Cancer. What I find fascinating is that, Betty Davis is an rie, so her ruling planet is Mars. So, and we're talking about a Mars and cancer drying Saturn and Pisces. Uh,

[00:17:10] what we see here with the Mars and Cancer is, Difficulty.

[00:17:16] Mars is in its fall in the zodiac sign of cancer. So it's very difficult for people with Mars and cancer to express their anger outwardly, you know, um, it's also very difficult for them to feel legitimate or like it's all right to express the anger. Of course, Mars being in the Zodiac sign of cancer.

[00:17:37] Cancer is the zodiac sign of the mother, and it is also the zodiac sign of Hearth and home and family. So here where we've seen this mother's dominance of her daughter, all of the anger has been turned inward into herself. Okay? And so, and, and, and what's really wonderful about Betty Davis's, performance is that not only do you see this self-loathing, which, which is there, you see the, the very slow healing of it.

[00:18:09] It's not done, and it never actually ever goes away. And this is really, remarkable about Davis's performance in, in this film, how shaded and how subtle it is. And by keeping in mind, This is talking about Mars and cancer, you can actually really have an appreciation for, for what she's doing here. The, the anger has been, uh, uh, turned in on herself.

[00:18:32] She tries to keep it, a lid on it. Um, and because she doesn't own the Mars, and this is what happens with Mars and horoscope, because she doesn't own the Mars, because she doesn't say I'm angry and pissed off, and, you know, family because she doesn't own the Mars, she becomes an object of hostility and derision in her own family.

[00:18:53] So, so part of that is because the mother dominates, her, her daughter and everyone else feels free to do the same. Obviously they're getting cues from the mother to do that. But, but more than that, if you don't. Own Mars in your own horoscope. If you're disassociated from it. If you're disconnected from it and um, a Mars and fall is turned in on itself, then that gives a kind of psychic wink.

[00:19:22] To people, to, take out their hostility on you, to single you out for your hostility, uh, uh, for their hostility. And this can often happen in, Mars and s but particularly Mars and areas kind of hesitant. Extent, extent, sort of what really happens in is Mars in cancer and also Mars in Scorpio.

[00:19:46] I haven't really seen it show up as much with Mars in Pisces. Um, but it definitely shows up with Mars in cancer and Mars in Scorpio because emotionally it is so upsetting to get angry that the anger is turned in on the self. And that of course, causes more. Or depression. Both of these things, Charlotte Veil is suffering from, and this is why she's at the sanatorium.

[00:20:11] So she's at this sanatorium, and after a few weeks in the sanatorium, the doctor says, well, it's time for you, um, to return home. And, and, um, she's like, she's completely crestfallen and, and and upset. And the sister-in-law has come there to sort of collect Charlotte and take her home. And, um, and, and she's like, please don't.

[00:20:31] I, I, I don't, you know, and the doctor's like, you've made so much progress. You're standing on your own, you're discovering yourself. And she's like, no, I cannot go back into that house. Please, please don't make me go back into that house, you know? And the two of them, you know, shoot each other at glances.

[00:20:45] And they turned to her and said, well, actually, we've made other plans for you. And she's like, what plans? And, and they, um, tell her that they've booked. The sister-in-law tells her, I have booked. you on a cruise for six months through, south America . And Charlotte's like, what? And she's like, I've booked you on a cruise for six months down in South America.

[00:21:09] I wanted you to, be able to have this time away to get a sense of who you are. And she looks at the doctor and she's like, you knew about this? And he is like, yes, yes, I knew about this. And, and I think it's the perfect, um, intermission. It's the perfect. In between time. This allows you to take the skills that you've learned here at the sanatorium to work on the things that we've worked on in therapy and to develop really your social skills with people.

[00:21:36] You're not gonna know anyone on this cruise. They're not gonna know you. And she's like, how are they not going to know me? I'm, uh, I'm, I'm veil. I mean, though they know the veils of Boston and, and they're like, well, we've actually booked you under an alias, Renee Bouchon. And she's like, Renee. And you're like, Renee Bouchon.

[00:21:54] Um, because I don't know, everyone's got a French name when it's an alias in Hollywood of the 1940s. But anyway, she's booked under an alias, which is Renee Bouchon. Um, and, and she's, and, and you're going to be booked under Renee Busk and no one will know you. And this will give you an opportunity, an opportunity to socialize outside the home, outside the sanitarium, to put into play these, these skills that we've worked on.

[00:22:19] And so, um, She's happy but anxious. I mean, what at you, ? I mean, a six month cruise is a six month cruise, but you're off on your own and you've always lived in a house and dominated by your mother. It's kind of like, wow, this is like being thrown into the deep end, but that's what they do. All right, so, um, what, Dr.

[00:22:38] Uh, Jaqui does though, is that he gives her a poem, a little slip of paper, and it's a poem, and it's a poem from Walt Whitman's, leaves of Grass, and it's called The Untold Want. And she's o she opens up the, paper and she reads it and it says, the Untold Want by life and Land, never grant. Now Voyager sale forth to seek and find.

[00:23:08] And it's a wonderful poem if you think about it, because it's the untold want. Um, and, and, and untold can mean, too much, you know, an untold amount of money was spent or an untold is not shared. It's not told, it's not, uh, narrated to you. So the untold want by life and land, never grant. . Okay. You're not gonna get that in, in, in, in your life or, or, or your life on land basically.

[00:23:37] Now, Voyager, sail forth to seek and find, and it's wonderful there because what you get is the, um, Jupiter and the Neptune Rulership of Pisces. Okay? You get Jupiter's voyage, okay? Jupiter is the planet of long journeys and voyages that take you to lands where you've never been before. Okay, so this is, is, this is the voyage.

[00:24:03] This is the journey, which is Jupiter, which is the Coer of Pisces, and then we have, and then we have Neptune, which is, of course, it's an ocean lighter, so it's a voyage over sea. So she's going, she's embarking. Overseas to really experience the world for the first time outside of her Boston community, outside of the dominance of her mo mother's, uh, tyranny, um, she's going to go and experience the world as an adult.

[00:24:36] As this person emerging from, from, uh, psychotherapy, she's going to go and, and, and experience the world like this. And with that, with that Charlotte Vail's journey begins

[00:24:49] So then we cut. We cut to the cruise ship. Okay. And there's a bunch of tourists, and they're all like really annoyed. They're all like, you know, they're all annoyed and they're arguing with, you know, the person who's gonna be leading them out on their cruise that day or, or their tour that day.

[00:25:07] They're, they're on the ship and they're gonna disembark from the ship and get these cars and go out and, and, and see the sites, but they're all like annoyed and really flustered because there's this. Person who's keeping them all waiting. This person who's late, they wanna get to the cars, they wanna go and do their shopping and see the sites and things like that.

[00:25:25] And everyone is waiting on this woman, you know, and they're like, who is it? Who is it? And it's like, oh, this woman, you know her, her name, uh, her name is Renee Busk. Her name is Renee Busk. And so, um, all of a sudden they're like, oh, you know, one of them, like, there she is. And so they, they look up and there's like, you know, a staircase or whatever and what, what, what happens is that the camera, you know, focuses in on the shoes, okay?

[00:25:51] But instead of the old matronly shoes that we saw in the Boston home, we see these. Oh, that's so fantastic. I mean, if anything, you just have to go on YouTube to watch this scene. But this, this shot, okay, it, it, it zeros in on these black and white shoes. Um, which are so fashionable and so chic and so fabulous.

[00:26:12] It zeroes in on these like black and white shoes. You go up these beautiful legs and you see this gorgeous dress. And finally the camera reveals Betty Davis's face, but not her whole face because she's wearing this fabulous out of this world like white sun hat, okay? Which goes over half of her face. You know, she has lipstick and she just looks gorgeous, and you're just like, wow.

[00:26:41] What happened? . So, um, so she's there. And she's standing at the top of the stairs and she comes walking down the stairs and everyone's like, well, now we can get on with our tour. Now we can disembark the ship and, and, and, and get our drivers and things like this. And one of the, uh, tour guides comes running up to, um, Betty Davis and says, uh, Ms.

[00:27:02] Bkm, Ms. Bkm, uh, do you mind terribly? We had an. We had an odd number of tourists who are going on today's tour, and so we're doing everything in twos. And seeing as you're traveling by yourself, would you mind journeying with Paul on Reid? Okay. and Paul on Reid, you know, has a cigarette, you know, and he is right there and he's French and he is dashing and he is fabulous.

[00:27:27] And it's like, who would have a problem doing a day tour with Paul and Reid? Answer? Nobody. Okay. So it's like, would you mind having a day trip with Paul and Reid? Okay, so she's like, mm, yes. Okay. So, um, because you can tell that she's attracted right away and you can tell that he's attracted right away.

[00:27:45] You know, men in films in the 1940s do this way of doing this sort of thing where they lean in on one arm and look over something, but it's, it's just there. Okay? They, they know how to do it and, um, that's what he does. And so they, uh, go and they travel together to go and see the sites. . And as they, they see the sites and they're taken to the different villages and towns and things like this, there's small talk that, that begins to emerge.

[00:28:10] And they begin to ask questions and things like that about one another's, uh, background. And, um, and at one point he says, um, you know, and, and, and she's very, um, restricted about hers. He's like, , you know, Ms. Bool, it's such a pleasure to meet with you. She actually says, um, my name is Veil. And he's like, oh, um, are you related to the Boston veils?

[00:28:36] And she's like, One of the lesser ones, you know, it, it's basically one of the forgettable veils, you know? And he's like, so, so can I ask you what your name is? If it's not Renee? And he's, and she says, it's Charlotte, Charlotte Veil. And he's like, it's a pleasure to meet you, Charlotte Veil. And so they go and they do this town, uh, this tour.

[00:28:55] And at one point he's like, he says, you know, oh, you know, maybe you can, uh, help me pick out, a gift for my daughter. And so, like, you know, that was a hell of a thing to land. And he is like, so she's like, oh, daughter. And he is like, you know, my wife isn't very good at this. And, and she's like, oh, so you're married.

[00:29:10] But no, she's not reacting like that. She's being very Betty Davis and very Boston. And she's like, Hmm. You know, and he's like, if I could, you know, if I could ask you to help me pick out a gift for my daughter, that would be much better than me picking it up, because I think I would mess it up.

[00:29:24] And she's like, well, that's exactly what spinster s are. Wonderful at though spinster and so wonderful at picking out gifts for young girls, you know, and so that's where she begins to, um, really sort of show this side, this, this little bit of a brittle, uh, side on edge. And again, this is so Mars in cancer.

[00:29:46] Uh, the feelings are hurt, but they're immediately covered up. There's probably an inner reprimand going on in her mind of like, you know, oh, I was such a fool to even to been attracted to him. Of course he's married and of course he's got a daughter. And so, and of course, um, I can help him out because I'm the spinster aunt.

[00:30:02] And what does it matter if I'm dressed like this? I'm just always going to be a spinster aunt. Um, I will never be this thing that this fake person I'm trying to present, it will always be the spinster aunt. And so there's an anger at herself, but there's also a brittleness and an anger at him, you know, and, and it's very canarian.

[00:30:21] Scorpio's famous for the sting, you know, but let's talk about the crab pinch. Okay. That claw does a, you know, comes out of the, and it, okay? And so it comes out. And again, it's meant to, uh, to cover up the pain and to even deflect, you know, and, and because if he moves away, then that's going to prove what she suspects all along, which is that he could be easily discouraged and that's how she's going to avoid rejection.

[00:30:51] Um, but he doesn't, you know, he's very warm about it. He's very French, what do you want? But anyway, he's very warm about it and, even a little bit amused. And, he begins to sort of volunteer some information about his family. And he begins to talk about the daughter that they're going to be shopping for, Tina.

[00:31:09] and, um, you know, they, they, they go and they pick up something for Tina and they're sitting and they're talking and he's like, would you, would you like to see a picture of my family? Um, and she's like, certainly. And so he shows her a picture and you see his wife who looks completely like, battle acts.

[00:31:25] Okay? She looks completely severe and, and unfeeling. You see the older daughter who doesn't mount to anything of the plot. And then you see Tina and Tina could ver, could virtually be a miniature version of Spinster and Charlotte. Okay? She's, she's got glasses. Uh, you know, she looks very unkempt and very shy and very retiring.

[00:31:47] And in, in, in that moment, Charlotte feels for Tina. She, she, she recognizes in Tina herself and she feels for her and she asks a little bit more, uh, no, she says Quite Presly, because this is a Mars and cancer moment here. It's watery, right? She says quite presly because this is a watery moment.

[00:32:06] Mars is in cancer and water signs always have this psychic ability to pick up of the hidden information. She, she asks quite presly. Um, did your wife want Tina? And, uh, Paul and Reid? Uh, Jerry, that's his name. Jerry replies, well, what a curious question to ask. And she's like, um, did she want her? And, uh, he responds, no, she didn't.

[00:32:32] Um, and basically in 1942, isms, refers to, the fact that, the mother never wanted Tina at all, and, tried to get an abortion and wasn't able to. And so they had Tina, and Tina has basically known this ever since. And of course, what Charlotte hears in this story is her own story.

[00:32:53] Charlotte's father died when Charlotte was young, very young. Um, she was taken in to see her father's, body or her father at the end of his life. And then, you know, he, he, he breathed his last and died and the mother looked at Charlotte with scorn. I mean, there had always been scorned before, but now the scorn was explicit.

[00:33:12] So, so Charlotte knows all about not wanting, Charlotte knows all about being the unwanted child. And so it's in that moment that Charlotte says, well, would you like to see a picture of my family? And he's like, of course, you know, and so she takes out a picture of her family. This is another Mars and Cancer thing.

[00:33:32] It's the setup, , it's the setup for the failure. Okay? This is how Mars does it in cancer, okay? I'm gonna show you this. It's a test. You're gonna blow it, and I'm gonna become even more reinforced in my conviction that no good will come of this attraction. All right? So she shows, uh, it's, it's what we call a loaded moment, okay?

[00:33:59] So she takes out of her purse, a picture of her family, and, and Jerry looks. and he sees, you know, uh, the, the mother, uh, you can't miss her. And he is like, oh, that must be your mother . And then she's like, mm-hmm. , you know, and then he sees all these brothers and these, these brothers who are like 10 years older than Charlotte.

[00:34:18] Charlotte was, had, was had very late, was born very late with their wives. And they're all very old and, and, and pale and, and severe looking. It's a Boston family, you know, what do you want? And um, and then to one side, you know. And so that's the one that, uh, Jerry, uh, zeroes in on. And he is like, well, who's this?

[00:34:37] Who, who's this chubby one? Is she the, um, you know, is she the maid or something like that? Uh, and he basically lets out a comment along the lines of, uh, who looks like that? Right? And Charlotte, of course, responds, that's me. And he is like,

[00:34:59] And she holds onto that moment. But what's really fantastic about the way that Betty Davis plays it is that she lets it go. You know, that's me. He's mortified and embarrassed. Then she lets it go and they continue with their conversation. And they can continue with their, um, their tour, uh, which they're clearly both enjoying, uh, quite a bit.

[00:35:21] And at one point there's even, an attempt to add, five days to it. They get lost and they add five days to it, that nobody knows about. And, this is where she finds out, he's unhappily married, , he's not going to leave his wife. He's very concerned about his daughter Tina. And he is very concerned about Tina's mental health.

[00:35:41] He feels horribly guilty about the animosity that the mother shows, and yet he's working very hard and in a job he doesn't like. What he wants to be is really an architect. And, uh, basically he's kind of living this mirror, this mirror. Uh, but, but it's actually, he, he's kind of living this mirror life or a recognizable life as being not, not too different from Charlotte's.

[00:36:09] And, uh, she has sympathy for that. And they fall in love, of course, and, and, and they love each other and they're close to each other and the best of friends. And she's supporting him and being an architect saying, I, you know, uh, you can do it. Why don't you do this? You should pursue this. This is, you know, a great love of yours.

[00:36:27] And, and he feels emboldened and he feels very happy with her. And they never talk about the marriage because she's not gonna split it up and he's not gonna leave his wife, but they both know he's miserable in it. And he also knows that she's miserable in her, in her family circumstance. So their, their lovely six days come to an end and they have to part, uh, he has to fly back for business engagement.

[00:36:51] She has to fly to catch the ship down in B Buenos Aris or something like that. And what he does, uh, before she leaves is that he gives her gardenia, he gives her a branch of, well, they're really camelias. He gives her a branch of Camelias, you know, and he says, these are for you. And she smells them. And she's so moved and she gets on the plane and they depart.

[00:37:13] And really that's the last they're going to see of each other. The cruise continues and she actually meets and gets to know, uh, she had met them before, but she gets to know two friends of his, uh, who really fill in the backstory about how his wife is really quite, um, emotionally abusive, to him and makes him feel, very small and little.

[00:37:33] And, how they had feared that he was close. To a nervous breakdown and that the wife really does a number on, on Tina, their, their, their daughter. And, you know, before they had left, Jerry had asked Charlotte what sanatorium she had gone to, what doctor she had seen, and she had recommended, of course, Dr.

[00:37:55] Jaquith. And so, Jerry makes a note of that. Okay. So, so, so they come back to Boston and, she's back to Boston and as, Charlotte's sister-in-law and, , niece are there waiting for her. And they don't, they don't recognize this wo this beautiful woman who's, who's all decked out.

[00:38:12] Actually, the sister-in-law recognizes the beautiful woman who's all decked out. Uh, because the sister-in-law provided all the beautiful gowns. There's no way that Charlotte was gonna be able to dress like that on her own. And so the sister-in-law provided all of these beautiful gowns and evening wear for Charlotte to wear on the tour, along with, little paper.

[00:38:31] Uh, instructions on the gown of like what shoes go with what dresses and things like that. So this explains of course why, um, why Charlotte looked so fabulous and glamorous. And there's actually a moment where Jerry sees one of these instruction, slips of paper pinned and he sees it and she's like, mortified.

[00:38:47] But he's so. Good humored and loving. And he is like, you know, you're who you are. And so, you know, that's really how where their friendship had, had, had butted. She was trying to present someone that she's not, but he was already responding to, who she is. The whole Charlotte, it's not Charlotte underneath, but.

[00:39:07] But the Charlotte who was emerging, and this is again, the wonderful thing about the performance in the film, is that at no point does Charlotte sort of like master all of this. You, you see the insecurities, you see the frailties. She will often break down and say, you know, to Jerry, I can't, you know, I'm not this person.

[00:39:24] I don't know what you see in me. And he's like, he turns the conversation back to their friendship. And so it's always very reassuring and it's always very supportive. And, and because she looks like this to all the passengers on the ship, they've really kind of supported this, this narrative that Charlotte has presented, of being Renee Bong, you know.

[00:39:43] And so she's the most popular woman on the boat when she disembarks the niece doesn't recognize her. The sister-in-law who, uh, is, is delighted. There's a polo player, who's famous in New York, who's getting her bags and, and another. Doctor who is giving her his address, and everyone's like, you know, here are dresses and things like this.

[00:40:04] And she's collected them at the end. And this is, it's a wonderful moment of triumph. She's gone from, you know, the, the monkey that was being tortured and, and tormented to this elegant, really beautiful woman. And so it's, it's here, that we are ready to go back home. It's here that we're ready to go back home.

[00:40:23] The, sister-in-law has collected, Charlotte and is going to take her back home. And so they come, they come back home and the sister-in-law says, do you want me to come on in with you? And Charlotte says, no, I need to face mother on my own. I'll see you tonight at the dinner party.

[00:40:38] Uh, they're having a dinner party for the family to welcome Charlotte back home. So she comes back home. and there's a nurse who's attending her mother, who's been ill, of course, the entire time that Charlotte has been away, um, you know, complaining of heart trouble, uh, which she has, but it's been diagnosed as being okay.

[00:40:55] And so the nurse says, well, your mother wants to see you. And, um, she's in a mood , you know, and so she's like, I, uh, it's fine. I understand. And so she goes up to see her mother and her mother's sitting in the rock. You know, just facing the door, waiting for Charlotte to come in. And she's like, it's worse than ifi, you know, and Charlotte looks gorgeous, you know, she's like, it's worse than ifi.

[00:41:18] You know, your, your appearance is a travesty. You know? And, and she begins immediately. Demoting, disparaging, Charlotte's appearance and going about plans for that evening, how the family is coming back to celebrate her return and that, in order to do this, obviously she's going to take that makeup off.

[00:41:37] Um, the hair, the hair is fine. That can, I mean, the hair's okay for tonight. It can be grown out eventually, and she needs to re, uh, take back her, um, natural look. Her eyebrows were fine before. She doesn't understand why they're trimmed right now. And so, uh, because they have to sort of think spontaneously about tonight, you know, you're, you're going to take off this ridiculous clothes and you're going to put on your black and white flog.

[00:42:01] you know, and, and so she's like black and white fuad, and she's like, yes, you're going to wear your black and white fuad, you know, with this kind of malice. Okay, this Saturnian, okay, you're getting it. This Saturnian malice that's coming from, from the mother. And actually, Charlotte is really quite, diplomatic about it.

[00:42:20] She, says, all right, and, and she leaves and, and, and they reunite right before dinner that night. The mother comes in to inspect, to see that Charlotte is, and Charlotte isn't, Charlotte emerges in this beautiful, black dress, with a wrap around the waist. It's so fabulous.

[00:42:37] Anyway, she emerges in, in this beautiful black dress, and the mother's like, you know, what are you doing where not you are going to wear your black and white ade? You know? And she's like, oh, mother, let's not quarrel. And the mother's just sort of like this. And, and it's a great moment in the scene.

[00:42:52] She, she exits for a moment, uh, in the dress. And there's a closeup on the mother's, it's it's shot from behind the mother. And so there's a closeup on her finger, like tapping on the bed post, as Charlotte is saying, let's not quarrel. Let's get along, let's meet each other halfway or whatever. And you just see this hand tapping on the bed post , you know, and, uh, the mother is supporting her on the bed post waiting for Charlotte to reemerge.

[00:43:18] And she does. And she takes out, a box, and she opens this box and in the box our, um, Camillia the flowers. And so the mother's like, who sent, you know where those flowers from? And she's like, oh, they're from New York. And she's like, well, well, who sent them? I'm, I'm, or, or, or, where, where are the flowers from in New York?

[00:43:40] Well, there's a florist called, whatever. I mean, she's not answering who it is. And the mother's like, well, I suppose you're not going to tell me who it is. And she's like, mother, no, I'm not going to tell you who it is. And you know, she puts on the brocade, like she puts on the flowers like this and she's ready to go on down.

[00:43:56] And the mother begins immediately with, well, let's see how you're going to do, um, if you, uh, continue wearing these clothes. Oh, no, she says, , how did you buy these clothes? And she's like, well, I bought them for my allowance. Who supplies you with this allowance? You do mother. And you expect to continue, uh, for me to continue to supply you with, uh, this allowance money used as a weapon?

[00:44:23] Very Mars and water. Okay. You expect me an OR and earth signs. Um, sorry. Got a cop to it. Okay. You expect me to, uh, continue, supplying you with an ounce so you can buy these disgraceful clothes. That's not going to happen. And she's like, okay. And then she says, so what are you going to do without the money?

[00:44:45] Uh, right now, Charlotte Vale, you are the, major inheritor of my fortune. What are you going to do without this money? And she's like, Well, I've saved up $5,000 of my own so I could, get a job and maybe use that to get my own place. And $5,000 won't get you very far. And she's like, well, then I'll have to make do in some way.

[00:45:08] And the mother says, I guess you'll be laughing out of the other side of your mouth if I actually did carry out my threat. And Charlotte responds with, I don't think I would. I'm not afraid, mother. And she stops and she says, I'm not afraid. And then she looks at her mother and she says, I'm not afraid mother.

[00:45:36] And it's this amazing moment of radiance. It's this amazing moment of revelation. She says to her mother, I am not afraid, and this is the beauty. of the Mars and Saturn trying, the fighting, the struggle for control. It never really stops in their relationship. But what's really wonderful about Gladys Cooper's performance, as well as Betty Davis's, is that there is this mother-daughter bond. You know, Gladys Cooper doesn't play the mother like the wicked witch of the west. Okay?

[00:46:14] There is this bond. There is this, the mother isn't understanding The mother. Mother doesn't have to understand, but she does care for her. , you know, it's, it's there underneath. And, and Charlotte does care for her mother, but she doesn't want to be the indentured servant, you know, um, to her mother. She, they, they need to find somewhere where they can meet halfway, but that's not what the scene is about.

[00:46:42] The scene is about her turning to her mother and saying, I am not afraid, mother. I'm not afraid. I am not afraid mother. And it's not defiant. It's radiant. It's calling on this inner strength, calling on strengths you didn't know you had, calling on an inner radiance that comes from the prolifics. The prolifics are outfitted to get you through what's hard and troubled.

[00:47:23] And difficult about your life. The prolifics, if they're enshrined and sextile in your chart, are there to outfit you, to get you through what's difficult. But it's only by facing the difficulty that you can call upon their power, that you can call upon them as a resource. And again, it's not done in an angry fighting way or, you know, whatever mother.

[00:47:49] It's done in this affirmation. It's done in this affirmation. And, and you also get, not in their words, but in their, their way that they are with one another. Care about one another, that, that there is something underneath that this cold mother isn't completely indifferent. And this embattled daughter isn't completely unsupported.

[00:48:11] And so they leave this moment, the mother stays upstairs. She's, she's, she's ill, she can't go downstairs. And so Charlotte's gonna go downstairs and send each of the family members up to say hello. And so it's the mother's way of sulking and calling attention to herself. And, and Charlotte's gone and sort of lit the fire in the living room and everyone's like, the fire has never been lit in the living room.

[00:48:29] And she's like, well, it's about time. It had, I mean, what do you want? Betty Davis is an airie. She's gonna light the fire in the heart. That's never been lit. , you know, and it's a Mars and cancer, let's light that fire in, in, in the hearth. You know, that hasn't been lit. And over the, over the evening, she wins over her relatives.

[00:48:47] At first they're completely shocked that she looks like this. And you totally see the sister-in-law who was the inspiration for the unibrow. But the, but they're one over and they have a delightful time. And the mother is kind of unnerved by the fact that they're laughing and having a fun time, you know?

[00:49:02] And, and so, and so this, this changes not the power dynamic, but it changes the conversation between the mother and the daughter. That, , she looked her mother in the eye and she didn't blink. But she didn't spit it her mother's eye either. She, she affirmed who she is and the mother recognizes this well, also at this party is, um, I think his name is Elliot Livingston, you know, the most eligible bachelor in Boston, who, you know, takes a fancy to Charlotte.

[00:49:29] You know, he's like, he doesn't do that thing that Paul and Reid does. He just takes a fancy okay, like that secondary, uh, Male lead characters are like , you know, where's the, you know, they do the, the, they're like takes a fancy, you know, to Charlotte. And so basically she ends the evening having scored the interest or having scored a date with, Elliot Livingston, the most eligible, family in Boston.

[00:49:50] And of course the mother changes her tune in an instant. She's all for it. She wants to see them get married. And so they date for a number of months actually. And the mother and Charlotte actually have this wonderful truce where they're having conversation and they kind of like poke each other in a very humorous way.

[00:50:06] I mean, it's, it's funny actually, and you kind of really see the way that the relationship could be right. But what happens of course, is that she, um, you know, attends a pre-con party or whatever with, with Livingston, his, his, her fiance and it's Boston Society and things like this. And someone at the party says, oh, let me introduce you to this fellow, or whatever.

[00:50:31] And, and, and of course it's Jerry. And Jerry has taken up, architecture, he, he switched his career take, took up arch architecture. He is very demand and very much in demand. He's very talented, very much in demand in Boston society. And now he's being celebrated and he sees her, she sees him, and they have a very quick, intimate conversation, where she's like, I never thought I'd see you again.

[00:50:55] And he is like, I can't tell you how many times I wanted to ring the bell of your house. I've walked by your by, by your house on that street so many times. And she's like, Why, why didn't you? And he's like, I didn't know that you, I mean, I heard that you've been engaged, you're engaged to be married. And she's like, you know, and, and, and so they're kind of constrained by their roles, their social roles.

[00:51:18] They go to the concert, and of course at the concert, she's sitting between her fiance and Jerry, you know, and she looks at Jerry. Jerry looks at her, and they make an agreement to maybe meet very quickly. That night, it's really, um, the heiress, uh, again, okay, where, where, this is the climatic scene where the, fortune hunter is going to meet the heiress and confess his feelings and things like that.

[00:51:42] But what happens here that's different from, from the heiress, is that, um, he. Doesn't show up, or he doesn't come to call. And, she's heartbroken and things like this, and she ru rushes off to the train station to to see him as he is just about to get on the train. And she's like, why didn't you?

[00:52:00] And he is like, you're engaged to be married. I'm not gonna see you. Throw away your happiness. For me, I'm, I'm stuck in a situation. I'm stuck on a boat that's going nowhere, and I'm not gonna see you throw away your happiness for me. I want you to marry this fellow. I want you to have a life. You deserve it.

[00:52:18] And, and please, please do this. And she's like, I, I can't. I can't. And he is like, I, I want you to. And so and so he leaves on the train. And so you hear the Saturn and Pisces, you know, on, on, on, on both sides. Which is they're going to make the supreme sacrifice to live lives that are making them miserable.

[00:52:36] And, and, and what's, what's, again, remember it's Mars and Cancer trining the Saturn and Pisces. She, you know, it's all put in front of her. All she has to do is marry this guy. And he's a handsome guy and he is got lots of money, and she'll be respected in society. She'll have her independence. She will have her mother's approval.

[00:52:55] All right. But it's Mars. It's Mars in cancer. It can't. Settle in to these canarian expectations. Okay? Mars is gonna take one or two positions being in the astrological sign of cancer. It's either going to reinforce everything about cancer that's home and hearth and family, or it's gonna fight against it.

[00:53:19] Okay? It's gonna do one of the two. And, and, and so this is what happens. She, she, makes an appointment to meet with, her fiance, Elliot Livingston, a couple of days later. And, and she begins a conversation, which you can tell it's the breakup conversation, and he can tell it's the breakup conversation.

[00:53:37] And they're both pretty much. Fessing up to the fact that they're not really meant to be with each other. What's fascinating about this film and that it was made in 1942 is that she makes references to actually them being sexually incompatible, in this conversation. It's very veiled, but it's there.

[00:53:58] And, you know, she says, you know, would you take me out to different clubs? Would you take me out to different places? Would be, we'd be close to one another, would we? And she's basically implying, you know, would we be more, you know, could we be more bohemian? Um, Could we be more sexual, you know? And, and she talks about wanting a child and he's like, I already have two sons.

[00:54:20] And they're grown. And you know, so, so she's seeing that she would marry him, become the wife, the stepmother of two sons, take up this spinster aunt role again and not have a sex life or have a child cuz he not really into it. And so this is really brought up and they both veiled, you know, indirectly. And they both decide, they both decide that, um, it's, you know, they're better off not, not marrying.

[00:54:42] And he wishes her luck and she wishes him luck. And of course she has to go upstairs and tell her mother, okay, it's always going back with us. She has to go upstairs and tell her mother Mars and cancer. She has to go upstairs and tell her mother about what's happened and her mother. Immediately goes back to the old script.

[00:55:00] She goes back to, you know, being tyrannical and, and biting and domineering and bringing up the money thing and how she blew it and how she's going to be, you know, the old maid spinster of Boston, the laughing stock. I mean, it's really, really cruel what she says. And Betty Davis sits down on a reclining rocker and she's rocking back and forth in place.

[00:55:26] And, and the mother kind of exhausts herself with these, these, this vehement, okay? And then she says, . Charlotte says, Dr. Jaqui said that tyranny is sometimes an expression of the maternal instinct. And if that's a mother's love, then I want no part of. And she gets up out of the chair and, and she's so upset, and she crosses over to the door and she says, and her back is to her mother.

[00:55:54] And she says, I didn't want to be born and you didn't want me to be born either. It's been a calamity on both sides, you know, and, and, and, and these are harsh words. And, and Gladys Cooper, the mother hears them and all of a sudden she clutches at her heart and she just very quietly slumps into her chair.

[00:56:16] And at that moment, at that moment, Betty Davis at the door with her back to the mother says, oh, oh mother, let's not quarrel. We've been getting along together. So and so. Betty Davis stops, uh, at the door and she says, oh, mother, let's not quarrel. We've been getting along together so well lately, and it was a horrid.

[00:56:41] And she turns around to say, horrid.

[00:56:49] and she sees her mother slumped in the chair

[00:56:54] and she goes to her mother in the chair

[00:56:59] and she turns and she calls out for the nurse, and the nurse shows up and she's like, what? Oh, and, and she's in and she nurse immediately goes to go vitals. And, and she's like, it's my fault. It's all my fault. We quarreled. I said things I should never have said. It's all I told.

[00:57:18] And so you just hear, it's all my fault. It's all my fault. It's all my fault. Again, this, this, this Mars in cancer is coming out, it's unrelenting, um, in its accusation. You know, it's all your fault. Your mother's dead because of you. Um, you know, and she just hear that, here's this, and, and, and we go very quickly.

[00:57:40] There's a reading of the whale, and of course she inherits all of the will. I think like each of the brothers gets $3,000 or something like that. She gets all of the will and she flees, she flees the house and she goes to the sanitarium. She goes to the sanitarium to seek out Dr. Jack with, because she's going to have, she's convinced that she's about to have a nervous breakdown.

[00:58:01] And it's all her fault. And she, and she gets there and her nurse is there and she's like, shall I take you to your room? And she's like, yes, please. I just, I just want to lie down in bed. I just, I just want to. . And she looks over, she's crossing the living room of the sanitarium and her eye spots immediately.

[00:58:22] A young girl who can't be any older than 13, you know, and she, she looks, and the girl has glasses and her hair is, is down and, and in front of her face. And she's working on a puzzle. And the. Nurse is like, I can take you up to your room now. And she's like, no, no, just, just, just one moment. And she goes, and she sees this girl and she sits down with this girl and she's like, well, what are you doing?

[00:58:52] And she's like, well, I'm not telling you. You know, Mars and Cancer continues . Okay. I'm not telling you. You know, it's a surly response. And she's like, well, it looks like you're making a puzzle. What piece shall we start with? And the girl's like, are you one of those nurses? Are you my new nurse? And she's like, no, no, I'm a friend.

[00:59:13] You're saying you're a friend because you're just a nurse. And she's like, no, I'm a friend now. Now, um, what shall we do? Shall I collect all the pink pieces and you collect the blue pieces and we'll sit down and we can make this puzzle together. And the girl's like you, you really want to make this puzzle with me.

[00:59:34] And she's like, of course. And she's like, okay. And so they, they, they work on the puzzle for a few moments and the girl says, what's, what's your name? And she says, um, you can call me Camille. Camille, by the way, happens to have been a nickname that, uh, Jerry had given her on their travels, water signs, always coming up with different aliases and names for themselves.

[00:59:59] But anyway, that, uh, you can call me Camille and she says, what's your name? And she says, Christina, And they make the puzzle together. Well, obviously over the course of time, uh, she figures out pretty quickly that this is Tina, that this is Jerry's daughter, and that he had been sent, that Jerry had followed her recommendation on sending Tina to the sanitarium.

[01:00:20] And, Charlotte, of course, wants to spend all of her time with Tina, and this is breaking the rules. And Dr. Jack with, you know, sort of has to say, well, you're kind of like breaking the rules. She's got a nurse and things like that. And she's like, what she needs, what she needs is, is a mother's love. And it's fascinating because Charlotte's not a mother

[01:00:39] I mean, yes, Tina needs a mother's love, but her mother has been very cold and abusive. Charlotte's not a mother. Um, she's a spinster aunt. They're supposed to be doing things like picking out gifts for, for other people's daughters. You know, they're not supposed to be, this witch is mothering. and what you see in their blossoming friendship, their flowering uh, relationship between Tina and Charlotte is Charlotte.

[01:01:08] Charlotte's love and generosity and companionship to Tina makes Tina, it's healing. It makes Tina feel wanted, makes Tina feel like she belongs. Um, it makes Tina feel valued and so this is what's going on. At the same time, Charlotte is healing her wounded child. Not because of was an assignment or something to do.

[01:01:32] She, she just, this, this love comes forth from her and at the same time, she's healing her grief over her mother. You know, none of this is said, but you can see that it's healing the. Over her mother that she's understanding what it's like to mother and be there for someone, and then she's also healing the wounded child.

[01:01:57] In herself, and it's really lovely. What, what happens this bond. And of course it comes out that, that, um, you know, she's Paul and Reed's daughter. Jerry's daughter, and she actually even gets on the phone with Jerry, you know, who's like, are you sure you want to be spending this much time? And she's like, Jerry, it's it, it makes me so happy.

[01:02:18] You know, and, and, and it does. And the doctor even, you know, and so the two of them create this bond where, where they're really together and. Wound, they've, they've healed one another's wounds are in the process of healing one another's wounds. This is, this is what's drawn these two, uh, older woman, younger woman, really surrogate mother, surrogate daughter, together into one another's orbit.

[01:02:43] And so the film ends with, Charlotte having a get together at, at her party. Uh, Dr. Jackwat who showed up. Charlotte is on the board of directors, and he's shown up to, um, show the blueprints of the wing or the three wings that Charlotte will be building. And of course, the architect is Jerry, you know, and, but Tina's come to live with Charlotte at her house.

[01:03:05] Tina's no longer living with her mother. Tina's now living with Charlotte again to create this space, this sanctuary, this, this sort of, um, safe space. And, and again, what you see is the, the Saturn in Pisces, the child left at the church doorstep, you know, background of Charlotte and Tina, these unwanted children in which the parents have not been subtle about it.

[01:03:29] So, so now, uh, Tina lives with Charlotte in this mansion. Charlotte has friends over, um, and the nieces friends over and they laugh and they corra and, and actually at this party, they're roasting wiener, weenies in the big fireplace . It's very funny and cute and, um, have, and having potato chips. There's nothing formal or stuffy about this dinner party.

[01:03:50] It's lots of fun. And Jerry shows up. And Jerry, um, asks to speak with Charlotte, and, and so they depart, they go into the, uh, into a drawing room and Jerry's basically saying, I don't want to unload my daughter on you. I don't want you sacrificing your life to live like this. And she's hurt by what he's saying.

[01:04:15] And she's like, what is that the way you've always seen me as some sort of, um, woman who like only a man can complete her, is basically what she's saying. I thought we had an understanding in our relationship, and, and he said, well, our understanding, as I understood it, is I can never give you what you want.

[01:04:34] You know, I can't leave my wife. And, and, and she's basically, but you have given something that I want, you've, you've, you've given me your child, you know that, that I can care for your child. And he is like, well, you're not gonna spend the rest of your life caring for the child. And she's like, what's wrong with that?

[01:04:49] Is, is essentially what she's saying. I mean, your child is blossoming. I'm blossoming as a result. You know, what's, what's, what's wrong with that? You know, and, and he's feeling bad and guilty and, and pretty much, you know, like he's not providing a home for his daughter. That it has to be provided by this woman that he loves.

[01:05:08] That his wo, that this woman that he loves is kind of being put on hold. , meaning she can't marry because she's carrying this and taking care of his responsibilities and burdens, and he feels horribly guilty and bad about it. And she's amazed that she doesn't really, that he doesn't really understand that this is about love.

[01:05:25] And she says to him, you were my first friend. You were my first friend. And, and out of that friendship blossomed love, and this is something that's very special. This is something that's very sacred to the two of us, this love. And, and he's like, yes. You know, he doesn't know what else to say. And then of course she says, oh, Jerry, don't.

[01:05:55] Let's ask for the moon when we have the stars. It's a beautiful line. Oh, Jerry, don't, let's ask for the moon. We have the stars and the camera pans up to the moon and then the, to the stars beyond it. And it's such an extraordinary line. It's, it, obviously, it's a very melodramatic line.

[01:06:15] You know, let's not ask for the moon. We have the stars. You know, don't l don't, let's limit us to that.

Closing Thoughts

[01:06:22] But this is what she's saying. Let's not limit ourselves to the moon. Let's not limit ourselves to this traditional upbringing, let's not force ourselves back into these social expectations, these cultural expectations. These cultural expectations that have put you in a miserable marriage where you can't divorce your wife. That made me a spinster aunt, and my only option was, even when I transformed myself, was to marry, and I don't wanna marry

[01:06:55] Okay? I mean, she's Charlotte, veil of Boston. She has all of this money. She doesn't have to marry. And she can do the thing that she wants to do, which is to provide a home for a child that was not loved and to, um, contribute money and help build, a spiritual, it's called a sanitarium.

[01:07:15] It's psychological. Um, but it's really a spiritual refuge or sanctuary for people with broken hearts and broken souls to go and mend. So this is, you know, it's like why are we settling from the moon when we have the stars, which is very Aquarius of course. When we have all these different possibilities, when we have all of these different alternatives, you know, let's, let's.

[01:07:42] Go with that, you know, and of course, you know, he does. He's, he's going to go with that. You know, it's going to be this completely unconventional relationship that exists between the two of them. And that is actually going to make them both. You can tell very, very happy.

[01:07:59] So in closing, to return to that poem, the untold want, the untold want by life and land never granted.

[01:08:11] Now, Voyager, sail forth to seek and find, leave the land locked lifestyle. Leave the landlocked expectations, the, the landlocked culture. Leave that. You know, and this is so Walt Whitman, you know, who was so optimistic. Now Voyager. Sail forth. Sail forth to seek and find sail forth to seek and find your life, you know, on a ship.

[01:08:47] Guided by the stars. Go and seek and find. That is the message of the poem. And, and the message of this trying, of this transit is the opportunity to build, to build in the future. What was lost in the past..

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