Venus in Aries: Call Me By Your Name w/ Christopher Renstrom
The Astrology Hidden in Calm Me By Your Name
This is your Horoscope Highlight for the week of February 20th, 2023 with world-class astrologer, historian, and author of The Cosmic Calendar, Christopher Renstrom.
In this week’s episode, Christopher focuses on Venus’s transit through Aries and how this time in a Mars-ruled sign is impacting the energy of Venus. He explores how Venus in Aries can manifest in the natal chart and its relationship to the northern hemisphere’s agricultural year. He then goes on to close-read the 2017 film Call Me By Your Name, including the controversy around its reception, through the lens of this Venus placement.
0:40 Venus in Aries
8:20 Call Me By Your Name
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[00:00:00] this week I wanted to talk to you about Venus entering the Zodiac sign of Aries on February 20th. Now Venus in Aries. Has a bit of a reputation and it’s not always a good one. Most of all this is because Venus is in the Zodiac sign of Aries, which is ruled by the planet Mars named after the God of war.
[00:00:29] This podcast episode is sponsored by Astrology Hubs Academy. Wherever you are on your astrology journey, we have a class that will help you get to the next level.
[00:00:40] Hello, my name is Christopher Renstrom, and I’m your weekly horoscope columnist here on Astrology Hub. So a lot of times people regard Venus in Aries as very, as being very marsy in its temperament or very Marshall in its characteristics. The reputation that Venus has when she’s traveling through the zodiac sign of Aries is that, whatever love relationships come together under her, influence in this sign.
[00:01:08] They’re pretty much said to be, people who are quick to love and a love affair that’s quick to burn out. And so that’s why on one hand many astrologers will regard Venus in areas as being a very passionate sort of fun time, but they will often. Caution people to take the heart, very cautiously either, don’t enter into a relationship or a love affair with anything, serious.
[00:01:36] Or if you do, if you’re very taken up with one another, to not expect things to, last for very long because it is the nature of Mars to burn things, , and to burn through things, very quickly and very swiftly. Venus and Aries has a reputation for quick to love and quick to burn out.
[00:01:56] The other aspects that we can expect or that are often seen with Venus being in Aries are it’s martial aspects. Venus, as we know in astrology, is the planet of attraction named after, the Roman goddess of love and beauty. It’s Venus’s, job to, to. Bring about attraction to I elicit passion.
[00:02:19] Venus herself isn’t particularly passionate, but she’s about the law of attraction, so she will draw this out of other people. , Mars is a planet that if it sees something at once, it gets up at it, runs af after it, and says that’s what I want, tackles it. Venus is a planet that inspires the attraction and it arouses by its very presence and by its very demeanor.
[00:02:43] So Venus doesn’t go up, Venus doesn’t get up o out of its chair and go running after things, , it doesn’t go running after what it wants. Venus leans back in its chair, or shall we say and she sort of beckons and it’s other people who go running after Venus very much desiring her. Okay.
[00:03:02] So Venus is a planet that inspires desire and is about. Attraction. But in, the Zodiac sign of Aries, she can be, as I said, Marshall. At the end of the day, what Venus really wants to do is to bring two people together. Okay? It’s a benefic. Venus is a benefic like Jupiter. So it’s purpose is to join, it’s to bring people together.
[00:03:27] And so when Venus is in a marsan, be it Scorpio or Aries, the idea of togetherness isn’t really together. What do I mean by that? People with very strong Mars, a very strong Mars energy isn’t about doing things with someone else, it’s about showing off one’s own championship, showing off one’s own metal.
[00:03:49] It’s, I’m going to rise to this challenge and I’m going to beat it. So the emphasis really isn’t on togetherness as much as it is on the self, but it’s not on self in a egocentric way, but it’s on, it’s, the emphasis is on the self in a very self-sufficient, independent, like my independent thoughts, my independent opinions, and also I will, fight this fight on my own and I will win this prize on my own.
[00:04:17] So the idea of really relying on oneself is very strong. That’s not a veian trait. Okay. Venus isn’t into relying on self. Venus is. Into relying on others or better get people relying on one another. Okay. So Venus in Aries has a tendency to not rely on other people to do things on one’s own. And that, in ancient times, was seen as being very non venesian.
[00:04:45] The other thing that you can, that can happen if you have, for instance, Venus scenarios in your chart, is that you may find that you have a tendency, particularly if you’re a woman, to attract hostility from women. And, what that comes from is that the Mars energy gives a kind of male edge, to particularly women who have Venus in Aries in their chart.
[00:05:07] On the other, the flip side is if you’re a woman with Venus and Aries in your chart, you probably have really great relationships with men, because. Men get you, or rather you get men, and men really enjoy your company. So there’s a sort of natural affiliation or natural comfort around men, you know, won’t think twice about playing pool with the boys or hanging out with the guys.
[00:05:30] And it’s not, a sexual thing, it’s just a camaraderie. I get along with the guys sort of thing, but I’ve seen it happen particularly in. That transition from grade school to high school where, the genders are really being, separated, into different camps. This can bring up hostility because it leaves in the mind of other women, you know, well, what does she have, that I don’t have, in regards to a fellow.
[00:05:56] And what it is, is a simple masculine energy that makes you very, easy to be with, but around women. It can give a sense of you know, what’s up. And it can bring out a co, a competitive sort of flavor. I know this probably sounds a bit, antique and. old school. Oh, Christopher, you know, you’re sounding like a Joe Biden of astrology.
[00:06:16] What are you gonna start doing using the word malarkey next, you know? But I have over the years seen this occur in horoscopes. And it’s just something that I would share with you. And if you notice it, great. And if you don’t, just treat it like malarkey and move on to the next point.
[00:06:33] The other thing that I see, as being very important with Venus and Aries is camaraderie. The idea that, the comrade in arms who matters to the person. And again, this is revealing a male bent. And this is something that I want to unpack as we go further into our exploration of Venus in Aries.
[00:06:56] With Venus and Aries, there is a romantic quality. There’s always a romantic quality, a pairing quality. There’s always a pairing quality that comes together with Venus. What we want to think about here is that Venus is in detriment. She is in a Mars root sign. So there’s going to be a Mars element, which I just, shared with you, but we also want to keep in mind this season.
[00:07:19] Now, I know that sometimes, this can sound annoying to our friends in the southern hemisphere of like, oh, there he goes again, being northern hemispheric centric again, or something like that. And it really don’t mean to be, it’s just that astrology has its origins in the northern hemisphere. And the seasons as they appear to us in the Northern Hemisphere are not really about the timing as much as they are really.
[00:07:42] The character or the nature of the sign itself. And so here in the Northern Hemisphere, Aries is the sign of the spring equinox. It’s the beginning of the agricultural year. So this idea of initiation, this idea of spring, this idea of something beginning. This is very much connected and wrapped up in the Zodiac sign of Aries.
[00:08:07] And it reminds me of a film that was made a few years ago, uh, that, had a very powerful impact on me. It was a very, very beautiful film and it did quite well. And it’s a film that’s called Call Me By Your Name. And it’s this film that I would like to illustrate, some of the aspects, and some of the profound questions that are really asked by Venus in the Zodiac sign of Aries.
[00:08:34] where I would like to begin today, with Venus and Aries, in conjunction with the film Call Me, by Your Name, is this wonderful line that the father, who is a professor of Antiquities has in the film. He says to, uh, the younger fellow, one of the two lovers, Oliver.
[00:08:53] He says to him, nature has cunning ways of finding our weakest spot. All right? He says this, and I want you to think of that line. Nature has cunning ways of finding our weakest spot. I adore that line. I love that line. And what it puts me in mind of right away is the word influence, which came from, of course, the Italian word influenza, but influenza and, and influenza was, uh, Originally, in a previous period, influenza coming out of influence was talking about airborne, illnesses, illnesses that, that went through the airing and it could infect and make someone ill.
[00:09:37] And indeed influenza is one of the words that we use for flu, and we all know how that works. But influence was the earlier version of it, and that was associated to the planets. And, influence is an astrological word. It was used almost exclusively with the planets. And it’s one of those words, that made it like aspect, that made its way from astrology into the popular, spoken language into dic, into the dictionary.
[00:10:05] Let’s put it like this. But what it spoke about was that the planet’s. Influence were seen as filtering into the air and that they could be breathed in or absorbed by the body itself. So this beautiful line that the father shares, nature has cunning ways of finding our weakest spot. So in other words, a planetary influence has a way of infiltrating into our horoscopes and into our our lives, because of course, we’re using, we’re, I’m going to use the word nature really in an astrological nature.
[00:10:41] Astrology is nature. So nature or the planetary influence has a cunning way of finding our weakest spot. Venus is. Love and it’s about passion. But Venus can be in one of 12 Zodiac science, which means that there are 12 sedia expressions of love and passion in the zodiac, in astrology, particularly when it comes to the planet.
[00:11:07] Venus, call me by your name if you’re not familiar with it, is set in Italy in 1983, and it’s a film that stars Timothy Chama, I think it was his first major film or second, and Army Hammer. And it caused a lot of controversy, partly because it’s a. Gay film. It’s two men who fall in love with one another, although they seem rather sexually fluid.
[00:11:31] But, um, nevertheless, it’s, it’s two men who fall in love with one another. One of them is 24. That’s the Army Hammer character whose name is Oliver. the other one is 17, and that’s the Timothy Chae character. And that’s what caused, of course, all the controversy. How could you know a film be made about a 24 year old man and a 17 year old man? And isn’t this pity and, and pedophilia and all, all these sorts of things.
[00:12:00] Um, it was a deliberate choice on the author in the book as it was a deliberate choice, uh, on the, uh, director of the film. And I think sh uh, Shala May, by the way, was, was older than 17 at the time that they made the movie, uh, to set it that way because, um, if you’re familiar with Play-Doh Symposium, um, or, or of homosexuality in Greek culture, it often describes relationships between older men and younger boys.
[00:12:28] Uh, the older men. Are usually very statu wek and they’re soldiers who have proven themselves in battle on, on the battlefield. And the younger men that they fall in love with who, who are basically around 16 or 17. It’s a time of, of age when there’s like just a little bit of peach fuzz, uh, showing up. And, and, and these are seen to be a very, very powerful bonds.
[00:12:50] Uh, this was something that was celebrated in, Greek society, which was very patriarchal and it was particularly celebrated in Sparta. In fact, boys were separated from their families as children and raised in these boot camps where they would have sponsors who were older boys or older men, and they were encouraged to form, these homosexual relationships because in battle, these soldiers would fight for one another with all the passion and the rage and the protectiveness as a mama bear would be in protecting her cub.
[00:13:26] And so this was actually something that was cultivated in spark as militaristic, famously militaristic. Society. So this is basically the motif that’s taking place at the beginning of the film. So at the beginning of the film, um, Ilio, who is the, uh, boy, he’s kind of a spoiled brat. But he’s a brilliant, spoiled brat.
[00:13:46] He, he is, uh, a musical genius. His father is a professor of antiquities. His mother is this amazingly chic, Italian woman who smokes cigarettes in the most fabulous way. Um, she also has, a background, in literature, comparative literature. at one point she reads a German poem and translates it into English as she’s reading to her husband and her son, and.
[00:14:12] It’s the height of sum summer in Lombardi, Italy, in northern Italy. the father is a professor of, of statues, of antiquities. He’s, he’s studying ese, who is a famous, uh, sculptor, uh, in the Greek period. We’ll get to him in a moment. And so every summer the father has, grad student come from wherever around the world, and they come to this wonderful villa, this impossibly beautiful villa in northern Italy, which the mother owns.
[00:14:40] there’s no air conditioning, so it’s extremely hot, but it’s surrounded by fruit trees, orchards of fruit trees. And there’s a beautiful, magnificent, uh, it must be styled on an ancient fountain type of pool. Um, and they have, uh, it’s a. Book Lover’s Dream. I mean, it’s, it’s a beautiful villa, which is full of bookcases, and the father does his studies on ancient statues and has graduate students.
[00:15:09] One, one graduate student a year comes and studies under him and ilio, um, you know, traditionally gives up his room for the graduate student to stay in and goes and takes the guest room. You know, it’s kind of like the dog getting up out of the couch and giving it up to the person who’s like, you know, Shu you know, Bella, that’s my spot I’m gonna sit on down here.
[00:15:28] And this is a summer ritual that takes place. Well, this particular summer, um, Ilio is, uh, visiting with his friend Marcia. And the car pulls up and they’re wondering who the new student’s going to be and out sit ups, army Hammer. Okay. . So it’s like, so you could tell that moment that, oh, adolescent pretense of being cool and unmoved or whatever, disappears in an instant because it’s army hammer, you know, who’s like six five and live, and he steps out of the car and, um, you know, he’s got this, you know, low baritone voice.
[00:16:00] And, Elio’s father, the professor and his mother come and greet him immediately and, and they bring him upstairs. And, um, Ilio, Shme, I mean, he has this very long, tall, live beautiful silken, almost feline build, you know? And, Oliver, who is the grad student’s name, army Hammer has this Hercules statue, bronze statue, uh, build.
[00:16:26] And, and it’s quite a contrast. And the two of them don’t really have much to say, uh, to each other at all. In fact, Ilios trying to make conversation as he shows, um, Oliver, his, his bedroom, but Oliver is sleepy. You know, I, and, and goes to sleep immediately cuz he is got jetlagged and when wakes up and we meet him, he is the typical American.
[00:16:48] He’s. Taller, more muscular than everyone else. He has a huge appetite, a loud voice that booms throughout the entire house. And he does things in a big sort of way. And, um, and so everyone, of course is, is taken with him and all the neighboring, you know, villa, you know, children of the n neighboring villas are also taken with him.
[00:17:09] And, um, and he quickly becomes quite popular. But he is, you know, very much a grad student who’s very serious about his studies and all these sorts of things. And he has a tagline, which is later, if they’re getting together like, uh, we’re getting together to have tea, would you like to come out and have some tea on the porch?
[00:17:26] Or whatever. Oliver’s like later, you know, cuz he is got business to do in town and things like this. So he is very restless and sort of in and out of the house and all these sorts of things. So Ilio is very much, um, taken with him, but he doesn’t like the arrogance and that’s an, an immediate turnoff. And he begins gossiping with, with, uh, Marcia, uh, his friend since childhood about, you know, oh, he is an American and, you know, says all these sorts of things. And so this is how it begins. Um, we don’t really see the two.
[00:17:57] Have contact with one another until the famous volleyball game, like it’s been a couple of days. Oliver has settled in, to this villa and he’s working on a doctorate, thesis, as well as helping the professor to catalog all of these slides that have been taken, of statues and because there’s a, there’s some sort of lecture or book.
[00:18:21] It looks more like, it’s a book that the professor is writing. Um, and it’s essentially around a discovery that the professor has made of, of a replica of a peril. Ese, uh, sculpture of a young man. And so this is going to be a big announcement to the world, and the professor is very, proud of it, but also very guarded about it at the same time.
[00:18:45] And so Oliver’s helping him with footnotes and to catalog the photographs. So on some random day in summer, like it’s really hot. Everyone’s without shirts, all the men are without shirts, and the women are, very loosely, put together. Uh, summer shirt may be clinched around the waist or, or it’s bathing suit with a top.
[00:19:02] Something along these lines. Well, there’s this marvelous volleyball game that takes place, between the two sides. And Ilio is off watching it with his friends, you know, and the friends. And the friends are like . It’s hysterical. The friends, it’s, it’s, it’s a couple of girls and, and maybe there’s another boy there.
[00:19:20] Their eyes are huge, you know, because Army hammer is out there like without a shirt on in like 1983, um, green shorts, which are like really short, you know? So it’s, it’s, it’s. Clearly it’s hysterical and lovely and fun. I mean, it’s clearly this bronze god , you know, who’s coming on out to play volleyball, you know, and who’s, you know, spiking and everyone else is like, you know, not able to return it and, and things like this.
[00:19:48] And, and, and the girls, the eyes are huge. And they’re like, oh, oh, he’s so much better looking than, you know, the one from last year and all these sorts of things. And Ilios completely annoyed and, and, and, and put off and all these sorts of things. So Oliver, uh, the Army Ha hammer character, the American, takes some time away from the game and he comes over to Ilio and he is like, you know, why are you being so sulky or whatever?
[00:20:11] And Ilios, I’m not sulky, you know, it’s a 17 year old’s response. And he, and he, and he touches ilio on the shoulder and I. Responds and he backs away from him and he is like, Hey, what’s up? You know, it’s like, God, God man, you’re so uptight. And he starts to massage Elio’s shoulder and he is like, you know, Martia, don’t you think his, he’s like, really uptight and touch his shoulder.
[00:20:31] And she does. And um, and she’s like, oh yes, he’s so uptight. You know, like, she’ll say anything. I mean, like, you know, it’s, it’s awesome. It’s Oliver , and he’s like, loosen up man. And he goes back and joins the game and he does this huge serve. And it’s just this magnificent moment where Elio feels completely, um, annihilated.
[00:20:51] He’s in the presence of this glorious, masculine God, and, and he’s this kind of slip of a boy. And, but there’s also this, this proximity of masculinity that’s going on here, you know? And one is very domineering and the other one is not. And he feels annihilated by it and, and diminished and, and immediately begins to become resentful.
[00:21:16] And this begins this kind of terse exchange between the two of them. As the days proceed, I think Oliver’s out here at the house for maybe six weeks or something to help the professor to catalog these pictures and things like this. So, um, there’s a, there’s a point where Ilio is playing the piano. He’s playing a, a Bach piece and it’s really, really be.
[00:21:38] and Oliver comes in and he is, and Ilio has finished, and Oliver says, you know, what was that? And Ilios like, oh, it’s, you know, uh, Bach, blah, blah, blah, Sonata, blah, blah, blah. And um, Oliver’s like, well, would you mind playing it again? You know, because it’s such a, Exquisite fluid, like, like water splashing on the stones piece.
[00:21:58] It’s just really beautiful. And Helio starts to play it, but this time he’s banging it out in harsh tones and, and with all these, um, variations that weren’t there and things like that. And Oliver looks at him puzzled, and he is like, I, I, I asked you to play the piece again. And Elia’s like, well, I did play the piece again, but this time it’s as if List had composed it or something like this.
[00:22:20] He’s, he’s being such a smart ass, and, and, and Oliver’s like, well, could you just play what you played before? And he, and he says, oh, like this. And he does another one, and it’s another variation by another composer. And even more con confidence, you know, maybe it’s a, maybe it’s a Yek version of Bach or something like that.
[00:22:39] Um, but, it’s even more con confidence and even more, hard to listen to. Oliver’s turned off and he is like, oh, well forget it. You know, and, and ilios like, Hmm, like that. And what’s, what’s interesting is that, and what I love about what this captures is that Ilio is attractive to Oliver, but he’s still an adolescent.
[00:23:00] He’s still a kid. And so he’s attracted, but he also wants to show off how smart he is, you know, that he can do these different piano variations, but Oliver doesn’t speak piano. Okay. It’s not making any sense to him. And, and it’s just kind of like a turnoff. And he realizes that, that it’s a turnoff and that in it’s in his efforts to try to impress Oliver with his, talent, uh, he’s actually done nothing more than turn Oliver off and really, um, repulse him, not repulse him, but but, but turn him off and say, go away.
[00:23:34] You know, like, like, like his versions of these box sonatas are very strident and they’re very off-putting, that’s the word I’m looking for. They’re very off-putting. And so Oliver withdraws and Ilios immediately furious at himself. You know, he’s triumph, he’s triumphant for like a quick minute, you know, Newark min minute there.
[00:23:52] But then he’s down on himself and very like, you know, why did I do that? I, I, I really wanted to do the opposite. So, um, there’s again that kind of like, It’s not playful. It’s actually kind of becoming a little antagonistic martian between the two of and then the father suggests, let’s take this outing. I want to go examine my statue. And would you, uh, boys like to come with me? Because as far as the father concerned, they’re boys, you know, uh, there’s an age difference of about seven years between Ilio and Oliver. Um, but to the father, they’re boys. And so they get into the car and they go off and they look at this beautiful statue that the father has, I guess, excavated or maybe he’s been brought in.
[00:24:34] I don’t know if the father’s really excavated. I think there’s been an excavation that’s been done of it. Um, and the father’s been brought in to identify and to give, um, the background work on it to identify it. Is it, is it indeed real? And, and what is it and what does it mean? And it is, as I referred to earlier, um, a copy of a PCI statue, PCI in Greece.
[00:25:02] We see ver, we see lots of copies of his statues, but there’s only really one original. Um, and that is the statue. Hers, and the beauty of a perle’s sculpture of the body is astonishing. Uh, it, it’s, I mean, we’re kind of used to it nowadays, and maybe we’ve even seen poor, poor Roman versions of it. But when you look at this hermis and when you look at the early copies, um, that were much more close and, and the film begins with these, with these images, they’re stunning.
[00:25:41] I, the, they’re just absolutely erotic there. There’s no other way of putting it. Uh, they’re absolutely erotic. It’s almost as if you could reach out your hand and touch the marble and it would be flesh. They’re that, but it’s more than lifelike. It is. It’s just this. Absolute. Beauty. And in fact, um, Brooks did a famous, um, Venus of NTUs.
[00:26:08] Uh, well that’s a story for another time. I’ll tell you the story of Venus. Of, of Aphrodite, of NTUs. Venus of NTUs, and uh, uh, another time. But that was world famous. And so these statues, they take your breath away, but they also get under your skin because they’re so erotic. And, and he has indeed discovered, um, uh, there were four copies made of this pese statue of a, of a youth.
[00:26:34] And one of them had been purch purchased by Hadrian and given to his lover, the Emperor Horan and given to his lover and Pius and who, who had died, who had drowned actually tragically. Um, but in this scene, the statue’s being lifted out of the water. Um, and it’s being shown in different pieces.
[00:26:54] There’s, there’s the, there’s this, there’s the head and the torso, and then it’s missing an arm. The arm is, is being carried around separately. And, and they look at this and each of them sort of, you know, you can’t help but touch the lips, the mouth, the face of the statue, the muscular of, of this statue.
[00:27:11] It’s, it’s, it’s beautiful and it’s, and it’s black with soot and, and full of barnacles. You know, it’s, it’s not this, you know what’s going, you know, the ivory versions that we would see, but, but because of its darkness, uh, it’s even more beautiful. It’s even more appealing. It’s even more magical, even more erotic and.
[00:27:33] Oliver jokingly picks up the arm of, of the statue. It’s, it’s not that big. It’s, it’s, you know, he picks up the arm of the statue and he reaches it out to Ilio and says, you know, as a handshake. And he is like, you know, truce, are we gonna get along for now on? And Ilio goes and he shakes the hand with the statue and he is like, you know, yeah, see whatever, you know, and, and it’s a very, very cute moment, um, that happens between the two of them.
[00:27:58] But it’s, it’s an important moment because they both know that there are. There are feelings. Suddenly they’ve taken this kind of animosity towards, not animosity, but, but like brothers, you know, like giving each other noogies or something like that, or just, you know, disagreeing or whatever. It’s gotten very a, they’ve both become very adolescent , you know, and they’re squabbles and Oliver says, you know, truce and I, Ilio says, says yes.
[00:28:27] And, um, and so things begin to change. One of the things that Ilio feels very competitive with, with Oliver is that at the volleyball game, all the girls were looking at Oliver, you know, they have a, like a little discotech, little discotech down in town or whatever, and like disco dancing with this Italian girl, and she’s like in his arms and they’re making out, and, you know, everyone’s like, oh, you know, and, and ilio.
[00:28:54] You know, full of disdain. Um, and, and Ilio has his friend Marcia, who’s like this com completely fabulous and gorgeous, uh, French girl that he’s known since childhood. And she has feelings for him and he has feelings for her, but they’re friendship. But he starts to use her and his attraction to her in an attempt to make Oliver jealous.
[00:29:20] Okay? That’s never a good thing, but he’s 17. Go back to when you were 17. We were, you know, you weren’t playing games like that to make the person that you were crushing on jealous, you know? And so he’s doing it, and Marcia, of course, you know, has, has feelings for him. And so, you know, this, this makes, you know, some people like, you know, great ilio, you know, but he’s 17 and, and she’s 17.
[00:29:45] And, and this is what’s happening.
[00:29:47] but there’s another thing that’s going on underneath it as well. ILO clearly, clearly wants to sexually be with Marcia, and he wants to be close to her and she’s responding, and so they do make love. Um, they do become very, very close and, um, you know, physically, uh, they’re already close because they’re close friends.
[00:30:06] They’re the best friends, and it’s clumsy, but it’s 17 and it’s sweet and all these sorts of things, and it’s an interesting moment in the film.
[00:30:15] Because you can see, you know, it’s part ploy to make Oliver jealous cuz he is drawn to Oliver. But at the other hand, it’s also him reaching out to his childhood friend in a sexual expression. Like, like he’s redirected his sexual energy to her, you know, and she’s responding of course cuz she truly loves him.
[00:30:37] Um, and it’s almost like he’s trying to save himself or stop himself from going to the attraction to Oliver or detest the attraction to Oliver. Is this, you know, is this something that he can somehow maybe Sublimate with Meia is that going to solve this thing that’s gotten into his body?
[00:30:58] You know? And, and so it’s him trying to, uh, negotiate that feeling and maybe even do away with it, you know? So it’s not like he’s being a horrible, cruel person. He’s being what everyone is in love, which is absorbed with the beloved, right? We’re all absorbed with the beloved, and, and that’s all you have eyes for.
[00:31:18] And this is Venus’s power in the horoscope. Um, and of course, um, it doesn’t, it doesn’t work. Uh, the following morning. Full of longing really, for Oliver and not for, uh, Marisa. And, um, and, and he and Oliver go on a bike ride. They go on bike rides like once every two days to do errands and things like this.
[00:31:42] And there’s, there’s this wonderful moment where in town Oliver asks about this enormous monument that’s in the center of, of, of the village, in the vi of this particular village that they’re visiting. And it’s, um, and, and Elio, who’s, you know, he’s a professor son and knows all the history and, and, and all these sorts of things.
[00:32:01] And he says, well, it’s a monument to the war dead. And Oliver says, oh, world War ii. And Elio says, no. World War I, um, many of, many of the young boys in this town went and fought in the war, and many of them didn’t come home again. And, and so you’re looking at this monument, it’s a very large one. It’s not like a simple statue.
[00:32:21] It’s like a big one. Like, it’s like a hill and there’s a, there’s a soldier on top of it. So they’re looking up at this and they both walk opposite each other with this, with this monument between them. And Oliver sort of puts out i a feeler, like, you know, um, are you okay? You know, with your, and Ilio says, well, you would know more than me and Oliver’s like, I would know more than you about what an ilio would say.
[00:32:50] You would know more than me about what I’m feeling. And Oliver’s like, what are you feeling? And Elio’s like, well, what are you feeling? So there’s, you know, which is remarkable. The 17 year old is, is is actually not very shy about. His feelings, but also not sh he’s not going to be the one to come forward with, with what he’s feeling.
[00:33:14] E either. And it’s like, oh, Oliver. Oliver. You know? And Oliver’s like, no, not happening. You know? And so , like, that’s where they are. I mean, not happening, obviously. This is the son of the professor. He’s there as a grad student. Um, and he is like, and we’re not gonna talk about this. So they have like some more forays or whatever.
[00:33:38] It begins to become more obvious that they have feelings for one another. And, and, and they, they act on a kiss and then Oliver pulls away. That’s not gonna happen. Elio feels despondent. . Don’t we all know what that was like in high school or, or whenever we had these feelings? Maybe college. Where you wait for the other person, you long for the other person.
[00:34:00] You listen for their comings and goings and things along those lines. And so, it’s clear that there’s feelings. Uh, Ilio writes a couple of notes and he finally writes a note saying, you know, basically I, I, I, I, I can’t stand being away from you. And, um, you know, I, I can’t stand being away from you.
[00:34:19] I wanna see you, you know, and later on that day, Oliver leaves a note saying, grow up. See me tonight at midnight . So it’s grow up. See me tonight at midnight. Um, during that day, uh, Elio. Brooding and things like this. But downstairs is this wonderful moment where the professor is showing off slides of these different proxide, statue replicas.
[00:34:45] And Oliver is looking at them and, um, he says, Oliver says, looking at these slides of these, of these torsos, these men, he says, they’re so sensual. And the professor says They’re not a straight body in these. Now some people could be like, okay, not straight, cuz it’s, you know, whatever, and we can, whatever.
[00:35:05] But what the professor’s talking about is much more profound than that. There’s not a straight body in these. If you look at earlier Greek sculpture, it’s very, you know, it’s almost like, um, Egyptian in its uprightness and its straightness. When he says there’s not a straight body, there’s always a curve, there’s always a lean, there’s always a luxurious.
[00:35:27] Quality to, there’s a reaching for, there’s a being. There’s, there’s a arm or handheld close. There’s, there’s, and, and, and they’re beautiful. And, and you see many of them just in fragments. You don’t even see the entire statue. And so the professor says, there’s not a straight body in these. They’re curved, impossibly, curved.
[00:35:50] There’s an ageless ambiguity and there is, there’s a fluidity to these perilla body shapes that are ambiguous. And then he says, and it’s a gorgeous line, he says, the professor says to Oliver, it is if they’re daring you to desire them, he says to Oliver, it is if they are daring you to desire them. And this is very Venus.
[00:36:19] This is very Venus here. To me, Venus is the planet of sex and sexuality. The Venus is the planet of love, and Venus is the planet of beauty, but Venus is also the planet of sex and sexuality. If you watched my episode from a couple of weeks ago, you know that Venus literally is born from the frothing semen and blood of Uranus’s testicles that were severed by Saturn thrown into the Mediterranean sea.
[00:36:47] Okay? So she’s born from semen and blood. All right, so what do you expect from a goddess born from an orgasm of she? She is going to be the goddess of sex and sexuality, and she is going to be the goddess of arousal, but she evokes or she inflicts this arou. Okay. She can evoke it or she can inflict. And so when the father says about these statues, it is as if they’re daring you to desire them.
[00:37:25] He’s talking about the beautiful bodies that belong to Oliver and to, um, I. , you know, um, in that they are in this tradition, you know, Oliver is built exactly like a Greek s sculptor, not sculpture, not really, um, a perles, uh, maybe. Um, but Elio is definitely a PCI perles sculpture. I mean, there’s a live, uh, uh, feline beauty to, to his lines and to the way that his, his, his body moves.
[00:38:00] And so it’s bodies themselves. It’s as if bodies are daring you to desire them. Now, we can be born into youth and we can enjoy this when we’re young, you know? Um, and, but then we grow older and like we can’t really get back into that shape. But the statue is forever, okay? Like the God is forever, okay?
[00:38:22] It’s eternal. And so, What I like about this is it is if they are daring you to desire them, and I want you to think of that with Venus and Aries. There’s a beauty to the Venus and Aries that dares or an energy to the Venus and Aries that dares you to desire them. Now it’s not done intent. Someone with Venus and Aries is, isn’t like, you know, I’m daring you to desire.
[00:38:54] No, they’re not doing it intentionally. They’re growing about their day. They’re growing about their day with this Venus and Aries energy and this horoscope, but this Venus and Aries energy is bringing up the arousal, you know, it’s bringing up the arousal and it’s bringing people’s attention to the energy.
[00:39:12] It might be literally attention to that person’s body. The person might have, you know, uh, the, the body of death. Okay? Um, but it can also just be a venesian energy in the horoscope itself, that it is daring you to desire them. All right. This is how, uh, Socrates asks the, or Play-Doh rather asks the question who, um, is or is, uh, more powerful, the beloved, or the person who adores the beloved.
[00:39:43] Okay? And for anyone who’s adored someone else or crushed someone, uh, had a crush on someone else, you know, the power of the beloved is supreme. You know, you’ll, you’ll do anything to catch a glimpse or maybe there’s an exchange or they look your way and you’re just, you know, you’re brought to life, but then all the time that you’re spent away as agony.
[00:40:05] Okay? This is the power of Venus, particularly the power of Venus and Aries, uh, daring you to desire them Now.
[00:40:14] Oliver and Elio make love, of course. Um, and they make love that night at midnight, at the midnight gathering. And, um, you know, and afterwards Elio’s like, well, why did you, you know, why were you always disappearing? Why did you always act as if I didn’t exist? Why did you always, you know, rebuff me? Didn’t you know these feelings I had for you?
[00:40:37] And Oliver was said, well, didn’t you understand when I. Put out feelers and Elio’s, like, no, when, and then Oliver’s like, at the volleyball game, I came over and just touched your shoulder and you, you spazzed out , you know, and Elio’s like, oh, he is like, so, that’s like, I didn’t know whether you had the same feelings that I did or not.
[00:40:57] And Elio’s like, oh, you know? Yes, yes. And, and, and Oliver, do you have those feelings to me? And Oliver’s like, of course I do. And, and, and so they have this exchange where they say, where one of them, I think it’s, um, uh, Oliver says to ilio, call me, call me by your name, you know, and, and Ilio says Ilio. Ilio.
[00:41:21] Oliver responds. And Oliver says, Oliver. Oliver. So call me by your name. . Okay. So another one, when you say your name, you are calling me. It’s the title of the film, it’s the title of the book, and it’s this beautiful sort of bonding, you know, type of thing. And at first you’re kind of like thinking, well, is this kind of like narcissistic, like, call me by your name and like, you know, like, I’m Brad, I’m gonna call you Brad , you know, type of thing.
[00:41:48] Like, what’s going on. But what I gradually caught onto to, um, is that, uh, there is this device, I’m, I’m sorry, I forget the, the, the name of it, but Oliver contains the names, the letters of Elio’s name, O l i v e R. Uh, and then Ilio contains letters that are in Oliver’s name. And so they’ve been calling each other.
[00:42:15] They’ve been summoning each other through this movie the entire, the entire time. Um, and as you can tell, you know, Oliver’s time comes to an end. He has to go back to the states, um, and he has to leave. And, uh, Elio’s parents make arrangements. I, Oliver can spend a weekend together, you know, before Oliver goes, uh, ILOs gonna go with him, uh, to the train that he has to get, that takes him to the airport, and the mother will come and get ilio, uh, from that train station and drive back home, uh, which is tremendously, um, supportive of the parents.
[00:42:52] And so they have this one last weekend together, which is a beautiful, beautiful weekend and, and the mountains that they’re in. And it is just, it’s, it’s gorgeous. It’s beautiful passages of the film. And of course, Oliver gets on the train to go back to America and Ilio, um, calls his mom at the station and, um, he’s heartbroken and it’s so lovely.
[00:43:18] Mom comes. Gets him. Um, and uh, it’s just so fabulous. It’s just so fabulous. It’s just so fabulous. They’re driving and you can see her driving, um, and she’s smoking a cigarette as she’s driving the car and Elio’s look looking, you know, and, and it’s through, it’s a, it’s a shot through the, through the windshield and he just, he just starts to cry and his mother just reaches over and she puts his, her hand through his hair and holds it as she’s driving with the cigarette on the steering wheel.
[00:43:55] I’m sorry, that just like, it’s so Italian. It’s so fabulous. It’s so great. . So they get back to the house and, um, it’s very clear that that Elio is completely despondent. He’s completely heartbroken. He knew that, that it was gonna end like this. Uh, and, and um, even Martia sees him and she says, you know, I, I, I know that, uh, you, that that Oliver is left and I’m sorry for you.
[00:44:23] And he just, he looks completely heartbroken. And, and, and she knows he’s heartbroken. He’s her friend, you know, he’s her bestie. And, um, and so this sets us up for the last scene of the film. Um, and it sets us up for the Venus message. Um, it’s a beautiful film. This is the sing, Elio and his father are sitting on this couch. Uh, it’s, it’s the same couch that Oliver had been sitting on when the father was showing the slides of all the statues, um, uh, through the slide projector. And they were commenting on the, on the beauty of the pese, uh, statues and replicas. And it’s the same couch and the father is sitting there and it’s, and, and, and Elio, it’s so sweet.
[00:45:14] He’s, he’s, he’s almost curled in a ball with his head on his father’s lap. And it’s late afternoon. It’s getting dark. and, and they’re sitting there on this couch. It’s, it’s, it’s a beautiful, intimate moment. And the father addresses, you know, what’s, what’s been going on? And the father says, look, you had a beautiful friendship, maybe more than a friendship, and I envy you in my place.
[00:45:49] Most parents would hope the whole thing goes away or pray that their sons land on their feet soon enough. But I am no such parent ilio
[00:46:03] in your place. If there is pain, nurse it, and if there is a flame, don’t snuff it out. Don’t be brutal with it. Withdrawal can be a terrible thing when it keeps us awake at night and watching others forget us sooner than we’d want to be forgotten is no better.
[00:46:34] We rip out so much of ourselves to be cured of things faster than we should, that we go bankrupt by the age of 30 and have less to offer each time we start with someone new. But to feel nothing so as not to feel anything, what a waste. Remember, Elio, our hearts and bodies are given to us only once. Most of us can’t help but live as though we’ve got two lives to live.
[00:47:14] One is the mock. The other, the finished version and then, and then there are all those versions in between, but there’s only one. And before you know it, your heart is worn out. And as for your body, there comes a point when no one looks at it, much less wants to come near it. Right now there’s sorrow. I don’t envy the pain, but I envy you the pain.
[00:47:59] I love that. I don’t envy the pain, but I envy you the pain,
[00:48:10] what the father saying.
[00:48:18] What the father is saying is honor the heartbreak.
[00:48:26] There are many figures of Venus we’re familiar with ve with, with cupid, the bow and arrow, the shooting him into the heart, all these sorts of things. But there are many figures of Venus, uh, where she’s carrying a heart. That’s a flame and a spear. It’s this idea of a heart of flame and a spear, you know?
[00:48:50] And so there’s a flame and, and oftentimes this is associated to the flame of passion. I don’t know if this is the same flame that the father is talking about in this speech. He says, in your place, if there is pain nurse. And if there is a flame, don’t snuff it out. Don’t be brutal with it. So what he’s saying is that love ignites this flame and it’s your job in your life to tend to that flame, to nurture that flame, to protect and to care for that flame.
[00:49:39] It’s not the heart that he’s talking about here, it’s the flame and there’s a difference. Okay? So he says in your place, if there is pain, nurse it, he’s saying, don’t heal it. Nurse it. And if there is a flame, if you’re feeling a heart, a flame, don’t snuff it out. And don’t be brutal with it. Don’t get down on yourself.
[00:50:10] Withdrawal can be a terrible thing when it keeps us awake at night. Okay? Withdrawal into yourself. Keeping yourself awake at night with regret, with recrimination. Withdrawal can be a terrible thing. One of the signs of that withdrawal is that it keeps you awake at night with recrimination or with regret.
[00:50:32] So withdrawal can be a terrible thing watching others forget us sooner than we’d want to be forgotten. What a beautiful line. Watching others forget us sooner than we’d want to be forgotten is no better. So this is not a casual thing, you know that he’s that, that he’s talking about. What he’s talking about is the pain, you know, and he’s talking about sitting with the pain not to withdraw from it.
[00:51:04] and, and that hurts when we see people that we had that summer romance forget us sooner than we’d wanna be forgotten. That hurts. We might be angry, then we might feel on injustice. He said, yes, but then that makes us want to, he says, we rip out so much of ourselves to be cured of things. We rip out so much of ourselves to be cured of things.
[00:51:28] Our reaction to a heartbreak, to a disappointment is to rip it out, is to rip out that heart, to rip out that, that, that, that, that feeling to embrace cynicism or being sardonic or, or you, you know, I’ll sleep with a thousand people so it doesn’t matter, you know, to embrace that is if that’s going to take us away from the pain, and he’s saying, no, no, it’s not going to take it away from the pain and ripping out that heartbreak to be curative things faster than we should.
[00:52:01] To be cured of things faster than we should listen to that line. We rip out so much of ourselves to be cured of things faster than we should. What’s implied here is we will be cured if we have the patience, if we allow, if we tend to the flame that heart and love will naturally cure itself. If we don’t do things like withdraw, you know, if we don’t do things like, you know, focus on how much we had been hurt either in sorrow or enr and anger, you know, but that and, and, and, and the, and don’t rip out the heart, you know, we do it to be, to, to be curative things faster than we should.
[00:52:53] That when we rip this heart out, . Um, and, and we do it faster than we should, and we do it multiple times. We go bankrupt by the age of 30 and have less to offer each time. We start with someone new. Okay? So if our reaction to that first love is to rip it out and say never again, you know, or to be on edge with someone next time, or to test them, or to be, you know, distant or whatever, and, and, and to be hurt again and to rip out that hurt again.
[00:53:28] We bankrupt ourselves emotionally, he says, by the age of 30 and have less to offer each time we return again and again. But to feel nothing, okay, but to feel nothing so as not to feel anything. What a waste. , listen to that, but to feel nothing so as not to feel anything. What a waste. To be cavalier, to be casual, to be like, I don’t feel anything for you.
[00:54:01] You know, I’m sorry that you thought there was more going on here. There isn’t, you know, so to feel nothing to put on this affectation with then becomes an addiction to indifference, to unfeeling. I’m going to feel nothing and maybe give you some, some, some sort of remote sola of like, I’ve been heartbroken so much that, you know, I’m going to feel nothing.
[00:54:25] No, he’s talking about a deliberate, um, a deliberate choice to, to feel nothing. So is not to feel anything. You know, what a waste, what a waste that is of the heart. And he says to ilio, remember our hearts and our bodies are given to us only once. What a challenge. What a line our hearts and bodies are given to us only once is that challenge to, you know, it’s given to you only once, so you better make the right decisions.
[00:55:02] You know, everything counts. Make the right decisions. Don’t go near bad relationships or toxic associations. Don’t do anything foolish. They’re given to you only once. You know, preserve it. Keep up your boundaries. Keep people away. Or is he saying our hearts and our bodies are given to us only once? And be robust about it.
[00:55:27] You know, they’re given to us only once. So be robust, live fully out of your heart. Live fully out of your body, live fully out of your pain. And if there’s a flame of hurt, protect it. Don’t snuff it out, you know, because. That you only get your hearts and your body once. Most of us can’t help but live as though we’ve got two lives to live.
[00:55:58] One is the mockup, the other, the finished version. That’s fascinating. One is the mockup, the other, the finished version. Um, you can think of, for instance, pci, the beautiful statues that we only have the replicas of, you know, um, and he’s actually kind of talking here in a little bit about that, or at least he’s talking about the process of replication.
[00:56:26] you get the, you get the mock up, you know the version of your life that you’re trying to make the best life. And then you get the life that you, the finished version, which is the life that you come to recognize only at the end of your life, right? The finished version. It’s like, you know, you, you get the life that you’re making up as you go along, and then you get the life that you recognize at the end of your life, and you say, that was my life.
[00:56:51] Okay? So, so you get, you can have a replica life or you can have a life that’s in, in, in continual process. And then there’s the summation of your life. And then he says, and then there are all those versions in between. I think he’s actually talking about mockup as the idea you have of yourself and then what you end up with.
[00:57:11] Because all of those versions in between are the process. It’s the process of your life, you know? And he says, but there’s only one. There’s only one life. There’s only one. before you know it, and before you know it, your heart is worn out. And as for your body, there comes a point when no one looks at it, much less, wants to go near it, you know?
[00:57:37] And so these are questions, these are almost challenges, you know, the body gets exhausted, the heart gets exhausted. There’s all these things that your body and your heart are going to go through in your life. He says, you know, and, and there’s going to come a point when, when your heart is worn out and no one wants to look at your body, but he’s saying to Elio in where you are right now in your life.
[00:58:08] And he says, right now there’s sorrow. That’s the next line. He says to Elio, where you are right now in your life right now. There’s sorrow, you know, , and this is the marvelous, I don’t envy the pain, but I envy you the pain. As a parent, I don’t envy the pain, my child, but I envy you the pain cuz that pain is what makes life alive.
[00:58:47] And of course, in that pain we have Mars. You know, Mars is passion. You know the word passion comes from the idea of the passion of Christ. The suffering of Christ. The three days from last suffer supper to the crucifix. Yes, passion comes from there. It has a religious origin and it’s the suffering. And so with Mars, what you have is the suffering.
[00:59:15] It’s the suffering heart. It’s the suffering heart. Of a heart that feels, and a heart that loves, and a heart that is vital and that is vibrant and that that is the heart that Venus in Aries stands for. And that’s what I want you to keep in mind as long as Venuses and Aries, which is from February 20th until March 16th.
[00:59:49] Did you know there’s a whole universe that you can unlock with so-called minor aspects. Most astrologers don’t even use them, but master astrologer Brick Levine calls them harmonic aspects saying they’re key to revealing the deeper metaphysical dimension of a birth chart, including the creative, mystical, and unseen parts of ourselves and others.
[01:00:11] And if you want a taste of how powerful they can be, just listen to what he has to say about some of the subtitles in play. February and March forecast. There’s one other thing that happens in February by the 12th, Venus makes a subtile. That’s one seventh of a circle to Pluto. Venus makes a subtile to Uranus.
[01:00:30] Boom, boom. What are subtitles? They’re other worldly. They’re supernatural. Dane. Roger said they were fated. Things come out and things come through that were somehow in other realms and like Uranus, it’s like lightning striking. And I think the combination of Mercury going into Uranus as modern sign of Aquarius and all these subtitles, Will awaken us to the idea that we don’t see everything that we think we do.
[01:00:59] Of course, it’s not lost on me that this is the first week of foundation level three course, and it’s just such an overwhelming subtile message that we get. From the universe. I really think that this is gonna be a bit of a wake up in mid-February. If you’re ready to uncover these powerful unseen aspects in your chart, join us for Astrology Foundation’s level three with Master Astrologer rickLevine@astrologyhub.com slash foundations three.