Wonder and Kent discuss the documentary Skywalkers: A Love Story, using the untimed chart of one of the main protagonists: rooftopper Angela Nikolau. Striking themes that emerged were creating art inside a typically rugged and sporty profession, what it takes to do so, and how romance for everyone requires trust, but so does risking your life with another human being. These themes correspond with the astrological signatures of Venus and Mars. Also under discussion: Nikolau was born in July of 1993, when there were many planets in retrograde and Venus was in its own sign of Taurus. All these signatures point to slowing down to the point of stillness, something Nikolau demonstrates powerfully in her acrobatic poses atop these rooftop spires.
Distribution: Streaming on Netflix
Director: Jeff Zimbalist
Run Time: 100 minutes
Astrological Data: Angela Nikolau, 24 June 1993, Moscow, Russia, Rodden Rating: X, Source: Wikipedia
Music Credit: spacedust by airtone
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Rough Transcript
[00:00:13.479] Kent Bye: Hello, my name is Kent Bye. Wonder Bright: And I'm Wonder Bright. Kent Bye: And welcome to the Story All the Way Down podcast, where we're breaking down the archetypal dynamics of stories. This season we're looking at 36 documentaries from Sundance 2024, and this is the 5th of 8 of a section that we're calling Identity. So today's episode, we're going to be diving into a film called Skywalkers: A Love Story. And it was a part of the US documentary competition, and it was directed by Jeff Zimbalist, and it's actually been picked up by Netflix. So I wonder if you could read through the synopsis.
[00:00:46.716] Wonder Bright: Skywalkers, A Love Story. To save their career and relationship, a daredevil couple journey across the globe to climb the world's last super skyscraper and perform a bold acrobatic stunt on the spire. This immersive, vertiginous nail-biter takes audiences nearly 2,230 feet up in the sky. But to get there, filmmaker Jeff Zimbalist crafts a real-life heist film with actual life-or-death stakes, following its daredevil protagonists every dangerous and highly illegal step of the way of their mission. From carefully staking out their target and selecting an ingenious time to make their attempt, to evading security and risking their freedom, not to mention their lives, the Russian rooftoppers bring the viewer along for a wild, breathtaking ride. Just as importantly, the film captures a strong-willed couple as they meet, develop trust in the most harrowing and exhilarating of circumstances, and fall in love in the process. Skywalkers, a love story, is a riveting, edge-of-your-seat experience about facing your fears and coming out on the other side. And that synopsis was brought to us by Sundance programmer Basil Tsiokos.
[00:02:01.331] Kent Bye: Yeah, and there's an additional trigger warning that's included in this synopsis, which says this film contains scenes that may cause discomfort for those sensitive to exposure at heights.
[00:02:10.754] Wonder Bright: And I feel like I will cosign as having been someone who lived on the 12th floor of a 12 story building and overlooked the heights of Los Angeles for about five years of my life. I thought I had overcome my anxiety around heights and this film just brought it all back.
[00:02:31.478] Kent Bye: So, I feel like there's a certain dimension of this film that's very experiential. That edge-of-the-seat part of the synopsis is really accurate in the sense that these first-person cameras that you have, the drone shots, I mean, these are two daredevils that are a part of this community called rooftoppers who are transgressively climbing these buildings and doing all sorts of stuff that no reasonable people should be doing. But here they are on the top of these roofs and taking these shots. And there's a quote that the director said at the end. He said that they really wanted to cover all these things about the fear of falling off the buildings, but it was really a story about falling in love. And I felt that juxtaposition of this film - it is this kind of visceral, edge of your seat, wild adventure. But at the same time, it's also a love story and got some of the traditional structures of a rom-com where you'll be way more expert in describing a rom-com and its narrative structure. But I feel like there's something about this story that's also very satisfying as a love story as well.
[00:03:36.036] Wonder Bright: Yeah, this is a story that is really well told and has a really clear singular vision. It's highly entertaining. Forgive my pun. I didn't mean to make it, but I will stand by it. Highly entertaining. And I can fully recommend it for that fact alone. I enjoyed every second that I was watching it. I just want to underscore how riveting this film was by framing the two protagonists in the film, Ivan Beerkas and Angela Nikolau, two Russian rooftoppers, as they call themselves, who have this desire for risk and excitement that I could never claim for myself. But I'm so grateful to have the opportunity to go along on this journey with them. And their love story is framed by this experience of Ivan having been a longtime rooftopper influencer, which apparently is quite a thing these days all around the world. But there's a lot of Russian people, apparently, who are really engaged in this, where they just scale these enormous heights and then take these selfies of themselves at the top, which, you know, is clearly risky. Many rooftoppers have lost their lives doing it. And Ivan, we have this understanding of him, as being one of the major influencers.
[00:05:01.584] Kent Bye: Yeah, he's technically one of the most accomplished and he's able to do things that other people are not able to do technically.
[00:05:09.711] Wonder Bright: Yes, technically. Very key word here. Because as we follow along on their journey, the story is told through the words of Angela, and it's narrated in English. Jeff Zimbalist, the director, is an English speaker. I think he's American. So the story is told through Angela's words in English. So there's no roadblocks for English speakers to engage with the content of this film. And we watch Angela, who's basically narrating the film, as she explains her journey to becoming a rooftopper and her desire to get out of the situation that she finds herself in. And we learn about her relationship to her mother and her father, who were circus performers. And they trained her from the time she was a child to do these acrobatic tricks. And she somewhere along the way gets really interested in the rooftopping phenomenon. And so she begins posting her own images of her own ascents. But the thing that marks what she's doing as being very different is once she ascends a rooftop, she poses in an acrobatic pose atop the roof. And she creates these images of startling beauty, just sort of arrested there at these peaks, these heights that nobody should even be standing on, much less standing on with one foot and the other foot above their head. It's just sort of like, what are you doing? Please stop. I'm terrified and I can't stop watching. So the story develops and she and Ivan meet and we go through this whole journey with them of them beginning to do these choreographed acrobatic stunts on the top of the spires because Ivan is, rightly so, as are all of us, really transfixed by Angela's capacity to create these moving, inspiring, terrifying images in these very risky situations.
[00:07:17.318] Kent Bye: Yeah, I wanted to just jump in and say that part of this rooftopping community is all driven by social media. And so this is a very small community, and they're definitely aware of each other and tracking each other. And Angela is looking up with very high regard with the accomplishments of what Ivan's able to do. And Ivan also is just super impressed for how Angela is taking this as a whole art form and taking it to a whole other level of her artistry and the way that she's doing it. And so you kind of have this, in the distance watching each other. And the filmmaker at the end said that they picked up production later, but there was other footage that other people were able to capture. And so you actually see the first time that they meet, but it came about because Ivan had some sort of gig that he was going to be getting paid to climb to the top of the whatever place and they have to have these t-shirts on so it's basically this influencer campaign that's part of their job now to actually climb these buildings often - and always illegally - but it's getting this social media traction. And so you have this other dimension where they're living their dream, but finding a way to start their own business by creating this phenomena of rooftopping. And it's something that's, like you said, a lot of people that are involved with it end up losing their lives. And so there's this constant threat that at any moment something could go horribly wrong and that they could both die.
[00:08:37.287] Wonder Bright: Yes. And I think it's a critical factor that because they're influencers, they're just almost always recording, which is how Zimbalist ended up being very lucky to have this footage of them meeting and some of their earlier escapades before he came on board to construct this narrative. He wanted to create a film that was about trust. So the nexus of their love story, as told by Zimbalist, is that the thing that is one of the hardest experiences as an acrobat performing in this partnership with Ivan is trusting that he's not going to let go of her. Which, hello, yes, this cannot be anything but true. So to me, obviously, Angela Nicolau is a beautiful young woman, and she is capable of creating extraordinary images through the lines of her body. And if you look at her Instagram, she has lots of photographs of her and Ivan doing their work. And then there's also just a ton of photographs of her in bikinis or just, you know, your general selfies of a beautiful young woman. And it's hard to quite convey the intensity of being a young woman who is the object of attention from men. But men do have a tendency to project onto young women expressions and experiences that have to do with their idea of Venus rather than anything that the young woman might be going through. And I know that it's a common experience for young women to have that force of projection put upon them. There is a deeper level with which we can read this film and I think that it's important to do so. I'm just pointing out that she's an exceptionally beautiful young woman with an exceptional gift and skill to create beautiful images. And that draws the male gaze like nothing you can possibly imagine. And men do like to project their stories onto these young women. And so this film inherently becomes more complicated for me because I can't help but reading it that way. And because I know because we've been told that she doesn't come from a lot of money. We get the sense that Ivan might actually have some financial security in his family of origin. But Angela certainly does not. And she is hungry to experience more in the world. She's really hungry. And any young woman who is the object of that kind of attention knows that that is a power and she needs to make use of it. And she should, by the way. Like, I think Angela Nikolau is amazing. I enjoyed it, and I mainly enjoyed it because I just completely fell in love with her. Like, I think she's amazing. And I'm fascinated by her ability to create herself. Almost more than her ability to create herself using her body, I'm just completely invested in her experience of becoming into the world and creating herself in the world. So I am so grateful that this film got made and I'm interested in seeing what these two young people do next, especially Angela. And I just think it's important to point out that this is a function of how Venus operates in our culture, because Venus is often synonymous with young women, as we have spoken about in earlier podcasts, especially Desire Lines. So if Desire Lines, which is a film that really starts to question what Venus even is, is successful in that, this film, Skywalkers, is successful in just completely unquestioningly re-inscribing what Venus is through the male gaze with the added wrinkle that Angela is doing something that is very Venusian in the realm of something that's very masculine slash Mars. And that makes her even more interesting to the director. And trust is a framework that we typically classify - we might think of, like, if you were going to think of a planet that has to do with trust, it's going to be Venus - maybe the Moon - but it's going to be the so-called feminine planets. And so it's really interesting to me that in this film, the trust falls to Angela to create. It's not about Ivan. which, you know, in fairness, he is the one holding her up, he also has to trust her. He has to trust her not to sway in the breeze. It's like a mutual trust that actually has to occur. But in the film, we only see that trust spoken about through Angela. The female has to trust the man. And that, to me, is not like a situation of mutuality. And I just have resistance to the idea that that's not a mutual experience.
[00:14:31.932] Kent Bye: Okay, well, I have a number of thoughts. The first thought is that, you know, as I think about narrative theories and look through the Norton's book of narrative theory and looking at these different approaches, taking a feminist to look at deconstructing stories is a very critical branch of understanding stories. And it reminds me of a virtual reality story that was called Gnomes and Goblins that I had a chance to experience and show to you. And there was something about this community of gnomes where they were trying to take the androgynous approach of showing all of these characters without having a clear gender, but they were all clearly coded as male presenting. There wasn't any female presenting characters representing this entire community at all. And so it felt like an erasure of the feminine or erasure of not having any representation in this with on the surface saying that they were trying to take a kind of a non-binary androgynous approach, but end up being way more skewed to just have everything be masculine. And so I remember us talking about this experience and how you had such a visceral reaction to it that I was not picking up on. And so I am surrendering to the possibility that there are things that I'm not picking up on. But all that said, I think that part of our intention here is to unpack the archetypal dynamics of the story. And for me, when I watch this story, it feels like very much a fire element where it's like an action film. You don't know if they're going to live or die. And I feel like the potentiality of that 8th house of death feels like you're on the brink of this as they're going on what could be described as these 9th house adventures where they're going to the top of these very tall buildings in this kind of long distance journey in a way. And at the heart of it, it is this tension between going on these adventures and their own relationships. So this more 7th house expression of them as a couple and expressing their own individual identities, but also coming together and collaborating. So they're not only lovers, but they're also business partners as they are co-creating and making these selfies on the top of the world in the process of the rooftopping. And so there's that element. And then for me, there's also very much a 5th house expression of their creativity. This is an art form. Ivan's very quick to say that he was deeply inspired to see how much Angela was taking this 9th house expression and turning it more into a 5th house, creative self-expression that she was able to transform this into. And you have the other dimensions of, like, it's their business. And so they're trying to figure out this pathless path of how do you become a professional rooftopper when there's no roadmap for how they do that. So a lot of the film is also having them try to figure out how to do this, especially in the context of the war in Ukraine from Russia, which then being from Russia meant that there was all of these sanctions put onto them, meaning that they had to find new innovative and creative ways to be able to make a living. So they end up turning to cryptocurrency as an example. But for me, when I think about this film, I think one of the primary significations is Mars. And so one of the top significations of Mars is that it's rash. And that's from Lee Lehman has a book of rulerships that she published in 1992, which does a really comprehensive aggregating of lots of different traditional medieval Renaissance authors of looking at some of the primary significations of both the planets, houses and signs. So rash has got 6 different citations from different authors over time. I wanted to also just read this section from Richard Tarnas from Cosmos and Psyche where he says that “Mars is the principle of energetic force, the impulse and capacity to assert, to act and move energetically and forcefully, to have an impact, to press forward and against, to defend and offend, to act with sharpness and ardor, the tendency to experience aggressiveness, anger, conflict, harm, violence, forceful physical energy, to be combative, competitive, courageous, vigorous, Ares, the god of war”. So a lot of those significations, I feel like this whole venture of rooftopping is very much a Mars activity. And we don't have Ivan's birthday, but we do have Angela's birthday. We don't have the birth time, but she's born on June 24th, 1993. And on that day, there's a pretty close opposition between Mars at zero degrees Virgo and Saturn at zero degrees of Pisces. So we have this Mars opposition to Saturn, which to me, I feel like there's this primary signature of this film with this Mars energy in it. And having this opposition to Saturn is sort of like the limits and boundaries. And so, so much of what she's doing is transcending the normal limits and boundaries of what you would expect for people to want to do - you know, to go to these dangerous tops of these buildings to do these acrobatic acts. So, Yeah, those are some of my reactions as I start to think about this film from the different primary archetypal signatures, but I'd love to hear some of your thoughts.
[00:19:40.117] Wonder Bright: Well, I need to start by saying that when I am providing a feminist critique, I actually am talking about the archetypes, especially if we're talking about Venus. A major point for me of examining astrological signatures from the point of view of a woman born in 1970 versus a man born two to three thousand years ago is that I have some ideas about what Venus might mean that are not necessarily going to be consistent with the tradition at all. And yes, of course, I'm resting on the feminist critique that I grew up with and that I continue to engage with. But that feminist critique is actually altering the way that I practice astrology and how I think about these archetypes. It's actually really, really important, especially when we're looking at a film that is so cleanly structured around the expressions of Mars and Venus to have that conversation, because that conversation is written on women's bodies and on women presenting bodies in a way that is really quite dangerous and denies people their own experience of having any autonomy. And it's especially complicated because oftentimes in order to meet the approval of the world, we will present the way that we're going to be most rewarded for. And if you're a young, white, attractive woman, well, there is a really clear path towards one of the few powers that are allotted women in our culture. So I don't think that I'm not talking about the archetypes when I talk about this. And it's not just that we have a straight man and a straight woman in a classic love story that brings it out to being Mars and Venus. As you point out, this film is very martial. They are risking their lives. It is riveting. It’s - I don't know if I would necessarily say it's rash because something that is so provocative about both Angela and Ivan is that they're very considered people. Like, I totally trust these two young people to do this thing that in the hands of less conscientious and intentional people would be completely rash and I'm not quite sure how to put this exactly. It's just that both Ivan and Angela seem to be really - they seem to really love life. So they're risking of their own lives in the pursuit of living their lives more fully, which is such an exalted way of thinking about Mars to my mind. You know, it's like they're really clear that they don't want to die. They love being alive. And actually doing this work is what makes them love it the most. And that makes them very compelling protagonists and a joy to watch and experience. And the very reason that we're even having this conversation is because Angela creates beautiful pictures. And she does it out of stillness. She does it out of creating lines that no one has seen before. This is a very Venusian tale. As much as it's Mars, it's about creating pictures, beautiful pictures, not just pictures that detail a brave exploit, but pictures that would not exist if it weren't for the artistry in this young woman and this young man and their pursuit of creating that artistry. It's a very Venusian tale in that way. And, when we look at Angela's chart, even though we just have the day, it's notable that not only is Mars prominently featured being opposite Saturn, but Venus is in Taurus, which is a sign that it rules. And Taurus is also a fixed sign. So planets have the nature of being stubborn and slow when they're in Taurus and very embodied. Like Taurus is a sign that typically we ascribe to people who love food, who love sensuality, who are happy to slow down and like have like a quiet moment or to really enjoy food with friends and the sensual experiences in life. So Angela's chart is marked by a couple of things, but that Venus is just as important as the Mars. And importantly, her Saturn is at zero degrees Pisces, which exalts Venus. So there's another feature there where we can see that and Saturn itself is responsible for slowing things down. So when we have Saturn opposing Mars, there is this clear sense that Saturn is going to slow down the effects of Mars. Mars is generally considered to be very quick and very fast. Like you said, there's this fiery energetic quality of this film. And, in fact, I think at one point towards the end, Ivan is very concerned about Angela because he describes her as being so fiery, which is so interesting because we don't have a lot of fire in her chart from the day of birth. So she seems like she very likely has a fire sign rising, but we'll never know.
[00:25:28.149] Kent Bye: Or maybe even a Leo moon, but we don't know the exact time, so it could be... So we can't know.
[00:25:33.851] Wonder Bright: Likely, she could have a Leo moon for sure. So she definitely has a fiery element to her, but the other planets are not in fire signs. And in fact, something really notable about her chart is that all of the trans-Saturnian planets are retrograde. Saturn's retrograde, Uranus's retrograde, Neptune's retrograde, Pluto's retrograde. And in addition to that, Saturn has just slowed to its retrograde station two weeks before she's born. And one week after she's born, her Mercury goes retrograde. And her Mercury is opposite Uranus and Neptune, which are fairly closely conjunct the day of her birth. So there are multiple instances in her chart of things slowing, of things being slow. When planets are retrograde, they're slow. When a planet stations retrograde, as her Saturn did two weeks prior to birth, it's especially slow. So there's this quality of Angela's chart that has to do with slowing things down, which is so beautifully expressed through these incredible acrobatic poses that she makes. I mean, I cannot recommend this film highly enough because the virtuosity of this young woman and the powerful experience of connection and mutual trust that occurs between she and Ivan is so moving. I have my quibbles about the narrative that is given to us around that. But there's just no denying the physical expression of these two people. And it is just marvelous and exciting and dynamic and such a full throated expression of Mars and Venus however, you want to define those things, that it is just an undeniable joy to witness.
[00:27:35.151] Kent Bye: I did want to mention two things. One is that if you were to ask me to define rash, I don't know if I could so I had to look it up. I know what it is. Wonder Bright: Excellent. What does it say? Kent Bye: It says displaying or proceeding from a lack of careful consideration of the possible consequences of an action. Now, they're going up on top of a building where they could die. So that, for most people, would be a very rash action because the possible consequence is death. Now, the fact that Ivan is very concerned with safety precautions, and, by the end of the film, he is actually encouraging Angela to stop because he's so worried that what they're doing is going to lead to death, and they've got the more saturnine precautions. It reminds me of a film about Alex Hannold called Free Solo. So he's basically climbing up the side of these mountains without any safety ropes or anything else like that. So this feels like in a similar vein where you're on the brink of death. And just like those circus performers that are featured briefly in this film, you know, have injuries due to the nature of their work. It just feels like this is, of all the different professions that are out there, I would classify this as a rash profession because it's like you have to put your life in peril in order to do it.
[00:28:49.908] Wonder Bright: I would agree with that. However, I would make the caveat that the reason Ivan and Angela are so unique in their field is because they themselves, although they're doing this very risky endeavor, they themselves approach it in a way that is not rash. So the profession may be rash, but they do not approach it rashly. On the contrary, they approach it with real intent and real dedication to making sure it's as safe as it possibly could be, which obviously is not very safe. But this is why I took issue with that as a description of them to begin with. because the profession may be rash in a general kind of way. But just because somebody can be very Mars doesn't mean they're operating in, like, I would say that rash is like one of the lesser forms of Mars. That's one of the ways in which Mars might behave that doesn't necessarily get what it wants. But I don't think that phrase actually applies to these two.
[00:29:51.625] Kent Bye: Yeah, yeah, that's a fair point. And I think that that signification is coming from traditional ancient Renaissance astrologers, and it was one of the top ones. And as I was looking for the significations, I was like, Okay, well, this fits. And I actually made that before we actually watched the film, that was my prediction, just by reading through the description. and trying to figure out what would be the primary planetary signification of a film like this, and I picked Mars, and it seemed to be a very Martian experience. I did want to read through this description of Venus from Richard Tarnas, because you talked about how this film is this juxtaposition between Mars and Venus, and I wanted to just give Venus her due, because it... Wonder Bright: Their due. Kent Bye: Their due, yeah. The title of the film is Skywalker's a love story, so “Venus is the principle of desire, love, beauty, value. The impulse and capacity to attract and be attracted to love and be loved, to seek and create beauty and harmony, to engage in social and romantic relations, sensuous pleasure, artistic and aesthetic experience, the principle of Eros, and the beautiful Aphrodite, the Goddess of Love”. That was a passage from Richard Tarnas's Cosmos and Psyche. So, yeah, as we start to think about Skywalkers: A Love Story in the context of a remedial measure, who would you prescribe this film to?
[00:31:16.980] Wonder Bright: Well, I would prescribe this film to anyone who's interested in offering a feminist critique of Venus and Mars, and who would be willing to engage with me and educate me, hopefully, on their ideas and how they experienced it. I think this film plays with those sort of gender sexual binaries in ways that are really intriguing to me and maybe not so obvious on the surface, although some of them are very obvious on the surface. We have a woman slash Venus in a Mars slash masculine profession, and she, Venus, is performing artistic expressions of extraordinary beauty. Venus, again, But she's doing it in what any person who has any understanding of astrological signatures would describe as a Mars profession. So on the surface of it, it's already playing with all of those things. And then in addition to that, she's doing that partnered with this lovely man who is very Marsy himself. And yet his attention to her and his desire to work with her and to teach her what he has to teach, but also to learn from her is also a very Venusian expression. And yeah, so there's ways in which this film plays with gender norms, even on the surface of it. And then the other themes that I've been at pains to try and express, and I hope some people out there understand where I'm coming from or will have their own insight to fill in around what I'm looking at in terms of how Venusian bodies are often projected upon and unable to tell their own stories directly first person. I'm just curious if anybody else might see those things in this film and have their own curiosities. I just I want to know what people think.
[00:33:25.498] Kent Bye: Yeah, one other archetype I just wanted to throw out there and shout out is the Uranus-Neptune conjunction that is very tight in our chart. It's opposite that Mercury, like you said, and this is more of a generational signature. So a lot of people that are born from like 1988 to 1997 with the Tarnassian orbs, it's probably even larger, but it's such a tight conjunction and Uranus is kind of like this surprising, shocking transcending of the boundaries, this liberation force, the Promethean nature, as Tarnas talks about. And Neptune is a lot about this dissolving of the boundaries and got this unity consciousness in a way that is trying to transcend into like the more idealized realm, but also it has this association with film and kind of like a dissociative aspect to it. And so having those two together, right along that time and when she was born in 1993, you have the onset of the World Wide Web coming into being. So you have this kind of shift from like a global communications network that is able to send images and videos around the world. And I feel like there's a part of her profession of being in social media where that's an especially strong aspect of the stuff that they do goes viral and people around the world can instantaneously see what they've been able to do, but I just wanted to call out that signature because it's something that's very prominent in this film as well especially when you think about the global communications context that is so much a part of why they're able to do what they're doing.
[00:34:59.179] Wonder Bright: Yeah, great point. And this film would also be very good or useful for people who are interested in retrograde signatures, because Angela Nicolaou has four planets retrograde: Saturn, and all the planets after it, Uranus, Neptune and Pluto. And also her Mercury goes retrograde a week after she's born. So there's an element of like standing still, making things slow down. And it's so physically embodied in this film. So those retrograde planets really speak to Angela's ability to sort of like halt time almost. You know, it's probably notable for anybody born in July of 1993 that they have that many planets retrograde. This is a great film to watch to kind of get an understanding of what that experience might be, even if you're not dancing on top of the spires of rooftops thousands of feet above our head.
[00:36:02.952] Kent Bye: Yeah, well, when I think about what I want to bear witness to, I think the journey that I was able to go on that was constructed by Jeff Zimbalist, but it wouldn't have been possible without Angela and Ivan putting their lives on the line in order to do this really wild hobby and profession of rooftopping. And the experience of this film is very much an experiential film in a way that it feels like a fire element journey, an action film. The synopsis even says that, like a heist movie, because there's a transgressive nature of what they're doing where they're defying the boundaries of what the law is but in order to for the sake of creating art in a way that it's just a beautiful film to watch and I love that statement that Jeff Zimbalist said, is that it's trying to tell the surface level of making sure you don't fall off the building and die, but it's really about having enough trust to be able to fall in love. I feel like that juxtaposition between being on the brink of the 8th house of death while doing this kind of 9th house adventure, but really at the core of it, it's about this 7th house experience of being in partnership and this expression of the Venusian love while they're having this like Mars expression in this 9th house experience of going on these grand adventures. But really at the heart of it, it's the 7th house expression of their relationship, their partnership, their business partnership, their romantic partnership, and all the context of Venus and the way that they're able to fall in love.
[00:37:33.661] Wonder Bright: Yeah, I want to bear witness to the phenomenon that this film exists. And it's an extraordinary testament to what human beings are capable of. Even if you question why we should do things sometimes, we also just have to marvel at what people create and make in this world. And it is an exciting dynamic, engaging journey. And I look forward to following our two protagonists wherever their path takes them in the future.
[00:38:09.048] Kent Bye: Awesome. Well, that's all that we have for today. And I just wanted to thank you for joining us here on The Story All The Way Down podcast. And if you enjoyed the podcast, and please do spread the word tell your friends and consider signing up for our newsletter at storyallthewaydown.com. Thanks listening. Wonder Bright: Thank you.
