Trevor Pierce is a larger than life character who insists that he is Cupid, the Roman god of love. He claims that he has been sent to New York City by Zeus to bring 100 romantically challenged couples together before being allowed to return to Mt. Olympus. His persistence eventually lands him in a mental institution. Three months later, Trevor is found to be harmless to himself and others and is released -- but under certain conditions. Placed under the care of psychiatrist and self-help author Dr. Claire McCrae, he must attend her singles group therapy sessions on a regular basis so that she can monitor his progress. Trevor returns to his rented room upstairs from the struggling Tres Equis Cantina, owned by Felix Araiza and his sister, Lita. In exchange for rent, Trevor becomes a bartender and creates an atmosphere for singles looking for lasting love. His ideas, such as half-price margarita nights and mariachi karaoke duets, could help him bring couples together and ultimately take him closer to the day that he gets to return to Mt. Olympus. No one believes Trevor's story, but everyone finds him to be quite charming. Although he possesses a great knowledge of Greek mythology, Claire finds that Trevor constantly interferes and contradicts her when it comes to her pragmatic style of helping lonely hearts find their soul mates. In true love, Claire believes it's all about friendship and mutual respect; for Trevor, heat and passion conquer all. Only time will tell who will win this battle for love.
Runtime: 60 minutes
Cupid - Cupid and Psyche - Netflix
Cupid and Psyche is a story originally from Metamorphoses (also called The Golden Ass), written in the 2nd century AD by Lucius Apuleius Madaurensis (or Platonicus). It concerns the overcoming of obstacles to the love between Psyche (, Greek: Ψυχή [pʰsyː.kʰɛ᷄ː], “Soul” or “Breath of Life”) and Cupid (Latin Cupido, “Desire”) or Amor (“Love”, Greek Eros ’′Ερως), and their ultimate union in a sacred marriage. Although the only extended narrative from antiquity is that of Apuleius, Eros and Psyche appear in Greek art as early as the 4th century BC. The story's Neoplatonic elements and allusions to mystery religions accommodate multiple interpretations, and it has been analyzed as an allegory and in light of folktale, Märchen or fairy tale, and myth. Since the rediscovery of Apuleius's novel in the Renaissance, the reception of Cupid and Psyche in the classical tradition has been extensive. The story has been retold in poetry, drama, and opera, and depicted widely in painting, sculpture, and even wallpaper. Psyche's Roman name through direct translation is Anima.
Cupid - Classical tradition - Netflix
Apuleius's novel was among the ancient texts that made the crucial transition from roll to codex form when it was edited at the end of the late 4th century. It was known to Latin writers such as Augustine of Hippo, Macrobius, Sidonius Apollinaris, Martianus Capella, and Fulgentius, but toward the end of the 6th century lapsed into obscurity and survived what was formerly known as the “Dark Ages” through perhaps a single manuscript. The Metamorphoses remained unknown in the 13th century, but copies had begun to circulate in the mid-1300s among the early humanists in Florence. Boccaccio's text and interpretation of Cupid and Psyche in his Genealogia deorum gentilium (written in the 1370s and published 1472) was a major impetus to the reception of the tale in the Italian Renaissance and to its dissemination throughout Europe. One of the most popular images from the tale was Psyche's discovery of a naked Cupid sleeping, found in ceramics, stained glass, and frescos. Mannerist painters were intensely drawn to the scene. In England, the Cupid and Psyche theme had its “most lustrous period” from 1566 to 1635, beginning with the first English translation by William Adlington. A fresco cycle for Hill Hall, Essex, was modeled indirectly after that of the Villa Farnesina around 1570, and Thomas Heywood's masque Love's Mistress dramatized the tale to celebrate the wedding of Charles I and Henrietta Maria, who later had her withdrawing chamber decorated with a 22-painting Cupid and Psyche cycle by Jacob Jordaens. The cycle took the divinization of Psyche as the centerpiece of the ceiling, and was a vehicle for the Neoplatonism the queen brought with her from France. The Cupid and Psyche produced by Orazio Gentileschi for the royal couple shows a fully robed Psyche whose compelling interest is psychological, while Cupid is mostly nude.
Another peak of interest in Cupid and Psyche occurred in the Paris of the late 1790s and early 1800s, reflected in a proliferation of opera, ballet, Salon art, deluxe book editions, interior decoration such as clocks and wall paneling, and even hairstyles. In the aftermath of the French Revolution, the myth became a vehicle for the refashioning of the self. In English intellectual and artistic circles around the turn of the 18th and 19th centuries, the fashion for Cupid and Psyche accompanied a fascination for the ancient mystery religions. In writing about the Portland Vase, which was obtained by the British Museum around 1810, Erasmus Darwin speculated that the myth of Cupid and Psyche was part of the Eleusinian cycle. With his interest in natural philosophy, Darwin saw the butterfly as an apt emblem of the soul because it began as an earthbound caterpillar, “died” into the pupal stage, and was then resurrected as a beautiful winged creature.
Cupid - References - Netflix