The following podcast contains explicit language.

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I'm Stephen Metcalfe, and this is the Slate Culture Gab Fest. What's your provenance edition, June? Is that right?

Yeah. I was good. I thought you were seriously asking. I was going to go, Manchester.

I got the papers to do it. But I said provenance the way you would. Yeah, provenance. It's Wednesday, July 14th, 2010. On today's program, we're going to talk about the kids are all right, a new indie comedy darling hit. Jezebel v. The Daily Show. and David Grand from The New Yorker joins us to talk about art and the science of masterpiece authentication.

Julia, I'm so curious to hear what you think of this movie.

The kids are all right. It stars Julianne Moore and Annette Benning as a lesbian couple with two adolescent children, a boy and a girl.

They're both the product of a sperm donor who enters the family's life when the daughter turns 18 and reaches out to him.

The movie is being, Dana Stevens, I should say, who's not here with us, sadly today,

she's stakeding somewhere upstate in New York, said this is the movie we've been waiting for all year.

But the reviews, I think, even take it further.

I mean, people make it sound as though this is a movie we've been waiting for for five years.

I'm really curious.

What did you think of it?

I loved it.

I thought it was great.

I thought it was a great portrait of a marriage.

I'm always someone who prefers a movie about the difficulty of sticking with someone to the bells and whistles of finding someone.

I think those movies are made much more infrequently and they're often much more interesting.

I think it was a great set of performances from Annette Benning in Julian Moore in particular.

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