What kind of a show are you guys putting on here today?

You're not interested in art?

No.

Well, look, we're going to do this thing.

We're going to have a conversation.

Hey, film spotters, Adam here with someone you're definitely used to hearing end of year time on the show.

You maybe have heard him on NPR's pop culture

happy hour read him on the Washington Post read him over at slate you do Chris always contribute

an end of year number one film of the year voicemail. And you have going back to at least

2007. It is Chris Clemick. It's great to have you on. I'm very happy to be back, Adam. I've been doing

the end of year voicemails at least long enough to now be kind of embarrassed that I did one for

midnight in Paris, whatever, whatever year that was. I had forgotten about that and you, you just didn't need to say anything. We all would have forgotten. I'll see myself out. Yeah. I wanted to talk about the Christophers. I wanted to see it. And then I knew I wanted to talk about it. It's one that Josh couldn't get to in Scotland. So I figured if I'm going to talk about it with anybody,

had to be with a Christopher. And here we are. I mean, I might be part of the Christopher's two if

the Christopher's three are from the 90s within the schema of this film. But yes, I have my birth

certificate. I'm a Christopher assigned at birth. Well, let's unpack that a little bit

and explain it for the audience. The Christophers of the title, not a reference to any of the main

characters in the latest from director Steven Soderberg, but a series of paintings by Ian McKellons

washed up, but still quite famous painter, Julian Sclar, cantankerous painter, can we call him that?

The Christopher's one and two made him famous.

The third set started but unfinished, sitting up in the attic, locked away.

And that's where Sclar's wretched children, one of them played by James Gordon, come in.

They hire Michaela Cole's

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