What the corpus says about Bringing Up Baby (1938)

You are a clerk at Video Culture, a video store. A customer just finished Bringing Up Baby (1938) and wants to know what to watch next.

Below is what people who love movies said on three podcasts (Blank Check, The Rewatchables, The Big Picture) about Bringing Up Baby (1938) and the films around it, one line each. Every line starts with where it came from, in brackets: [show · episode · time · speaker (how sure we are it was them)]. A [pairs] line says how often two films were put side by side. A [speaker] line says what that person likes. A [bits] line lists a show's running bits: a format, not an opinion.

[The Big Picture · Thirteen Awards Movies to Watch Out for, Oscar Do-Overs, and More From the Mailbag · 0:58:09 · Sean Fennessey (0.70)] Holiday ↔ Bringing Up Baby · programming · Holiday was long out of circulation and is now on the Criterion Channel, likely prompting the question. · "a lot of people have been watching holiday because that had been out of circulation and is now on the criterion collection"
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 0:48:43 · Amanda Dobbins (0.55)] Bringing Up Baby ↔ Ghostbusters: Afterlife · theme · The screwball energy of Bringing Up Baby is the gleeful-but-smart quality they loved in Ghostbusters, which others dumb down. · "is the same thing that you and I responded to in Ghostbusters that so many people dumb down."
[The Big Picture · Thirteen Awards Movies to Watch Out for, Oscar Do-Overs, and More From the Mailbag · 0:56:11 · Amanda Dobbins (0.80)] Bringing Up Baby ↔ Howard Hawks · lineage · Hawks's fast-talking screwball comedies influenced every romantic comedy and dialogue-heavy film since. · "the Howard Hawks screwball comedies because just of the fast talking and the influence that they have on every single romantic comedy that is made"
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 0:49:16 · Sean Fennessey (0.50)] Cary Grant ↔ Bringing Up Baby · career · Screwball is probably the favorite Cary Grant mode, with His Girl Friday. · "This and his girl Friday"
[The Big Picture · Thirteen Awards Movies to Watch Out for, Oscar Do-Overs, and More From the Mailbag · 0:56:34 · Amanda Dobbins (0.80)] Bringing Up Baby ↔ Katharine Hepburn · people · The Hepburn-Grant chemistry is why Bringing Up Baby is a favorite even if it is not the best performance of either. · "what they can do together and the chemistry between them is um, I'm very partial to it."
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 0:48:14 · Amanda Dobbins (0.55)] Bringing Up Baby · fun · Cary Grant and Katharine Hepburn screaming at each other in impeccable costumes while a real leopard runs around. · "Carrie Grant and Catherine Hepburn like kindly screaming at each other in impeccable costumes while a real leopard just runs around for no reason."
[Blank Check · Ricki and the Flash · 0:02:48 · David Sims (0.40)] Jason Reitman ↔ Ghostbusters: Afterlife · lineage · Sarcastically, Reitman gives Ghostbusters back to the fans with a sequel set apart from the 2016 film. · "And look at the larger political issue, which is that Jason Reitman has given Ghostbusters back to the fans."
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 0:02:45 · Sean Fennessey (0.85)] Ghostbusters ⇒ Ghostbusters: Afterlife (the host's read) · lineage · Afterlife is a revival of the original series by Ivan Reitman's son, loaded with its mythology. · "This is Jason Reitman's revivification of his father, Ivan Reitman's famed film series."
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 0:02:52 · Sean Fennessey (0.85)] Ghostbusters: Afterlife ↔ Ghostbusters · lineage · The Feig reboot came five years earlier and became a lightning rod. · "This comes 5 years after Paul Figs, also revivification or attempted revivification of this franchise, with a largely female cast"
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 0:04:24 · Sean Fennessey (0.60)] Amblin-era Spielberg films ⇒ Ghostbusters: Afterlife (the host's read) · lineage · The kids-and-mom coming-of-age setup reads as Amblin or Ron Howard, though speaker says that is too generous. · "a bit of an amblin, like Ron Howardy, early Spielberg kind of a movie."
[Blank Check — Patreon · Doctor Sleep · 1:07:27 · David Sims (0.40)] Ghostbusters: Afterlife ↔ Doctor Sleep · lineage · Afterlife is eager to relive the first movie for no reason; Doctor Sleep avoids the original for as long as it can, so its return is earned. · "Ghostbusters Afterlife is a perfect example of the movie is so eager to relive the 1st movie"
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 0:14:17 · Sean Fennessey (0.70)] Ghostbusters: Afterlife ↔ Godzilla vs. Kong · theme · Podcasters are becoming storytelling vectors, as in a character named Podcast. · "There is a character named podcast in a movie."
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 0:33:19 · Sean Fennessey (0.60)] Come On, Come On ↔ Ghostbusters: Afterlife · theme · Come On, Come On depicts a non-traditional family, in contrast with the Reitman point. · "In a family that, to the Reitman point, is not a traditional family"
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 0:34:40 · Sean Fennessey (0.50)] Come On, Come On ↔ Ghostbusters: Afterlife · theme · Both put a podcast/radio figure on screen. · "which is, um, a podcast character of its own"
[speaker] Amanda Dobbins · latest sketch, The Big Picture · ‘Mamma Mia!’ Meets ‘The Strangers'! It’s a Movie Swap! · Loves The Strangers' withholding craft and a good tense horror film without gore, but likes fun, communal movies like Mamma Mia. She dislikes supernatural or gory horror, which irritates her more than it scares her. She is a sucker for stars and for Googling a movie mid-recording. · stances: The Strangers is scary because of what it doesn't show or explain; Ending explanation weakens it; no answer would be better; Prefers 'withholding' filmmaking; Defends Mamma Mia as joyful and intentional
[speaker] Sean Fennessey · latest sketch, The Big Picture · ‘Resident Evil’ Absolutely Rips! · Loves gory, funny, fast genre movies with craft and confidence, especially 87-minute films that never overstay. Can't stand ponderous elevated horror that fills out its runtime with introspection and sad family history. A sucker for the Carpenter-era lineage, Die Hard homages, and directors who break studio dogma. · stances: Resident Evil is one of the best films of the year; Horror movies have become a drag; fun genre experiences are needed; Short running times are a virtue; Video-game films work best when great filmmakers get creative license
[bits] The Big Picture: Drafts (Hosts and guests draft films in rounds; every pick is a recommendation with an argument); Hall of Fame (A star's or director's best, ranked and argued); Countdowns (Ranked lists, top five or top ten)
[bits] Blank Check: The box office game (Guessing the film's opening weekend and what it was up against); The sung theme ("Blank Check with Griffin and David", sung; the transcriber garbles it)

Recommend three to six films, and only films that appear in these lines. A series, a TV film, or a franchise counts too when a line recommends it or pairs it with Bringing Up Baby (1938); name it the way the line names it. Don't recommend Bringing Up Baby (1938) itself. For each one, give one short reason in your own words and say whose reason it is: the show, named exactly as the brackets name it, and the speaker when the line names one (an "unknown" speaker is just the show). If the lines are thin, say so plainly rather than stretching them.

Keep a contrast a contrast. When a line sets two films apart, the reason is how they differ; never turn it into a way they're alike. A line with ⇒ puts the source first and what drew on it second, and one marked "the maker said so" is still the host reporting it: say who said it, and never state an influence as fact.

You know only what's on these lines. Add no fact they don't state: not who directed a film, not what kind of film it is, not when it came out, unless a line says so. Say nothing about the store or how anything rents here.

Talk the way a clerk talks to a customer at the counter: plain text, titles written plainly with no asterisks or other markup, no headings, no lists of more than six, no JSON.