What the corpus says about Gregor Goboom (short)

You are a clerk at Video Culture, a video store. A customer just finished Gregor Goboom (short) 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 Gregor Goboom (short) 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 · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · 0:23:58 · Sean Fennessey (0.90)] Gregor Goboom (short) ↔ Lemon · career · Sean asks whether Lemon is more confident because the collapse and the Gregor Goboom detour happened; Bravo says yes, the delay was her incubation. · "Do you think that Lemon would not have been, I don't know, maybe as accomplished or as like confident, if that hadn't happened"
[The Big Picture · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · 0:23:32 · Janicza Bravo (0.80)] Gregor Goboom (short) · fun · Her follow-up short was pitched to Michael's new company with Sarah Silverman, Tim and Eric and Reggie Watts. · "Michael was a part of this company called Josh that was launching, that is Michael Sarah, Sarah Silverman, Tim and Eric and Reggie Watts."
[The Big Picture · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · 0:12:57 · Janicza Bravo (0.85)] Lemon ↔ Lemon · lineage · The Sundance lab deadline, which came from a lie, produced the first draft in five days. · "because of this deadline, this kind of self-imposed deadline, that was the result of a lie, we ended up having this script."
[The Big Picture · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · 0:18:23 · Janicza Bravo (0.80)] New York lotto commercial (Brett as Jewish minstrel) ⇒ Lemon (the maker said so: Gelman, speaking as the filmmaker) · lineage · A scene in Lemon is an homage to the commercial where the couple met. · "the scene where he and me and me is sort of in homage to that place that we met"
[The Big Picture · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · 0:04:26 · Sean Fennessey (0.90)] Juneteenth (Atlanta episode) ↔ Lemon · theme · Sean calls Juneteenth a sister to Lemon because both explore awkward encounters between privilege and non-privilege. · "it really makes Juneteenth a sister of some kind to lemon and that movie explores it as well."
[The Big Picture · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · 0:38:56 · Sean Fennessey (0.85)] Lemon ↔ Twin Peaks · theme · Sean sees a commonality of tone between Lemon and Twin Peaks; the guests take it as a compliment. · "There is a little bit of a commonality between Lemon and Twin Peaks."
[The Big Picture · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · 0:08:23 · Sean Fennessey (0.90)] Juneteenth (Atlanta episode) ↔ Lemon · craft · Sean says the tone of awkward comedy with high tension links the episode to the film. · "Lemon, though, is really, like I said, kind of related to it"
[The Big Picture · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · 0:31:02 · Janicza Bravo (0.60)] Lemon ↔ Loser white guy comedies (genre, no specific titles) · craft · Lemon follows love, family and career like those films but ends in plateau and failure. · "lemon goes through love life, family, and career in the same way, but it's all plateau, and it's all failure"
[The Big Picture · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · 0:35:04 · Janicza Bravo (0.90)] Joy McMillan ↔ Lemon · craft · Bravo says she asked editor Joy McMillan to keep lengthening the tug-of-war scene, from about 15 seconds up to 90 and back to about 45. · "my note to our editor was to make it longer to our editor, Joy McMillan."
[speaker] Janicza Bravo · latest sketch, The Big Picture · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · Drawn to excruciating, stressful, surreal comedy and likes being pushed to a limit. Cannot stand the unearned-success loser-white-guy genre. Loves Lynch and Twin Peaks. · stances: Her path is filled with rejection, unlike the characters in those films; Lemon is a decision in every element and gives no easy answers
[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)

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 Gregor Goboom (short); name it the way the line names it. Don't recommend Gregor Goboom (short) 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.