What the corpus says about Yesterday (2019)

You are a clerk at Video Culture, a video store. A customer just finished Yesterday (2019) 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 Yesterday (2019) 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 · The Future of ‘Star Wars,’ Marvel, Pixar, and Disney’s Movie Monopoly. Plus: Our Summer Movie Awards and Paul Downs Colaizzo on ‘Brittany Runs a Marathon’ | The Big Picture · 0:37:50 · Chris Ryan (0.40)] Long Shot ↔ Yesterday · elevator pitch counterexample · Yesterday had a clear pitch and lots of talk, yet did only okay, so the pitch theory is not settled. · "a movie with a great elevet or premise pitch that did not work at all, which is yesterday."
[Blank Check — Patreon · March Madness 2021 Recap - Round 2 · 0:20:06 · Griffin Newman (0.40)] Danny Boyle ↔ Yesterday · programming · Listeners were intrigued by a Yesterday episode. · "people people were very intrigued by the prospect of a yesterday episode."
[The Big Picture · The Future of ‘Star Wars,’ Marvel, Pixar, and Disney’s Movie Monopoly. Plus: Our Summer Movie Awards and Paul Downs Colaizzo on ‘Brittany Runs a Marathon’ | The Big Picture · 0:24:06 · Amanda Dobbins (0.50)] Yesterday ↔ Himesh Patel · people · Patel is a good performance in a bad movie, singing Beatles songs at Wembley. · "to be able to sing Beatles songs in front of Ed Wembley, is like, you know, it was impressive."
[The Big Picture · Emergency Mailbag: The Oscars Are Streaming and Hollywood Is Fighting Over Trolls | The Big Picture · 0:11:00 · Amanda Dobbins (0.50)] Long Shot ↔ The King of Staten Island · theme · Long Shot, an adult non-franchise comedy, made little in theaters because people wanted it on demand, suggesting Staten Island may suit VOD. · "I was thinking about long shot, which is not a Judd Apatau movie, but is in a similar vein, similar, like a comedy for adults, that it's not a franchise."
[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] Chris Ryan · latest sketch, The Rewatchables · ‘Friday the 13th’ · A franchise and genre scholar who likes Jason, the early sequels, and Manhattan; attention to trivia, tropes and critic reception. Treats slashers as a canon with tiers. · stances: Parts 1, 2, 4 and Manhattan are the good ones; The series finds its legs at 4
[speaker] Griffin Newman · latest sketch, Blank Check · The Last Temptation of Christ · Calls Last Temptation his college-era favorite Scorsese; loves Scorsese's smaller 80s and the film's closing transcendence and Gabriel score. Cannot stand fundamentalist outrage at it. A sucker for casting trivia and Tom Cruise-silliness. · stances: Hot take: Last Temptation structurally mirrors New York, New York as a better version; Outrage over the film is stupid; it is respectful to Jesus; Scorsese's smaller 80s work beats his later baroque phases
[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 Yesterday (2019); name it the way the line names it. Don't recommend Yesterday (2019) 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.