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		<title>Watch Next</title>
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		<description>Each episode of Watch Next, Dr. Z. Rubi Sanchez Lozoya, scholar of films from the Global South, curates a film to discuss with fascinating thinkers from across disciplines. Join us for lively conversations where our guests’ expertise brings fresh insights and perspectives to the films.  Listen to Watch Next for your next great film recommendation.</description>
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		<copyright>© 2026 Watch Next</copyright>
		<itunes:subtitle>World cinema, in conversation with experts across disciplines.</itunes:subtitle>
		<itunes:author>Watch Next</itunes:author>
		<itunes:summary>Each episode of Watch Next, Dr. Z. Rubi Sanchez Lozoya, scholar of films from the Global South, curates a film to discuss with fascinating thinkers from across disciplines. Join us for lively conversations where our guests’ expertise brings fresh insights and perspectives to the films.  Listen to Watch Next for your next great film recommendation.</itunes:summary>
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		<googleplay:author><![CDATA[Watch Next]]></googleplay:author>
			<googleplay:email>willkurzner@austin.utexas.edu</googleplay:email>			<googleplay:description>Each episode of Watch Next, Dr. Z. Rubi Sanchez Lozoya, scholar of films from the Global South, curates a film to discuss with fascinating thinkers from across disciplines. Join us for lively conversations where our guests’ expertise brings fresh insights and perspectives to the films.  Listen to Watch Next for your next great film recommendation.</googleplay:description>
			<googleplay:explicit>No</googleplay:explicit>
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<item>
	<title>Episode 7 &#8211; The Handmaiden with Jacqueline Avila</title>
	<link>https://podcasts.la.utexas.edu/watchnext/podcast/episode-7-the-handmaiden-with-jacqueline-avila/</link>
	<pubDate>Mon, 25 May 2026 08:00:00 +0000</pubDate>
	<dc:creator><![CDATA[Watch Next]]></dc:creator>
	<guid isPermaLink="false">b4fe2a65-e6a6-56d1-a037-8444ae648ea0</guid>
	<description><![CDATA[<p class="wp-block-paragraph">This film has everything! Beautiful costuming, gorgeous locations, amazing camera work, but also some very adult scenes … and a live octopus. So viewer and listener discretion is advised. This week, Associate Professor of Musicology and Ethnomusicology, Dr. Jacqueline Avila joins us to explore the music and soundscape of the erotic thriller <em>The Handmaiden</em> (Park Chan-wook, 2016). As the film progresses, new layers of secrecy, deeper levels of the house, and new textures in the score, are revealed.&nbsp;</p>



<p class="wp-block-paragraph"></p>



<p class="wp-block-paragraph">Works Discussed:</p>



<p class="wp-block-paragraph"><a href="https://youtu.be/whldChqCsYk?si=1x4JQSkzpifjcQmz"><em>The Handmaiden</em></a> (Park Chan-wook, 2016)</p>



<p class="wp-block-paragraph">“<a href="https://youtu.be/vKlGcPF4lZg?si=XxVynyDTCMypB1st">My Tamako, My Sookee</a>” by Jo Yeong-wook</p>



<p class="wp-block-paragraph"><a href="https://www.britishmuseum.org/collection/object/A_OA-0-109">The Dream of the Fisherman's Wife </a> by Hokusai</p>]]></description>
	<itunes:subtitle><![CDATA[This film has everything! Beautiful costuming, gorgeous locations, amazing camera work, but also some very adult scenes … and a live octopus. So viewer and listener discretion is advised. This week, Associate Professor of Musicology and Ethnomusicology, ]]></itunes:subtitle>
	<content:encoded><![CDATA[<p class="wp-block-paragraph">This film has everything! Beautiful costuming, gorgeous locations, amazing camera work, but also some very adult scenes … and a live octopus. So viewer and listener discretion is advised. This week, Associate Professor of Musicology and Ethnomusicology, Dr. Jacqueline Avila joins us to explore the music and soundscape of the erotic thriller <em>The Handmaiden</em> (Park Chan-wook, 2016). As the film progresses, new layers of secrecy, deeper levels of the house, and new textures in the score, are revealed.&nbsp;</p>



<p class="wp-block-paragraph"></p>



<p class="wp-block-paragraph">Works Discussed:</p>



<p class="wp-block-paragraph"><a href="https://youtu.be/whldChqCsYk?si=1x4JQSkzpifjcQmz"><em>The Handmaiden</em></a> (Park Chan-wook, 2016)</p>



<p class="wp-block-paragraph">“<a href="https://youtu.be/vKlGcPF4lZg?si=XxVynyDTCMypB1st">My Tamako, My Sookee</a>” by Jo Yeong-wook</p>



<p class="wp-block-paragraph"><a href="https://www.britishmuseum.org/collection/object/A_OA-0-109">The Dream of the Fisherman's Wife </a> by Hokusai</p>]]></content:encoded>
	<enclosure url="https://podcasts.la.utexas.edu/watchnext/podcast-download/126/episode-7-the-handmaiden-with-jacqueline-avila.mp3" length="54728178" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[This film has everything! Beautiful costuming, gorgeous locations, amazing camera work, but also some very adult scenes … and a live octopus. So viewer and listener discretion is advised. This week, Associate Professor of Musicology and Ethnomusicology, Dr. Jacqueline Avila joins us to explore the music and soundscape of the erotic thriller The Handmaiden (Park Chan-wook, 2016). As the film progresses, new layers of secrecy, deeper levels of the house, and new textures in the score, are revealed.&nbsp;







Works Discussed:



The Handmaiden (Park Chan-wook, 2016)



“My Tamako, My Sookee” by Jo Yeong-wook



The Dream of the Fisherman's Wife  by Hokusai]]></itunes:summary>
	<itunes:explicit>false</itunes:explicit>
	<itunes:block>no</itunes:block>
	<itunes:duration>00:38:00</itunes:duration>
	<itunes:author><![CDATA[Watch Next]]></itunes:author>	<googleplay:description><![CDATA[This film has everything! Beautiful costuming, gorgeous locations, amazing camera work, but also some very adult scenes … and a live octopus. So viewer and listener discretion is advised. This week, Associate Professor of Musicology and Ethnomusicology, Dr. Jacqueline Avila joins us to explore the music and soundscape of the erotic thriller The Handmaiden (Park Chan-wook, 2016). As the film progresses, new layers of secrecy, deeper levels of the house, and new textures in the score, are revealed.&nbsp;







Works Discussed:



The Handmaiden (Park Chan-wook, 2016)



“My Tamako, My Sookee” by Jo Yeong-wook



The Dream of the Fisherman's Wife  by Hokusai]]></googleplay:description>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
</item>

<item>
	<title>Episode 6 &#8211; Whisper of the Heart with Moctezuma Seth Gonzalez</title>
	<link>https://podcasts.la.utexas.edu/watchnext/podcast/episode-6-whisper-of-the-heart-with-moctezuma-seth-gonzalez/</link>
	<pubDate>Mon, 11 May 2026 08:00:00 +0000</pubDate>
	<dc:creator><![CDATA[Watch Next]]></dc:creator>
	<guid isPermaLink="false">93d03e15-f4ce-5953-8def-52ac8e978c4d</guid>
	<description><![CDATA[<p class="wp-block-paragraph">This week I’ll trade you film talk for some book talk.<em> Whisper of the Heart </em>(Yoshifumi Kondo, 1996) puts us in a cozy mood to reminisce and share origin stories. Antiquarian bookseller, and owner of <a href="https://www.instagram.com/livrabooks/">Livra Books</a>, Moctezuma Seth Gonzalez, talks about his quest to learn more about the people and objects around him, and the stories they carry. It is a story of mysterious jars of black peaches, competing with Turkish booksellers, and reading Descartes at 14.</p>



<p class="wp-block-paragraph">Works Discussed: <em>Whisper of the Heart </em>(Yoshifumi Kondo, 1996)
</p>



<p class="wp-block-paragraph"></p>]]></description>
	<itunes:subtitle><![CDATA[This week I’ll trade you film talk for some book talk. Whisper of the Heart (Yoshifumi Kondo, 1996) puts us in a cozy mood to reminisce and share origin stories. Antiquarian bookseller, and owner of Livra Books, Moctezuma Seth Gonzalez, talks about his q]]></itunes:subtitle>
	<content:encoded><![CDATA[<p class="wp-block-paragraph">This week I’ll trade you film talk for some book talk.<em> Whisper of the Heart </em>(Yoshifumi Kondo, 1996) puts us in a cozy mood to reminisce and share origin stories. Antiquarian bookseller, and owner of <a href="https://www.instagram.com/livrabooks/">Livra Books</a>, Moctezuma Seth Gonzalez, talks about his quest to learn more about the people and objects around him, and the stories they carry. It is a story of mysterious jars of black peaches, competing with Turkish booksellers, and reading Descartes at 14.</p>



<p class="wp-block-paragraph">Works Discussed: <em>Whisper of the Heart </em>(Yoshifumi Kondo, 1996)
</p>



<p class="wp-block-paragraph"></p>]]></content:encoded>
	<enclosure url="https://podcasts.la.utexas.edu/watchnext/podcast-download/122/episode-6-whisper-of-the-heart-with-moctezuma-seth-gonzalez.mp3" length="61671770" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[This week I’ll trade you film talk for some book talk. Whisper of the Heart (Yoshifumi Kondo, 1996) puts us in a cozy mood to reminisce and share origin stories. Antiquarian bookseller, and owner of Livra Books, Moctezuma Seth Gonzalez, talks about his quest to learn more about the people and objects around him, and the stories they carry. It is a story of mysterious jars of black peaches, competing with Turkish booksellers, and reading Descartes at 14.



Works Discussed: Whisper of the Heart (Yoshifumi Kondo, 1996)]]></itunes:summary>
	<itunes:explicit>false</itunes:explicit>
	<itunes:block>no</itunes:block>
	<itunes:duration>00:42:50</itunes:duration>
	<itunes:author><![CDATA[Watch Next]]></itunes:author>	<googleplay:description><![CDATA[This week I’ll trade you film talk for some book talk. Whisper of the Heart (Yoshifumi Kondo, 1996) puts us in a cozy mood to reminisce and share origin stories. Antiquarian bookseller, and owner of Livra Books, Moctezuma Seth Gonzalez, talks about his quest to learn more about the people and objects around him, and the stories they carry. It is a story of mysterious jars of black peaches, competing with Turkish booksellers, and reading Descartes at 14.



Works Discussed: Whisper of the Heart (Yoshifumi Kondo, 1996)]]></googleplay:description>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
</item>

<item>
	<title>Episode 5 &#8211; LSD 2 with Eleni Palis</title>
	<link>https://podcasts.la.utexas.edu/watchnext/podcast/episode-5-lsd-2-with-eleni-palis/</link>
	<pubDate>Mon, 27 Apr 2026 08:00:00 +0000</pubDate>
	<dc:creator><![CDATA[Watch Next]]></dc:creator>
	<guid isPermaLink="false">b985c291-c69f-545e-84aa-74689d62dc21</guid>
	<description><![CDATA[<p class="wp-block-paragraph">When authenticity is marketed like a brand and “reality” is performed for the camera, <em>LSD 2 </em>asks: what happens when we can’t trust what we see? Replicating the visual language of news broadcasts, reality TV, and social media feeds, Dibakar Banerjee’s <em>LSD 2</em> drops us into a reality shaped by deepfakes, AI-generated images, and constant surveillance.&nbsp;</p>



<p class="wp-block-paragraph">In this episode of <em>Watch Next</em>, we’re joined by Dr. Eleni Palis, Associate Professor of Cinema Studies at the University of Tennessee, Knoxville, to unpack these questions and discuss why they feel more urgent than ever. Together, we trace how today’s media landscape echoes ideas filmmakers have been grappling with for decades, from Orson Welles’ <em>Citizen Kane</em> to Akira Kurosawa’s <em>Rashomon</em>. And like them, we look at the past to understand our future.&nbsp;</p>



<p class="wp-block-paragraph"></p>



<p class="wp-block-paragraph">Works Discussed:</p>



<p class="wp-block-paragraph"><em>LSD 2&nbsp; </em>(Dibakar Banerjee, 2024)</p>



<p class="wp-block-paragraph"><em>Citizen Kane </em>(Orson Wells, 1941)</p>



<p class="wp-block-paragraph"><em>Rashomon </em>(Akira Kurosawa, 1951)</p>]]></description>
	<itunes:subtitle><![CDATA[When authenticity is marketed like a brand and “reality” is performed for the camera, LSD 2 asks: what happens when we can’t trust what we see? Replicating the visual language of news broadcasts, reality TV, and social media feeds, Dibakar Banerjee’s LSD]]></itunes:subtitle>
	<content:encoded><![CDATA[<p class="wp-block-paragraph">When authenticity is marketed like a brand and “reality” is performed for the camera, <em>LSD 2 </em>asks: what happens when we can’t trust what we see? Replicating the visual language of news broadcasts, reality TV, and social media feeds, Dibakar Banerjee’s <em>LSD 2</em> drops us into a reality shaped by deepfakes, AI-generated images, and constant surveillance.&nbsp;</p>



<p class="wp-block-paragraph">In this episode of <em>Watch Next</em>, we’re joined by Dr. Eleni Palis, Associate Professor of Cinema Studies at the University of Tennessee, Knoxville, to unpack these questions and discuss why they feel more urgent than ever. Together, we trace how today’s media landscape echoes ideas filmmakers have been grappling with for decades, from Orson Welles’ <em>Citizen Kane</em> to Akira Kurosawa’s <em>Rashomon</em>. And like them, we look at the past to understand our future.&nbsp;</p>



<p class="wp-block-paragraph"></p>



<p class="wp-block-paragraph">Works Discussed:</p>



<p class="wp-block-paragraph"><em>LSD 2&nbsp; </em>(Dibakar Banerjee, 2024)</p>



<p class="wp-block-paragraph"><em>Citizen Kane </em>(Orson Wells, 1941)</p>



<p class="wp-block-paragraph"><em>Rashomon </em>(Akira Kurosawa, 1951)</p>]]></content:encoded>
	<enclosure url="https://podcasts.la.utexas.edu/watchnext/podcast-download/108/episode-5-lsd-2-with-eleni-palis.mp3" length="59067610" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[When authenticity is marketed like a brand and “reality” is performed for the camera, LSD 2 asks: what happens when we can’t trust what we see? Replicating the visual language of news broadcasts, reality TV, and social media feeds, Dibakar Banerjee’s LSD 2 drops us into a reality shaped by deepfakes, AI-generated images, and constant surveillance.&nbsp;



In this episode of Watch Next, we’re joined by Dr. Eleni Palis, Associate Professor of Cinema Studies at the University of Tennessee, Knoxville, to unpack these questions and discuss why they feel more urgent than ever. Together, we trace how today’s media landscape echoes ideas filmmakers have been grappling with for decades, from Orson Welles’ Citizen Kane to Akira Kurosawa’s Rashomon. And like them, we look at the past to understand our future.&nbsp;







Works Discussed:



LSD 2&nbsp; (Dibakar Banerjee, 2024)



Citizen Kane (Orson Wells, 1941)



Rashomon (Akira Kurosawa, 1951)]]></itunes:summary>
	<itunes:explicit>false</itunes:explicit>
	<itunes:block>no</itunes:block>
	<itunes:duration>00:41:01</itunes:duration>
	<itunes:author><![CDATA[Watch Next]]></itunes:author>	<googleplay:description><![CDATA[When authenticity is marketed like a brand and “reality” is performed for the camera, LSD 2 asks: what happens when we can’t trust what we see? Replicating the visual language of news broadcasts, reality TV, and social media feeds, Dibakar Banerjee’s LSD 2 drops us into a reality shaped by deepfakes, AI-generated images, and constant surveillance.&nbsp;



In this episode of Watch Next, we’re joined by Dr. Eleni Palis, Associate Professor of Cinema Studies at the University of Tennessee, Knoxville, to unpack these questions and discuss why they feel more urgent than ever. Together, we trace how today’s media landscape echoes ideas filmmakers have been grappling with for decades, from Orson Welles’ Citizen Kane to Akira Kurosawa’s Rashomon. And like them, we look at the past to understand our future.&nbsp;







Works Discussed:



LSD 2&nbsp; (Dibakar Banerjee, 2024)



Citizen Kane (Orson Wells, 1941)



Rashomon (Akira Kurosawa, 1951)]]></googleplay:description>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
</item>

<item>
	<title>Episode 4 &#8211; Portrait of a Lady on Fire with Deborah Beck</title>
	<link>https://podcasts.la.utexas.edu/watchnext/podcast/episode-4-portrait-of-a-lady-on-fire-with-deborah-beck/</link>
	<pubDate>Mon, 13 Apr 2026 08:00:00 +0000</pubDate>
	<dc:creator><![CDATA[Watch Next]]></dc:creator>
	<guid isPermaLink="false">849b2ba6-0b4a-5763-aead-bc51016c55a8</guid>
	<description><![CDATA[<p class="wp-block-paragraph">Can we escape our fate? Why do we go back to a story we know well? In this episode of <em>Watch Next</em>, we revisit the myth of Orpheus and Eurydice as depicted in Céline Sciama’s Portrait of a Lady on Fire. Professor of Classics Deborah Beck talks to us about our human failings: doubt, temptation, and how the ancient Greeks told stories to understand ourselves and the world around us. It's an old song, an old tale, that we sing again and again.</p>



<p class="wp-block-paragraph"></p>



<p class="wp-block-paragraph">Works Discussed:</p>



<p class="wp-block-paragraph"><em>Portrait of a lady on fire&nbsp; </em>(Céline Sciamma, 2019)Ovid’s <a href="https://ovid.lib.virginia.edu/trans/Ovhome.htm#askline"><em>Metamorphoses</em></a><em>.</em></p>



<p class="wp-block-paragraph"></p>]]></description>
	<itunes:subtitle><![CDATA[Can we escape our fate? Why do we go back to a story we know well? In this episode of Watch Next, we revisit the myth of Orpheus and Eurydice as depicted in Céline Sciama’s Portrait of a Lady on Fire. Professor of Classics Deborah Beck talks to us about ]]></itunes:subtitle>
	<content:encoded><![CDATA[<p class="wp-block-paragraph">Can we escape our fate? Why do we go back to a story we know well? In this episode of <em>Watch Next</em>, we revisit the myth of Orpheus and Eurydice as depicted in Céline Sciama’s Portrait of a Lady on Fire. Professor of Classics Deborah Beck talks to us about our human failings: doubt, temptation, and how the ancient Greeks told stories to understand ourselves and the world around us. It's an old song, an old tale, that we sing again and again.</p>



<p class="wp-block-paragraph"></p>



<p class="wp-block-paragraph">Works Discussed:</p>



<p class="wp-block-paragraph"><em>Portrait of a lady on fire&nbsp; </em>(Céline Sciamma, 2019)Ovid’s <a href="https://ovid.lib.virginia.edu/trans/Ovhome.htm#askline"><em>Metamorphoses</em></a><em>.</em></p>



<p class="wp-block-paragraph"></p>]]></content:encoded>
	<enclosure url="https://podcasts.la.utexas.edu/watchnext/podcast-download/99/episode-4-portrait-of-a-lady-on-fire-with-deborah-beck.mp3" length="56124784" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Can we escape our fate? Why do we go back to a story we know well? In this episode of Watch Next, we revisit the myth of Orpheus and Eurydice as depicted in Céline Sciama’s Portrait of a Lady on Fire. Professor of Classics Deborah Beck talks to us about our human failings: doubt, temptation, and how the ancient Greeks told stories to understand ourselves and the world around us. It's an old song, an old tale, that we sing again and again.







Works Discussed:



Portrait of a lady on fire&nbsp; (Céline Sciamma, 2019)Ovid’s Metamorphoses.]]></itunes:summary>
	<itunes:explicit>false</itunes:explicit>
	<itunes:block>no</itunes:block>
	<itunes:duration>00:38:59</itunes:duration>
	<itunes:author><![CDATA[Watch Next]]></itunes:author>	<googleplay:description><![CDATA[Can we escape our fate? Why do we go back to a story we know well? In this episode of Watch Next, we revisit the myth of Orpheus and Eurydice as depicted in Céline Sciama’s Portrait of a Lady on Fire. Professor of Classics Deborah Beck talks to us about our human failings: doubt, temptation, and how the ancient Greeks told stories to understand ourselves and the world around us. It's an old song, an old tale, that we sing again and again.







Works Discussed:



Portrait of a lady on fire&nbsp; (Céline Sciamma, 2019)Ovid’s Metamorphoses.]]></googleplay:description>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
</item>

<item>
	<title>Episode 3 &#8211; Gully Boy with Yuki Ueda and Koya Edoho-Eket</title>
	<link>https://podcasts.la.utexas.edu/watchnext/podcast/episode-3-gully-boy-with-yuki-euda-and-koya-edoho-eket/</link>
	<pubDate>Mon, 30 Mar 2026 08:00:00 +0000</pubDate>
	<dc:creator><![CDATA[Watch Next]]></dc:creator>
	<guid isPermaLink="false">8ec73bbd-2001-5b24-a132-5e79fa23e416</guid>
	<description><![CDATA[<p class="wp-block-paragraph">From the streets of Mumbai to the royal courts of Hindustan, poetry has always found its voice. What do the rap battles of <em>Gully Boy</em> have in common with the royal qawwali mehfil in <em>Mughal-e-Azam</em>? In this episode of <em>Watch Next</em>, we explore the rhythm and rebellion of <em>Gully Boy</em> with the cohosts of the limited-edition podcast <em>PoeTry</em>, Yuki and Koya.
</p>



<p class="wp-block-paragraph">Works Discussed:</p>



<p class="wp-block-paragraph"><em>Gully Boy </em>(Zoya Akhtar, 2019)</p>



<p class="wp-block-paragraph">“Azadi” by Divine and Dub Sharma <em>Mughal-e-Azam </em>(K. Asif, 1960)</p>



<p class="wp-block-paragraph"></p>]]></description>
	<itunes:subtitle><![CDATA[From the streets of Mumbai to the royal courts of Hindustan, poetry has always found its voice. What do the rap battles of Gully Boy have in common with the royal qawwali mehfil in Mughal-e-Azam? In this episode of Watch Next, we explore the rhythm and r]]></itunes:subtitle>
	<content:encoded><![CDATA[<p class="wp-block-paragraph">From the streets of Mumbai to the royal courts of Hindustan, poetry has always found its voice. What do the rap battles of <em>Gully Boy</em> have in common with the royal qawwali mehfil in <em>Mughal-e-Azam</em>? In this episode of <em>Watch Next</em>, we explore the rhythm and rebellion of <em>Gully Boy</em> with the cohosts of the limited-edition podcast <em>PoeTry</em>, Yuki and Koya.
</p>



<p class="wp-block-paragraph">Works Discussed:</p>



<p class="wp-block-paragraph"><em>Gully Boy </em>(Zoya Akhtar, 2019)</p>



<p class="wp-block-paragraph">“Azadi” by Divine and Dub Sharma <em>Mughal-e-Azam </em>(K. Asif, 1960)</p>



<p class="wp-block-paragraph"></p>]]></content:encoded>
	<enclosure url="https://podcasts.la.utexas.edu/watchnext/podcast-download/84/episode-3-gully-boy-with-yuki-euda-and-koya-edoho-eket.mp3" length="90064626" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[From the streets of Mumbai to the royal courts of Hindustan, poetry has always found its voice. What do the rap battles of Gully Boy have in common with the royal qawwali mehfil in Mughal-e-Azam? In this episode of Watch Next, we explore the rhythm and rebellion of Gully Boy with the cohosts of the limited-edition podcast PoeTry, Yuki and Koya.




Works Discussed:



Gully Boy (Zoya Akhtar, 2019)



“Azadi” by Divine and Dub Sharma Mughal-e-Azam (K. Asif, 1960)]]></itunes:summary>
	<itunes:explicit>false</itunes:explicit>
	<itunes:block>no</itunes:block>
	<itunes:duration>1:02:33</itunes:duration>
	<itunes:author><![CDATA[Watch Next]]></itunes:author>	<googleplay:description><![CDATA[From the streets of Mumbai to the royal courts of Hindustan, poetry has always found its voice. What do the rap battles of Gully Boy have in common with the royal qawwali mehfil in Mughal-e-Azam? In this episode of Watch Next, we explore the rhythm and rebellion of Gully Boy with the cohosts of the limited-edition podcast PoeTry, Yuki and Koya.




Works Discussed:



Gully Boy (Zoya Akhtar, 2019)



“Azadi” by Divine and Dub Sharma Mughal-e-Azam (K. Asif, 1960)]]></googleplay:description>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
</item>

<item>
	<title>Episode 2 &#8211; Battle of Algiers with David Salkowski </title>
	<link>https://podcasts.la.utexas.edu/watchnext/podcast/episode-2-battle-of-algiers-with-david-salkowski/</link>
	<pubDate>Mon, 16 Mar 2026 08:00:00 +0000</pubDate>
	<dc:creator><![CDATA[Watch Next]]></dc:creator>
	<guid isPermaLink="false">6ef78453-a9d0-5784-a2b8-dd510e820bae</guid>
	<description><![CDATA[<p class="wp-block-paragraph">From the rousing sounds that fuel resistance to the elegiac music that reminds us of our shared humanity, in this episode of <em>Watch Next</em> we take a closer look at the music in <em>Battle of Algiers </em>composed by Gillo Pontecorvo and Ennio Morricone. Even when all else is taken away, you still have your voice. As Dr. David Salkowski, Assistant Professor of Musicology at the University of North Florida, explains, the ululating chorus in <em>The Battle of Algiers</em> carries the sound of victory.</p>



<p class="wp-block-paragraph"></p>



<p class="wp-block-paragraph">Works Discussed:</p>



<p class="wp-block-paragraph"><em>Battle of Algiers </em>(Gillo Pontecorvo, 1966)</p>



<p class="wp-block-paragraph">“Street of Tebes” by Ennio Morricone</p>



<p class="wp-block-paragraph">*Correction: The opera referenced in the episode was incorrectly named <em>Madame Bovary</em>. The correct Puccini opera is <em>Madame Butterfly</em>.</p>]]></description>
	<itunes:subtitle><![CDATA[From the rousing sounds that fuel resistance to the elegiac music that reminds us of our shared humanity, in this episode of Watch Next we take a closer look at the music in Battle of Algiers composed by Gillo Pontecorvo and Ennio Morricone. Even when al]]></itunes:subtitle>
	<content:encoded><![CDATA[<p class="wp-block-paragraph">From the rousing sounds that fuel resistance to the elegiac music that reminds us of our shared humanity, in this episode of <em>Watch Next</em> we take a closer look at the music in <em>Battle of Algiers </em>composed by Gillo Pontecorvo and Ennio Morricone. Even when all else is taken away, you still have your voice. As Dr. David Salkowski, Assistant Professor of Musicology at the University of North Florida, explains, the ululating chorus in <em>The Battle of Algiers</em> carries the sound of victory.</p>



<p class="wp-block-paragraph"></p>



<p class="wp-block-paragraph">Works Discussed:</p>



<p class="wp-block-paragraph"><em>Battle of Algiers </em>(Gillo Pontecorvo, 1966)</p>



<p class="wp-block-paragraph">“Street of Tebes” by Ennio Morricone</p>



<p class="wp-block-paragraph">*Correction: The opera referenced in the episode was incorrectly named <em>Madame Bovary</em>. The correct Puccini opera is <em>Madame Butterfly</em>.</p>]]></content:encoded>
	<enclosure url="https://podcasts.la.utexas.edu/watchnext/podcast-download/98/episode-2-battle-of-algiers-with-david-salkowski.mp3" length="48049384" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[From the rousing sounds that fuel resistance to the elegiac music that reminds us of our shared humanity, in this episode of Watch Next we take a closer look at the music in Battle of Algiers composed by Gillo Pontecorvo and Ennio Morricone. Even when all else is taken away, you still have your voice. As Dr. David Salkowski, Assistant Professor of Musicology at the University of North Florida, explains, the ululating chorus in The Battle of Algiers carries the sound of victory.







Works Discussed:



Battle of Algiers (Gillo Pontecorvo, 1966)



“Street of Tebes” by Ennio Morricone



*Correction: The opera referenced in the episode was incorrectly named Madame Bovary. The correct Puccini opera is Madame Butterfly.]]></itunes:summary>
	<itunes:explicit>false</itunes:explicit>
	<itunes:block>no</itunes:block>
	<itunes:duration>00:33:22</itunes:duration>
	<itunes:author><![CDATA[Watch Next]]></itunes:author>	<googleplay:description><![CDATA[From the rousing sounds that fuel resistance to the elegiac music that reminds us of our shared humanity, in this episode of Watch Next we take a closer look at the music in Battle of Algiers composed by Gillo Pontecorvo and Ennio Morricone. Even when all else is taken away, you still have your voice. As Dr. David Salkowski, Assistant Professor of Musicology at the University of North Florida, explains, the ululating chorus in The Battle of Algiers carries the sound of victory.







Works Discussed:



Battle of Algiers (Gillo Pontecorvo, 1966)



“Street of Tebes” by Ennio Morricone



*Correction: The opera referenced in the episode was incorrectly named Madame Bovary. The correct Puccini opera is Madame Butterfly.]]></googleplay:description>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
</item>

<item>
	<title>Episode 1 &#8211; Queen with Brittany Murray</title>
	<link>https://podcasts.la.utexas.edu/watchnext/podcast/episode-1-queen-with-brittany-murray/</link>
	<pubDate>Mon, 02 Mar 2026 08:00:00 +0000</pubDate>
	<dc:creator><![CDATA[Watch Next]]></dc:creator>
	<guid isPermaLink="false">c33324c3-9fd2-5745-91f8-aa44794f28da</guid>
	<description><![CDATA[<p class="wp-block-paragraph">In this episode of <em>Watch Next</em>, we talk with Dr. Brittany Murray, Assistant Professor of French at the University of Tennessee, about the 2014 Bollywood film <em>Queen</em>. The film follows Rani, a 24-year-old homely girl who decides to go on her Paris honeymoon alone after her fiancé calls off the wedding at the last minute. We explore what travel can reveal about ourselves, its potential for self-discovery, and the liberating possibilities of solo journeys. Together, we discuss joy, emancipation, and the meaningful connections we make along the way.
</p>



<p class="wp-block-paragraph">
Works Discussed:</p>



<p class="wp-block-paragraph"><em>Queen </em>(Vikal Bahl, 2014)</p>



<p class="wp-block-paragraph"><a href="https://www.theparisreview.org/blog/2017/11/20/art-monstrous-men/">“What Do We Do with the Art of Monstrous Men?”</a> (Claire Dederer, 2017)
</p>]]></description>
	<itunes:subtitle><![CDATA[In this episode of Watch Next, we talk with Dr. Brittany Murray, Assistant Professor of French at the University of Tennessee, about the 2014 Bollywood film Queen. The film follows Rani, a 24-year-old homely girl who decides to go on her Paris honeymoon ]]></itunes:subtitle>
	<content:encoded><![CDATA[<p class="wp-block-paragraph">In this episode of <em>Watch Next</em>, we talk with Dr. Brittany Murray, Assistant Professor of French at the University of Tennessee, about the 2014 Bollywood film <em>Queen</em>. The film follows Rani, a 24-year-old homely girl who decides to go on her Paris honeymoon alone after her fiancé calls off the wedding at the last minute. We explore what travel can reveal about ourselves, its potential for self-discovery, and the liberating possibilities of solo journeys. Together, we discuss joy, emancipation, and the meaningful connections we make along the way.
</p>



<p class="wp-block-paragraph">
Works Discussed:</p>



<p class="wp-block-paragraph"><em>Queen </em>(Vikal Bahl, 2014)</p>



<p class="wp-block-paragraph"><a href="https://www.theparisreview.org/blog/2017/11/20/art-monstrous-men/">“What Do We Do with the Art of Monstrous Men?”</a> (Claire Dederer, 2017)
</p>]]></content:encoded>
	<enclosure url="https://podcasts.la.utexas.edu/watchnext/podcast-download/70/episode-1-queen-with-brittany-murray.mp3" length="72724426" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[In this episode of Watch Next, we talk with Dr. Brittany Murray, Assistant Professor of French at the University of Tennessee, about the 2014 Bollywood film Queen. The film follows Rani, a 24-year-old homely girl who decides to go on her Paris honeymoon alone after her fiancé calls off the wedding at the last minute. We explore what travel can reveal about ourselves, its potential for self-discovery, and the liberating possibilities of solo journeys. Together, we discuss joy, emancipation, and the meaningful connections we make along the way.





Works Discussed:



Queen (Vikal Bahl, 2014)



“What Do We Do with the Art of Monstrous Men?” (Claire Dederer, 2017)]]></itunes:summary>
	<itunes:explicit>false</itunes:explicit>
	<itunes:block>no</itunes:block>
	<itunes:duration>00:50:30</itunes:duration>
	<itunes:author><![CDATA[Watch Next]]></itunes:author>	<googleplay:description><![CDATA[In this episode of Watch Next, we talk with Dr. Brittany Murray, Assistant Professor of French at the University of Tennessee, about the 2014 Bollywood film Queen. The film follows Rani, a 24-year-old homely girl who decides to go on her Paris honeymoon alone after her fiancé calls off the wedding at the last minute. We explore what travel can reveal about ourselves, its potential for self-discovery, and the liberating possibilities of solo journeys. Together, we discuss joy, emancipation, and the meaningful connections we make along the way.





Works Discussed:



Queen (Vikal Bahl, 2014)



“What Do We Do with the Art of Monstrous Men?” (Claire Dederer, 2017)]]></googleplay:description>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
</item>
	</channel>
</rss>
