Isle Of Dogs Vs. Roseanne – Writing For Political Change

Please note, this podcast was recorded prior to the recent scandals surrounding Roseanne Barr. We have chosen to leave the podcast on our site because we feel it may have information that is valuable to writers. But the analysis was based upon what the show appeared to be after the airing of the pilot. As recent events have shown, rather than taking advantage of her unique opportunity to use her artistic platform to begin a healing for a torn apart America, as I had hoped when recording this podcast, Roseanne has instead used her platform to further fracture us through hate, reminding us of a darker side of what art can do when used in the wrong way. On my podcast I have always tried to separate the art from the artist. But this episode certainly reflects a mistake on my part in failing to note the difference between the real Roseanne and the character she plays on her show.

This week we are going to be talking about two scripts that seem to have nothing in common.  The first is Isle of Dogs by Wes Anderson. And the second is the pilot of the new Roseanne.
Wait, what?
Well keep listening, because as different as they are in every aspect of their execution, their style, their politics, their genre and their format, Isle of Dogs and Roseanne do have one incredibly important thing in common:
They’re both a lesson in the power of movies and TV shows to grapple with real socio-political issues, and make real change in our society.
And what’s so fabulous about both of these scripts is that they do so without sacrificing their political beliefs, without dumbing anything down for their audience, and without compromising their artistic integrity or their commercial or critical success.
Isle of Dogs is a ridiculous movie about a ridiculous concept.
And when I say Isle of Dogs is a ridiculous movie about a ridiculous concept, I’m not referring to the ridiculous concept of a Japan of the near future in which dogs are banished to a mysterious island by a cat loving corrupt leader… or the unlikely story of his adopted child’s flying a stolen airplane to the land of garbage save his beloved pet, Spots.
When I say ridiculous story about a ridiculous concept, I am talking about the concept underneath: the real theme of this movie.
Because this isn’t a movie about dogs. This isn’t a movie about the war between cats and dogs. This isn’t a movie about a closeted cat lover who wants to banish dogs from his corrupt future Japan.
And this is not just a movie the power of the visual image– though Wes Anderson’s approach to Isolating Visual Moments of Action is at once a master class in how to write action in a screenplay, and a complete violation of every rule you thought you knew.
And yes, I can’t help but wax poetic about how Wes Anderson somehow manages to fuse the rules of theatre and film, creating set pieces like a giant stage, and then populating them with oddly poetic images… or how he uses that poetry at once as an homage and a satire of a world that he loves, treating the ridiculous with piety, and the serious with ridiculousness…
But that’s not what the movie is about either.
Isle of Dogs is a movie about racism and politics. In other words, Isle of Dogs is a movie about America.
And it is interesting because Wes Anderson has taken a lot of crap actually for this movie. Some critics feel that Isle of Dogs is guilty of cultural appropriation in its depiction of this future Japan; other critics have argued that having a white exchange student as a savior is degrading to the Japanese characters at the center of the movie, a recreation of the old white savior trope.
And maybe these things are true. Maybe these things would be true if this was a movie about Japan.
But,