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The following podcast contains explicit language.

I want to tell you my secret now.

I see dead people.

Silent breathing people!

Leave my sister and my daughter.

Rosberg. Rushberg.

What's in the box?

Hello and welcome to another Slate's spoiler special podcast. I'm Dana Steven, Slate's movie critic, and today we'll be spoiling the new Wes Anderson stop motion animated movie, Isle of Dogs.

Here to talk with me about Isle of Dogs are Slate's culture and tech writer Inku Kang. Hi, Inku. And Slate's culture editor, Forrest Wickman. Hey, Forrest. Hey, Dana. All right, Isle of Dogs. There's a lot to talk about here. This is, I mean, one thing I can definitely say about this movie is it's densely packed with characters, incidents, plot twists, animated details. So we have a lot to spoil. But let's go around really quickly and get a reaction. Yes, no, Forrest, you go first.

I loved this movie. I'm a little worried that I might be sort of made to hate this movie over time. I do think there

was some problems with it. But I think overall my reaction the first time seeing it was, you know,

you used the word dense. I found it kind of overwhelmingly delightful to the extent that I

couldn't wait to go see it again to see all of the sort of jokes and visual touches sort of

colored in in the margins. And also, as with the first time I saw

a Grand Budapest Hotel, I was disturbed by the kind of underlying darkness that lingers under

the whole movie. And when I saw Budapest Hotel the second time, I went from thinking it was a

charming, delightful film to just like weeping uncontrollably in the theater. I'm curious whether that will happen to me the second time I see this movie or whether I will just think, oh, that was a fun and like somewhat questionable movie. And so, but you would say the second time with Grand Budapest, you deepened your appreciation. It continued to be admiration. Yeah. I mean, the first time I saw Budapest Hotel was like, wow, this movie is so dense and feels kind of rushed. And there's like, you know, a nesting doll structure of like four different narrators. And this is like, why is it like this? And then the second time you see it or the second time I saw it, I came to understand it that it was that way because all of the characters were so deeply sad that they were just like rushing past the dark parts that they couldn't, it was like too painful for them to talk about. And that became more clear the second time. And so there are all these dark parts in this movie and I don't know whether it's working with a similar structure or not.

Yeah.

Oh, yeah.

I have a lot to say about that.

But first, I want to know, Ingu, what was your basic reaction walking out?

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