Whoopsie’s Dream is the second of Goddard’s films to feature the eponymous Bichon Frisé. The political black comedy again sets as antagonist the talking dog Whoopsie this time as she narrates her recent nightmare to the viewer. Set in part in an idealised 1960’s Britain, her dream reflects her anxieties and prejudices around immigration, queer liberation and the Other. Satirising and literalising racist linguistic tropes that compare the immigrant to the animal (think of swarms, infestations and plagues in the press), the film sees ‘wild’ animals invade the dog’s town, home, and ultimately her body. Wild animals, or more precisely non-pedigree animals-without-use, serve both as a paradigm for anthropocentric contentions and as metaphor for a more human racial politics. Invertebrates overrun the home, parasites infest the body and a host of giant snails blight the suburban environment, or as Whoopsie puts it: “Criminals and deviants come to consume the English garden, to consume the entire world and leave nought but primordial slime in their wake!”.
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