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вЂњI donвЂ™t know why people canвЂ™t let me just make a movieвЂќ, Peele told GQ this week. ItвЂ™s a film that you may finish for the first time and wonder, вЂњWhat did I miss?вЂќ And the answer is either nothing or everything, because the point is reveling in the visceral pleasures of blockbuster-season genre. The best comparison for Peele, in terms of career trajectory, is Kendrick Lamar, who kicked in the door with a note-perfect debut, followed that up with a brilliant, thousand-layer treatise that novelized the rap album, then responded to the accusation that he was a fussy, intellectual headphone rapper by rapping his ass off on a tracksuit and shell-toed, guttural album. Paul Thomas Anderson made There Will Be Blood. ItвЂ™s a problem very successful, pigeonholed artists have been railing against since the beginning of time. So where do you go when youвЂ™ve conquered the world, and the world has bitten your style? In America, and on the internet, we love to build artists up only to tear them down once their novelty has worn off (most recent example: Taika Waititi). The elevator pitch of horror movies that are really about racism or misogyny became eye-roll and groan-inducing. Their directors and studios took his aesthetic and ran it into the ground, making it clear how hard it is to pull off what he accomplished. Meanwhile, the next three years would see a market glutted with films fusing genre fare and social commentary, greenlit in the wake of Get Out (See: Bad Hair, Them, and of course, Antebellum). These works all had commendable aspects, but were critical misfires, lacking PeeleвЂ™s eye and personal touch as they performed Jordan Peele karaoke. Lovecraft as a text to explore the American history of racism, and Nia DaCostaвЂ™s 2021 reboot of Candyman used iconic IP to explore the gentrification of ChicagoвЂ™s Cabrini-Green housing projects. Monkeypaw was behind 2019вЂ™s lackluster Twilight Zone reboot (in which Peele stepped into the shoes of his role model, Serling), while 2020вЂ™s Lovecraft Country on HBO used the horror fiction of H.P. He continued playing in this area as a producer, through his company, Monkeypaw Productions. His blend of thought-provoking horror took off, and spurred many imitators over the past few years.

Peele brought this approach into the modern era, and it proved to be a device perfectly crafted for this moment in American life, in which nostalgia and intellectual genre tinge all popular art, and everything is politics. From the beginning, his influences have been clear: Roman PolanskiвЂ™s RosemaryвЂ™s Baby, Stanley KubrickвЂ™s The Shining, Gene RoddenberryвЂ™s Star Trek, and most of all, Rod SerlingвЂ™s Twilight Zone-classics that used sci-fi and horror as a tool to explain the world through metaphor. Peele didnвЂ™t invent the wheel of sociopolitical horror, but he updated the specs. But it also followed in the footsteps of Get Out as a film that used horror as a lens through which to interrogate larger Important Questions.

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Two years later, he followed up with Us, which pumped the stakes and scale with a dense, knotty movie about class in America, one that went beyond the strictures of race to test the foundations of a country through a complicated mythology that literally separated Jacob RiisвЂ™ halves of society. His first film fused traditional вЂњbody snatcherвЂќ tropes with a commentary on the underlying racism of Obama-era wealthy white liberals who know all the вЂњallyвЂќ lingo. PeeleвЂ™s directorial debut, 2017вЂ™s Get Out, was a $4.5 million dollar miracle that grossed $255 million and garnered four Oscar nominations, winning one for his original screenplay. One could come away from the film reading the title as PeeleвЂ™s message to an audience that may have come expecting more of the same from the auteur. It just may be a signal that he has become tired, or bored with the sociopolitical horror that he (inadvertently?) made a calling card, and an industry unto itself over the past five years. ItвЂ™s вЂњjustвЂќ entertainment: a sumptuous, creepy, inventive monster movie, at once a step up in scale and a reining in of purpose. ItвЂ™s intensely вЂњpopcorn,вЂќ and visually arresting-but, unlike his two previous films, it isnвЂ™t overtly political. But while the filmвЂ™s trailers have made it seem like a natural follow-up to Get Out and Us, his third film marks a major departure.

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His new horror movie is many things: a masterful, atmospheric pressure-cooker a full blown creature-feature and an homage to John Ford and John HustonвЂ™s westerns, with the beautiful vistas of rolling Agua Dulce, California hills serving as its backdrop. This weekend, three years after the release of Us, Jordan Peele returns to the screen-and a greatly changed world-with his latest effort, Nope.

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