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“Just Don’t Look”: Jordan Peele’s ‘Nope’, “Treehouse of Horror” and Fandom in the Internet Age

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horror movies summer nope

“Just don’t look.”

Those three words mean many things to horror fans when put together in a short but sweet sentence. We utter the phrase when watching our favorite movies with someone squeamish. It’s sometimes what we tell ourselves when something gruesome is happening on screen as we play peek-a-boo from behind our fingers. And it’s something we tell those who criticize our love of the genre and don’t understand why we adore it so. If they don’t like it, just don’t look.

Jordan Peele is interested in another context for the phrase. Nope, like a famous “Treehouse of Horror” segment, explores the fact that no matter what is on screen, we, as horror fiends, can’t help ourselves. Without spoiling the movie for those who haven’t seen it, Nope asks us as horror fans and as a society what it will take for us to avert our eyes and look away. We must look. We’re drawn to the spectacle and to the taboo of it all. In the age of the internet, that truism is multiplied by infinity. It’s hard not to look when everything and everyone around us begs us to do so. For some, it’s impossible. And just like in Springfield way back when, Peele’s latest says, when push comes to shove, we are our own worst enemies.

1995’s “Treehouse of Horror VI” featured a segment where advertisements came alive and tortured Springfield’s residents. In some cases, they killed them. It is, after all, The Simpsons’ annual horror episode. Lisa Simpson goes to the agency responsible for the mascots and gets it straight from an executive that the advertising is ineffective if people don’t pay attention. “Attack of the 50 Ft. Eyesores” ends with Lisa and Paul Anka creating a jingle, “Just Don’t Look,” that not only tells the residents what not to do but is an ad that draws their attention away from the monsters terrorizing their city. The metaphor is about as subtle as a sledgehammer to the jaw, but that doesn’t make it any less profound.

We, the viewers, give immense power to the pop culture we consume. It’s not a symbiotic relationship because we provide the spectacle the oxygen it needs. This relationship between viewer and product is the strongest in horror. We are why Freddy, Jason, Michael, and Pennywise have immortality. But we’re also why a franchise like Jeepers Creepers refuses to die despite the surrounding controversy. That’s not a diss to anyone who loves the series or the monster, just the facts. The more people complain about something like Jeepers Creepers Reborn, the more attention they give. And the more attention they offer, the more an enterprising Hollywood producer is liable to churn out as many movies as possible because, today, everything is a spectacle.

And spectacle thrives on intense awareness.

As horror fans, we may lack the ability to turn a blind eye to train wrecks. The desire to be a part of the conversation may be as natural and primal as our need for survival. Nope questions why we refuse to listen to reason when all signs tell us to bounce. Fandom is now a full-contact sport with very few referees and even fewer rules. In general, horror fans are a friendly bunch who believe in “live and let live.” The rotten apples in the bunch are rancid and put all eyes on them as representative of the whole. I don’t know about you, but I don’t remember signing up for anything like that. Conversations become less about celebrating the things we love than tearing down the things we loathe. Or, in worse cases, tearing down the people who enjoy what we don’t or vice versa. Time is one of the most precious things on this planet. We never have enough of it and can never get it back, so spending the little we have focused on movies or television shows we dislike is a choice.

Our entertainment is no longer the chief spectacle in our lives; we are. How we talk about film, how we analyze it, and the form those conversations take sometimes supersede the movie. Nope features several characters who truly believe if they look away, even for a second, they’ll miss something astounding. Whether that means their time on earth is over is irrelevant because what matters is the momentary additional clout. Some even make excuses for constantly tempting fate, just like a lot of us do when engaging in that conversation one more time to complain about that thing we don’t like, all in the name of being heard or seen.

With everything going on, it’s hard not to look.

But because of everything going on, we’d all be better off if we didn’t.

New TV Spot for Jordan Peele's 'Nope' Fully Reveals a UFO! [Video]

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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