Capitalizing on Animality: Monstrosity and Multispecies Relations in Jordan Peele’s Nope (2022)

One amongst many of the defining characteristics of so-called ‘late stage’ capitalism are human-animal relationships that have become acrimonious, hostile, or even monstrous in nature. A foundational premise of monster theory, and one that Jeffrey Jerome Cohen’s seminal 1996 edited collection of the same name suggests, is that the construction of the monster in popular culture is fraught with the boundaries that constitute the society that has spawned them; the monstrous body “exists only to be read” (p. 4). Bringing together the theoretical insights of the Marxist theory of reification, critical animal studies, and monster theory, this article examines the ways in which cinematic depictions of gigantic monstrosity can inform our theorizing of multispecies relationships under capitalism. Specifically, I explore how the tensions between capital and human-animal relationships serve to construct and constitute the multiform monster, Jean Jacket, in Jordan Peele’s 2022 film Nope. Through an examination of the multispecies relationalities that the film portrays, I argue that the figure of Jean Jacket is a monstrous culmination of the reified and therefore, necessarily deferred nature of human-animal relationships under capital. However, Nope’s conclusion alerts us to the radical dereifying potential of multispecies bonds of care and embodied knowledge; systems of resistance that can be forged even within our current capitalist ruins.