Shortly before Get Out made him one of the most sought-after filmmakers in Hollywood, Jordan Peele wrote Keanu, a comedy in which he appeared with his Key & Peele co-star Keegan-Michael Key. After dropping a “never say never” to the idea of a Get Out sequel earlier this week, ComicBook.com’s Chris Killian pressed the filmmaker about the possibility of getting any other sequel news out of him. Peele jokingly called Chris out, chastising him for trying to get a big scoop, but Chris admitted that really, he was just hoping for Keanu 2 news.
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Unfortunately, despite how entertaining Peele appears to find the question, there doesn’t appear to be much to say. Or at least, not much he’s going to say.
“Keanu 2 — that one’s not in the works,” Peele finally said. “No comment, how about that? An official no comment!”
Keanu, while a fun movie, did not generate the same kind of buzz that Get Out or Peele’s subsequent horror and suspense outings have. The last time we can recall anyone asking about a sequel was during a 2017 Reddit AMA, where the filmmaker said, “if we do a Keanu 2, I promise you we will do twice as many deaths as there are in John Wick 2.”
Peele currently has Nope hitting theaters. The film, which has an 85% “fresh” score on the review aggregator Rotten Tomatoes, reunites Peel with Daniel Kaluuya, who is joined by Keke Palmer (Hustlers, Alice) and Oscar nominee Steven Yeun (Minari, Okja) as residents in a lonely gulch of inland California who bear witness to an uncanny and chilling discovery. Nope, which co-stars Michael Wincott (Hitchcock, Westworld) and Brandon Perea (The OA, American Insurrection), is written and directed by Jordan Peele and is produced by Ian Cooper (Us, Candyman) and Jordan Peele for Monkeypaw Productions. The film will be released by Universal Pictures worldwide.
In addition to the full details of the mysterious experience being kept hidden, Nope also replicates how Peele’s previous films come with cultural commentary alongside the abject horrors.
“The part of African-American history that this addresses more than anything is the spectacle-ization of Black people, as well as the erasure of us, from the industry, from many things,” Peele pointed out. “I think in a lot of ways, this film is a response to the Muybridge clip, which was the first series of photographs put in sequential order to create a moving image; and it was a Black man on a horse. We know who Eadweard Muybridge is, the man who created the clip, but we don’t know who this guy on the horse is. He’s the first movie star, the first animal trainer, the first stunt rider ever on film, and no one knows who he is! That erasure is part of what the lead characters in this movie are trying to correct. They’re trying to claim their rightful place as part of the spectacle. And what the film also deals with is the toxic nature of attention and the insidiousness of our human addiction to spectacle.”
