HELLAH HORRAH: THE MYTHOLOGICAL HORROR ORACLE : Nope

Descent: Nope

by Jordan Peele

Tarot Card: The Star — Reversed (Spectacle, Consumption, False Hope)

Nope doesn’t whisper.

It stares back.

This is a film about looking, who looks, who gets looked at, who survives being seen. Peele takes the promise of the Star (hope, guidance, transcendence) and flips it upside down until it becomes a warning: not everything that shines wants you alive.

The ranch sits under an open sky that feels biblical. Vast. Indifferent. A place where myth used to be navigation and is now bait. The horror here isn’t invasion — it’s appetite. The sky doesn’t descend to punish. It consumes because that’s what it does.

Enter Daniel Kaluuya as OJ — a man raised to manage animals, not spectacle. His power is restraint. Silence. Knowing when not to perform. He understands the oldest rule of survival: don’t challenge a predator’s gaze. He is anti-Star energy — grounded, unflashy, refusing to turn survival into content.

Then there’s Keke Palmer as Emerald — charisma incarnate, joy with hustle, the sparkle that knows how to sell the story. She is the Star upright: radiant, resilient, magnetic. And Peele doesn’t punish her for it — he tests whether brightness can exist without being devoured.

And Jupe… whew. Steven Yeun gives us the most devastating lesson in the film. Jupe mistakes survival for mastery. He lived through one spectacle and assumed it meant he could tame the next. That’s the Star reversed in human form — believing attention equals control. Turning trauma into a theme park. Feeding the thing that spared you once and thinking that makes you chosen.

It doesn’t.

The creature — Jean Jacket — isn’t a UFO. It’s an ancient god misread as entertainment. A sky-dweller mistaken for technology because we can’t accept divinity without ownership. This is myth before language. This is Jonah without the sermon. This is Icarus warned and ignored.

The Star reversed asks:

  • What are you chasing that is already eating you?

  • Who profits from being seen?

  • When does hope become hunger?

Nope says the quiet part out loud:

The spectacle doesn’t care if you’re famous.

It doesn’t care if you’re right.

It only cares if you look.

Final Hellah oracle:

Don’t feed what already watches you.

Don’t confuse survival with permission.

Some lights aren’t guides.

They’re lures.

And sometimes the bravest word in the face of the sky is simply

Nope.

— Hellah

Tya Alisa Anthony

Tya Alisa Anthony is an American artist, photographer, writer, and independent curator whose work explores memory, mythology, ancestry, and the quiet ways people leave themselves behind in the objects they touch. For more than twenty years, her practice has existed at the intersection of visual research, education, and cultural storytelling, investigating resilience through the body, the landscape, historical archives, and the natural world.

Working across photography, collage, cyanotype, botanical collections, handmade books, and mixed media, Anthony approaches each body of work as an evolving archive rather than a finished statement. She is drawn to weathered photographs, heirlooms, medicinal plants, folklore, ritual objects, forgotten architecture, and the symbolic language that connects cultures across time. Her work asks how identity is preserved, transformed, and remembered.

Alongside her studio practice, Anthony has spent more than two decades building educational programs, exhibitions, and community-centered initiatives that expand access to the arts. Her leadership has helped shape institutions, mentor emerging artists, develop sustainable systems, and create spaces where creativity becomes a lifelong practice rather than a privilege.

Anthony’s artwork is included in the permanent collections of the Denver Art Museum and the Museum of Contemporary Art Denver’s Octopus Collection. Her work has been exhibited nationally and is held in numerous private collections.

She is currently creating Organic Tarot, a 78-card hand-collaged tarot deck and accompanying memoir that intertwines mythology, autobiography, botanical symbolism, and the archetypal journey of transformation. The project reflects the central thread running throughout her career: that art is not simply something we make—it is a way of understanding ourselves, preserving what matters, and leaving a map for those who come after us.

http://www.tyaanthony.com
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HELLAH HORRAH: Hell No Myth Descent: The Conjuring

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HELLAH HORRAH: THE MYTHOLOGICAL HORROR ORACLE Descent into : Candyman