on the big screen this week | jordan peele’s ‘nope’
Daniel Kaluuya in Nope, written and directed by Jordan Peele. Image courtesy of IMAX.
In what is now the trifecta of director Jordan Peele’s cinematic universe, Nope is an ode to classic horror laced with humour to break the suspense.Unlike Peele’s previous projects Us and Get Out, Nope does not rework the wheel but its imaginative storyline and unpredictable pacing keeps the 2-hour watch engaging throughout.
Nope followsprofessional horse wrangler OJ Haywood, played by Daniel Kaluuya, whose father dies after a mysterious incident on the family ranch. What follows is a ghostbuster-esque endeavour to defeat and capture video footage of a UFO that has been menacing the ranch, a money grab idea suggested by OJ’s boisterous sister Emerald Haywood played by Keke Palmer. Her fiery energy becomes a balancing contrast to Kaluuya’s quiet rage on screen.
Each character’s drive to profit from catching a real extraterrestrial object on camera reflects our obsession with profit over privacy. After all, Nope is ultimately a film about exploitation. Namely, the exploitation of cultural heritage and animals for entertainment. The movie is split into chapters named after various horses who were sold by the Haywood ranch, and the film is told through the lens of Hollywood, from the Western backdrop to a meta-scene showing staff prep a horse called Lucky for the perfect shot on a movie set – a moment that quickly spirals into an unbridled outburst.
Daniel Kaluuya in Nope, written and directed by Jordan Peele. Image courtesy of IMAX.
Animals turn against their exploiters throughout this film and perhaps the theme of vengeance is best explored through the huge UFO organism terrorising the ranch. Rather than cold metal, it’s a living breathing entity that looks similar to the underside of a portobello mushroom. It consumes living things just like humans use and dispose of other species and each other.
The film opens with the Bible verse “I will cast abominable filth upon you, make you vile, and make you a spectacle” and only when people look at the spectacle are they engulfed by it. We never truly learn the motivation behind the ruthless UFO and why it only targets those who cross the Haywood ranch and its neighbours. Our only hint is the movie’s opening story about photographer Eadweard Muybridge’s illustration The Horse in Motion (1877), a set of moving images widely recognised as one of the first motion pictures. We’re told that the Haywoods are descendants of the unnamed jockey featured in the photographs and that he was never credited for his appearance in what is now cinematic history. The UFO could symbolise his unsettled spirit seeking retribution.
Keke Palmer in Nope, written and directed by Jordan Peele. Image courtesy of IMAX.
Throughout the movie the term “nope” is used for comedic effect, making light of the culturally Black instinct to avoid getting involved in dangerous nonsense at any cost. It provides some levity to the dark landscape of the movie since Nope is a lesson in the power of darkness, solitude and silence. Its uncanny aura is brought to life through Hoyte Van Hoytema’s cinematography and memorable shots like the Haywood family home raining with blood, a modern reference to Stanley Kubrick’s 1980 classic The Shining. Although Nope is not nightmare inducing by any stretch, and the fright of the shape shifting UFO lessens the more that we see it, the movie’s moments of suspense do illicit a few jump scares.
There are some intercepting storylines like actor-turned-amusement-ranch-owner Ricky ‘Jupe’ Park (played by Steven Yeung) who witnessed a murderous monkey incident on set as a child. It’s a chilling memory that haunts him via flashbacks throughout the film. We learn that, perhaps in a bid to bury his trauma, Park has a room behind his office dedicated to memorabilia from his TV days.
Steven Yeun in Nope, written and directed by Jordan Peele. Image courtesy of IMAX.
The film also features strong performances from supporting cast members like Michael Wincott, breakthrough actor Brandon Perea, and a comedic cameo from Euphoria’s Barbie Ferreira. The chemistry between siblings OJ and Emerald felt more platonic than familial, and although strong and subtle, Kaluuya’s performance rarely peaked into outright fear. A momentary break of raw emotion would have made the danger and chaos he endured feel more palpable.
Overall, Nope is not Peele’s most memorable work but the pressure to create a groundbreaking, genre-bending project every time is challenging and may not have even been Peele’s intention. It’s a three star movie that should be enjoyed for its visuals and engaging cast but its writing and storyline do not linger in the mind like Peele’s previous work. If you’re expecting to leave Nope with a rare sense of magic that we’ve come to know Peele for, this is not the project. However, Nope does showcase Peele’s impressive versatility as a writer and director.
Left to right: Daniel Kaluuya and Writer/Director/Producer Jordan Peele on the set of NOPE. Image courtesy of IMAX.
coat. Jonathan Simkhai
suit. Antonio Marras
shoes. Santoni
ring. MAOR
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top. RHUDE
shorts. Dsquared2
When Nicholas Duvernay first stepped into the sun-drenched world of ‘The White Lotus’ Season 3, he wasn’t just stepping onto one of television’s most coveted sets — he was stepping into a dream. “I mean… it’s ‘The White Lotus’!” he laughs. “I’ve always been a big fan of the show and of Mike White. Honestly, this is a dream role for any actor.” As Zion Lindsay, the sharp yet endearingly earnest college student with a complicated but tender bond with his mother, Belinda, Duvernay delivers a performance that’s soulful, sly, and deeply human. “You know, as you get older, you start to see your parents as more than just a parent — you start seeing the person,” he says. “That’s what’s so cool here. We get to see Belinda and Zion kind of meeting each other where they are.”
Shot over six transformative months in Thailand, the newest chapter of White’s Emmy-winning satire unpacks privilege, power, and parenthood against a backdrop of spiritual undertones and palm-fringed luxury. Schön! chats with Duvernay about filming, what he’s learned, and more.
Let’s dive in — can you start by introducing your character in ‘The White Lotus’ Season 3, and what initially drew you to the role?
Zion Lindsay is Belinda’s son. He was born in Hawaii, and he’s a business major at the University of Hawaii. He and his mom have a really special relationship. You know, as you get older, you start to see your parents as more than just a parent — you start seeing the person. I think that’s what’s so cool here. We get to see Belinda and Zion kind of meeting each other where they are.
His mom — he walks in on her having sex with Pornchai — and he’s pretty chill about it. They definitely have a unique relationship, and there’s this mutual understanding that they’re both adults now. Over the course of the season, he’s almost able to come to her rescue. He tries to use his negotiation skills — sometimes poor negotiation skills — to help her get what she wants, both in life and in this very specific circumstance.
What drew me to the role? I mean… It’s ‘The White Lotus’! I’ve always been a big fan of the show and of Mike White. Honestly, this is a dream role for any actor. That alone really pulled me in, and then once I saw what I got to do in the season, that just sweetened the pot even more.
Totally agree — Mike White really feels like a genius on every level.
He is! I’ve always said: when you read the scripts, you already know it’s special. But then, when you actually see it in action, it’s on a whole other level. He sees everything from a bird’s eye view. He’s playing chess, and everyone else is playing checkers.
The setting of the show is always like a character in itself. What was it like filming in Thailand, and how did the setting affect your performance?
Oh man — it was beautiful. Maybe one of the most beautiful places I’ve ever been. It’s such a spiritual place, and there are a lot of spiritual undertones in this season. I think I was probably the most relaxed I’ve ever been in my life. You could just feel the energy there — we were getting massages almost every day, waking up with palm trees, the beach, beautiful views, amazing breakfasts, working out…
It was just such a low-stress environment. I mean, sure, the job is high-stakes — but the setting really puts me, and I think a lot of my castmates, at ease. It gave us a real sense of peace at a pivotal moment in our careers.
I interviewed Arnas Fedaravičius too, and he mentioned the natural sounds — like birds in the morning — were real and unforgettable.
Yes! Arnas was my dog in Thailand — we picked up Muay Thai together, worked out every day. I was just telling him the same thing: watching the show again, hearing those birds and sounds, it was almost nostalgic. You kind of experience it all over again. That’s something I love — if I’m ever missing it, I can just rewatch it, hear that very specific bird I’ve never heard anywhere else, and it takes me right back.
I was wondering — were you in Thailand for a shorter time than the rest of the cast? Because your character appears more in the second half.
No, I was actually there the full six months.
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Oh wow — so a lot of downtime in the beginning?
Yeah! As you can imagine, I had a lot of free time. So I just filled it with Muay Thai, working out, and studying.
That sounds like a dream. I’d imagine it’s tough going back to an apartment in L.A. after six months in five-star hotels.
Yeah, it’s a tough crash back to reality every time you finish a job like that. I definitely got used to the good life!
What was the dynamic like with the rest of the cast? Any standout moments from your time on set?
I had a beautiful relationship with everyone — six months together, so many memories. One standout for me was the big negotiation scene with Gary and Belinda. That morning, I had food poisoning — it was awful. I was eating nausea pills all morning, just trying to get through it. It was one of those situations where we only had that mansion for one more day. That was it. We couldn’t push the scene. I had to just tighten up my bootstraps and go for it. In the end, I was really pleased with the performance. I talked to my mom afterward, and she was like, “You couldn’t even tell you were sick.” I was like, “Exactly — that’s the goal!”
You seriously couldn’t tell. Did you approach preparing for this role any differently?
Honestly, no. I kind of approached it the same way I usually do — I just stick really close to the source material. Mike’s writing is so specific and in-depth. You want to dig into it, find everything you can. That original script becomes the bible — it doesn’t change. It’s what it is when you start, and what it is when you finish. He’s super intentional with his words, and there’s so much to find and play with.
What was it like collaborating with Mike White as a director? Did he influence your character’s direction?
He’s an amazing director. Everyone always talks about his writing, which is genius, but as a director, he’s just as incredible. The space he creates is so safe. You can bring in your own ideas, try things out. Then he’ll come in and offer a suggestion, and suddenly you land somewhere you never expected.
With the negotiation scene, I came in thinking it should be this really serious, intense back-and-forth. But Mike came over and said, “Nah, I want you to play it like your character has probably seen The Wolf of Wall Street a few times and now thinks he knows how to negotiate.” That changed the cadence and the energy. It became playful, and I think it worked even better that way. That scene was such a great example of how collaborative he is.
top + belt. AMIRI
trousers. Michael Kors
ring. MAOR
opposite
suit. TONYWACK
shirt. DUNST
tie. Stylist’s Own
ring. MAOR
The show always explores deeper themes — privilege, identity, and power. Did any of those resonate with you personally?
Absolutely. Zion’s relationship with his mom really resonated with me. I’m kind of in that stage of life too, where you stop seeing your mom as just “Mom,” and start seeing her as a person — someone who has her own trauma, struggles, and pain. That’s something I connected deeply with Zion. His empathy, his understanding of what his mom is going through, and that protective instinct to look out for her — that all hit home.
At the end of the day, they’re on the same team. I really feel that in my own life, too.
Also, fans are super passionate about ‘The White Lotus.’ I see posts every day on TikTok and Instagram. What has the fan response been like for you so far? Has it affected you in any way?
You know, the fan response has been interesting — I think this is the biggest season yet. Just in terms of sheer numbers, the cast, the number of episodes… everything. There are a lot of new eyes on the show now, and I think some people might not fully understand what ‘The White Lotus’ is or what it’s offering.
So yeah, maybe there have been some mixed reviews from people who don’t quite get the tone. But a lot of the hardcore fans agree this is the best season — some say it’s Mike’s best work. Specifically with Zion, I think some people got him a little misconstrued. They forget that he’s a business major — he actually knows what he’s doing. He’s really trying to champion his mother.
I’ve seen a lot of comments like, “Zion doesn’t know what he’s doing,” but hey, everyone’s entitled to their opinion. More power to them. The fans are amazing, though — the show wouldn’t be what it is without them.
Before we dive into a few season-specific questions, I wanted to ask — looking ahead, are there particular types of stories or characters you’re eager to take on in the future?
Oh yes! I want to do a fight movie — like a UFC-style film. I want to really take the Muay Thai training I got in Thailand and apply it to something physical, something gritty. I’d love to play a young detective. One of my favourite films of all time is Zodiac. I really love the slow-burn noir feel of a detective story, and I think that would be a great next step for me.
top + belt. AMIRI
trousers. Michael Kors
ring. MAOR
opposite
suit. TONYWACK
shirt. DUNST
tie. Stylist’s Own
ring. MAOR
Speaking of Muay Thai — I got the impression from your posts that you were maybe closer to Walton Goggins, Jon Gries, and Arnas Fedaravičius during the shoot?
Yeah, for sure. Everyone’s schedules were really different, so it was kind of random who you’d hang out with — usually just whoever was off work that day. Arnas and I probably had the most similar schedule, so we got close. I was off maybe 80% of the time, so I had a lot of time to explore, hang out, and go on little adventures with whoever else was around.
Let’s talk about the final episode. Your character parts ways with his mother. Do you think that opens the door for him to return next season — maybe as part of the show’s elite circle?
Yeah, I mean… I don’t know. Obviously, I hope so — that would be amazing. To be part of ‘The White Lotus’ once is a dream. To do it twice? That’s just unreal. Natasha and Jon Gries know what that’s like. It would be a huge blessing. But I have no idea where it could go. Maybe Mexico, South Africa, Brazil… who knows? They’ve got 5 million now, so they can go wherever they want.
Exactly — you’d be one of the rich ones next season.
That’d be nice! I’d be into that.
There are also plenty of rumours about where Season 4 might be set. I know everything is confidential, but what are your hopes for the next location?
I’ve heard the same stuff — a winter season in Switzerland, a snowy location. But the executive producer, Dave Bernad, was like, “Who knows?” He also mentioned Mike doesn’t really like being cold. I get it — if you’re going to spend 6–7 months shooting somewhere, you want to actually enjoy the location, maybe even make it feel like a vacation. Personally, I think South Africa would be really cool. Or somewhere in Africa, or Mexico, or South America. But yeah, if I had to pick one, I’d say South Africa.
Duly noted! Now the fan-favourite theory: what do you think about the ongoing speculation that Jennifer Coolidge’s character could still return somehow?
I don’t know how, but I’m all for it. I’ve heard theories about a prequel — something set before Seasons 1 and 2 — which could be super interesting. People would love to see her back. Or maybe she comes back in the next season as a ghost — haunting Greg and guiding Belinda and Zion through their newfound fortune. I’d watch that!
Honestly, same. Okay, last one — something fans found really interesting behind the scenes. It’s been said that the cast all received the same salary per episode. First off, is that true? Second, what do you think of that approach, especially in terms of fairness and gender equality?
Yeah, it is true. Honestly, I think it’s great. Everyone who signs on knows exactly what they’re getting into. They’re doing it for the opportunity — to work with Mike White and be part of ‘The White Lotus’. Sometimes, as an actor, the jobs you really want to do come with sacrifices. You might not get the kind of pay you’d get on other projects, but that’s okay.
Sometimes you have to give something up to be a part of something special. With ‘The White Lotus’, you know exactly what you’re signing up for.
coat. Les Benjamins
suit. TONYWACK
shirt. DUNST
shoes. HEREU
tie. Stylist’s Own
ring. MAOR
opposite
suit. Dsquared2
top. Giorgio Armani
belt. Vintage
Ahead of the UEFA Women’s EURO in Geneva this summer, Nike revealed the new national football team kits for 2025 with an energetic event in London. Some of the beautiful game’s brightest stars like England’s Lucy Bronze took centre stage at an electrifying showcase that featured a live drum band, roaring fans and a live performance from London rapper Ms Banks. It was a true celebration of where athleticism meets culture and fashion.
Nike has long been at the forefront of championing women in football, and not just their performance on the pitch, but also the stories that got them there. “We have been making women really visible from the very beginning. You can take it all the way back to when we started running to now in football. Whether that’s in the 90s with Mia Hamm, whether that’s Megan Rapinoe and championing her on and off the pitch, to the athletes that we’re working with today,” says Stephanie Ankrah, former Nike VP of EMEA Women’s Brand Marketing on the cultural influence of women in football. “The voice of the athlete is centre to everything we do at Nike,” she adds. Athletes “dream bigger than anyone else. There really is no finish line with them. They’re always pushing to be the best they can be. We do the same so we tend to gravitate towards each other naturally.”
From head to toe, Nike’s mission to invest in women’s football is integrated into every part of the kit design, including German player Klara Bühl’s favourite football boot, the Nike Phantom. “It’s the comfort. You just go in and feel really good,” she says. “It’s cool to see that people are taking care of [women]. When you see players get injured, you study [it] and then you create something that helps women.” With the tools to show up as her best self, Bühl says that she feels great pride to have a platform that inspires women within the sport and beyond. “I’m really proud that we made these steps, that we show who we are, and that we have this opportunity to fill women’s football with such great personalities and values.”
The power of the game to connect and empower people is unmatched, a lesson that Nike’s Ankrah learned early on. “My dad came from Ghana, landed in Wales and the one thing that made him integrate into society was being able to play football,” she tells Schön! “I do believe the power of sport in multiple situations is incredible.” When it comes to women’s football, Ankrah passionately believes in celebrating the dreams of athletes regardless of their background. “I would love to remove [the term] ‘women’ in football and just talk about athletes, and how do we help athletes make their dreams real, regardless of who they are,” she says. “There are so many young girls who are seeing the things that we do and I hope that the barrier that once existed of being a female athlete is removed for them.”
coat. Burberry
shirt + tie. Brooks Brothers
trousers. SANDRO
shoes. Christian Louboutin
belt + braces. Stylist’s own
sunglasses. Ray-Ban
Kelly McCormack moves through creative disciplines like a force of nature, propelled by a relentless curiosity. Beginning her career as an actor and singer, she has expanded her artistry into experimental realms, always seeking forms that can match the scope of her expressive drive. Speaking with us for Schön! 48, dressed in Burberry, she opens up about her latest role as Natasha in Eva Victor’s award-winning ‘Sorry, Baby,’ which sees McCormack diving into the complexities of a hyper-competitive, tightly wound character. “She’s this Anne-of-Green-Gables-cosplaying-Virginia-Woolf-wannabe-horse-girl,” McCormack says of Natasha, a portrayal that balances satire and psychological depth. “I told Eva, ‘I’ll do this part if you let me have extensions that go all the way to my butt.’” At the center of the story is a fraught triangle between two women and a male professor, creating a layered dynamic beneath the comedy.
Despite its sharp humour, ‘Sorry, Baby’ cuts deeply into serious terrain. “They manage to capture how mundane sexual violence is for women,” McCormack explains, “and how a lot of [the] fallout is you connecting with your best friend, and the two of you just talking by rote about what needs to happen next. The fact that Eva was able to capture this tone is ground-breaking.”
McCormack received the ‘Sorry, Baby’ script while completing a master’s degree in Women’s, Gender, and Sexuality Studies at the University of Oxford, where she focused her thesis on male homosocial environments and the unsettling question: “How do men discuss rape when they are alone with themselves?” When academic language failed to contain her emotional response, she turned to art, creating the installation Robes & Latin: Or, How to Get Kicked Out. There, she presented what she calls her “disemboweled feelings and thoughts that came with studying this topic.”
This fluid transition between academic, artistic, and performative modes is core to McCormack’s identity. When one form falls short, she shifts seamlessly to another. Referencing librettist Oscar Hammerstein, she says, “When you can’t say it, you sing it. When you get to the point where you can’t sing it, dance it.” For her, it’s not about versatility — it’s about necessity. “It’s the constant revelation that I cannot use this language to express myself adequately. Then you move to the next, and it just gets heightened, and heightened, and heightened.”
McCormack thrives in constant metamorphosis — writer, director, actor, academic, musician — never staying in one creative skin for long. Her work is not about finality but about discovery. As she puts it, her goal is “to remain a mystery to herself” while she continues to “track the animal within.”
coat. Burberry
shirt + tie. Brooks Brothers
trousers. SANDRO
shoes. Christian Louboutin
belt + braces. Stylist’s own
sunglasses. Ray-Ban
jacket + shirt. Lemaire
trousers. Bluemarble
glasses. Gloria Vanderbilt
tie. Brooks Brothers
belt. Los Angeles Apparel
watch. OMEGA
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shirt. Bluemarble
trousers. An Only Child
glasses. Ray-Ban
tie. Brooks Brothers
watch. OMEGA
jacket. Ralph Lauren @ Paumé Los Angeles
polo + shorts. Polo Ralph Lauren @ Millers Room
shirt + tie. Brooks Brothers
socks. Comme Si
shoes. Our Legacy
ring. Wild West Social Club
coat. Luu Dan
suit. SANDRO
jumper. Helmut Lang @ Paumé Los Angeles
shoes. G.H.BASS
Sorry, Baby will be released in U.S. cinemas this July.
