This chapter tracks the alignment of animality and race in Jordan Peele’s films. It argues that Peele’s distinct mode of political and comic horror is underpinned by an aesthetics of animality. Through the figures of the deer and the rabbit in Get Out and Us, Peele crafts a form of zoological horror that metaphorises blackness as a species of prey: vulnerable and fugitive. In Nope, Peele continues to align his characters with prey animals, but this time he positions them alongside a more literal and archetypical other-figure of the genre: a nonhuman monster, a floating signifier of unthinking whiteness. This essay suggests that Peele’s films can be read as afropessimist allegories in which the prey animal stands as the uncanny double of the racialised subject who, as racialised, is also subject to the horror of white supremacy. Yet it also wants to show how, with Nope’s indeterminate and shapeshifting monster, Peele recontextualises his afropessimist imaginary within the Hollywood culture industry. This aesthetic move, which pointedly undermines the modes of representation and figuration through which the film is narrated, also recasts Peele’s satirical horror form as industry metacommentary.