This chapter introduces the main theoretical standpoints that inform my reading of comedies and comic texts about the post-Mugabe political dispensation in Zimbabwe. Scholars of the nation and the empire such as Benedict Anderson (1983), Homi Bhabha (1994) and Elleke Boehmer (2005) have described nations as imagined communities, narrations, and textual exercises respectively, suggesting that nations are not only geographical expressions, but also rhetorical entities constituted imaginatively through narrative. Nations are narrations but each nation is narrated differently, through different cultural media. In the age of social media, nations are also constituted and counter-narrated through comic performances circulated online. How do comedies and comic texts circulated via social media participate in the narration of the Second Republic in Zimbabwe? To answer this question, I draw on theories of satire and humour, particularly Mikhail Bakhtin’s notion of the carnival to examine how comedies of the post-coup period in Zimbabwe contest official narratives of newness and progress pedaled by President Emmerson Mnangagwa’s regime. I argue that the social media space in Zimbabwe has become a marketplace of jest that contests official narratives and hierarchies of power.