This chapter interrogates the subversive power of dark comedy in ecological literature, theory, and activism, arguing that its function extends far beyond entertainment. Drawing on Bakhtin’s carnivalesque, eco-Marxist critique, and posthumanist thought, the analysis reveals how dark comedy strategically unsettles dominant capitalist, colonial, and anthropocentric narratives. Through satire, grotesque exaggeration, and absurd inversions, works such as Atwood’s MaddAddam, Vonnegut’s Galápagos, Bong Joon-ho’s Okja, and Mo Yan’s The Republic of Wine expose the contradictions of consumerism, corporate greenwashing, and technological hubris, rendering environmental crises both accessible and intellectually provocative. Rather than reinforcing fatalism, dark comedy reframes ecological collapse as a site of creative resistance, compelling audiences to engage critically without succumbing to despair. In exploring dark comedy’s rhetorical arsenal, the chapter demonstrates how humor can catalyze reflection, unsettle complacency, and stimulate collective reimagining of ecological futures. By lampooning the follies of late capitalism and dismantling human exceptionalism, dark comedy encourages a shift toward relational ethics and post-anthropocentric consciousness. The grotesque and the absurd become not just aesthetic strategies but tools for exposing the unsustainability and violence embedded in neoliberal and colonial paradigms. At the same time, dark comedy enables emotional resilience, allowing audiences to process ecological grief and anxiety while sustaining engagement with urgent environmental questions. Crucially, the chapter foregrounds the role of dark comedy in environmental justice and activism, especially as wielded by marginalized and Indigenous voices. Satirical interventions by groups such as The Yes Men and Native comedy collectives exemplify how humor can puncture the authority of entrenched institutions, reclaim narrative agency, and spotlight environmental racism and colonial exploitation. Ultimately, the chapter contends that dark comedy is indispensable to contemporary ecological discourse—offering not escape but a vital resource for critique, resistance, and the imaginative construction of more just and sustainable futures.