This paper explores the way in which Instagram, a digital photo-sharing platform, affectively constitutes and re-shapes imaginaries of city-spaces in Lebanon. It works from an understanding of Instagram as both a social and public space (Boy & Uitermark, 2016; Hochman & Manovich, 2013), where users can produce, share, edit, and construct experiences that in turn constitute and shape online communities. The use of Instagram as both media infrastructure and practice reshapes the ways people interact with their urban and geographical surroundings, becoming a contested space where sociopolitical, cultural, and identitarian claims to the city are visually reinscribed. The research takes the Instagram page “Live Love Tyre” as the site of study, which curates a cosmopolitan gallery representing the southern Lebanese city, Tyre. The account’s images of blue seas and colorful urbanscapes stand in stark contrast to the city’s offline visual culture, which is overwhelmingly comprised of political-sectarian photos, billboards, and flags of Shi’ite political leaders and parties, as well as images of martyrs. The paper explores Tyre and Instagram as contested spaces, placing them in conversation with one another. It unpacks these visual tensions and their modes of production, exploring how these photographs speak to and/or challenge existing narratives and imaginaries of Tyre—specifically how they deconstruct and reconfigure understandings of the city as a peripheral and abject space. The paper uses a trifold theoretical framework to argue that “Live Love Tyre’s” images engage users on different affective registers, which re-imagine the social, cultural, spatial, and physical boundaries of the abject city-space. It critically unpacks the historical present as an affective experience, employing Lauren Berlant’s (2011) notions of “cruel optimism” and the “good life”; Judith Naeff’s (2018) theory of suspended temporality in postwar Lebanon; and a nuanced understanding of precarity that framed Tyre’s spatial, political, and lived realities. “Live Love Tyre” produces an overall surreal “affectsphere”, shaping visual representations of a “good life” that are simultaneously symptomatic of and in contradiction to experienced precarity in the city and in Lebanon more generally. The paper places the dynamics and implications of this “affectsphere” in relation to the ongoing uprisings in Lebanon, deconstructing the socio-spatial boundaries that exist in digital and offline realms, and unpacking these boundaries’ contested relationship to popular mobilizations in a sectarian nation.