In her book The Promise of Happiness (2010), Sara Ahmed introduced the term feminist killjoy to describe the negative space that feminism occupies in contemporary discourse. “The feminist killjoy” she writes, “‘spoils’ the happiness of others; she is a spoilsport because she refuses to convene, to assemble, or to meet up over happiness. In the thick sociality of everyday spaces, feminists are thus attributed as the origin of the bad feeling, as the ones who ruin the atmosphere…” In this paper, I look at the presence of the feminist killjoy in popular webcomics from the Arab world, focusing specifically on Comicskilljoy. Created by Beirut-based Maia Hel in March 2017, the series is distributed via a Facebook page that has already garnered more than 17,000 likes, usually receiving hundreds of shares for each post. Hel repurposes pop art images found on the internet—often featuring variations of the melodramatic “damsel in distress” theme—and superimposes them with feminist messages in Arabic. Comicskilljoy addresses ongoing and pressing social issues in the Arab world, both in Lebanon and beyond, that affect the everyday realities of women: toxic masculinity, patriarchy, sexism, colorism, microaggressions, harassment, and even poor road infrastructures in major cities such as Beirut and Cairo. Recent posts respond to the social media campaign #metoo, and the controversial events in Egypt following Mashrou‘ Laila’s concert where several concert goers were arrested for carrying LGBT symbols. By imbuing the images with new meanings, Elhelou gestures towards the killjoy’s ability to “to make room for possibility, for chance.” In a description of her work Hel writes that the “comics aim to expel from my body the patriarchal venom I am injected with everyday.” I seek to examine Comicskilljoy as a case of “digital dissidence” by tracing reactions and sharing patterns, and exploring how its circulation opens up meaningful spaces of encounter and exchange across regional boundaries. A close-reading of this project will also allow me to consider a range of broader questions: How do social media platforms create space for public protest? In what ways has the rise of comics, graphic novels and other visual means of expression following the popular uprisings intersected with ongoing feminist issues? What are the measures of effectiveness concerning feminist meme production and political cartoons? How can popular culture and humor function as a form of political resistance against heteronormative and hegemonic structures in the Arab world?