Connolly's work invites us to consider the uses of genre and style in contemporary political theory, in particular with regard comedy and tragedy. How does politics look from each of these genres, and what do we gain (and loose) by focusing on one rather than the other? In this essay, I argue that comedy provides overlooked resources for democratic politics, and that political theorists do well by excavating these. This is especially the case given the need for a new political strategy that can embolden our relation to the world, be it human or nonhuman.