While Googling “Aristophanes” on the evening of a day like any other in spring 2020 during the Covid-19 crisis, I stumbled upon a 25-year-old Taiwanese rapper, Pan Wei Ju (???), who had taken the name of the ancient Greek play-wright after seeing him in a dream. An online reviewer com-ments: “With feminist subject matter [and] observations about the decay of civilization, as well as sharp political and capital-ist critique, the artist [...] is as much a social commentator as the original Aristophanes.”2 The same commentator adds that, in Pan’s debut album, Humans Become Machines, “the mysterious self-professed literature nerd [...] waxes poetic on every-thing from the patriarchy to individualism to rape culture over a soundscape of sinister, spaced-out beats, hazy synths and sickly-sweet melodies.”3 Pan seems to be different from other satirists who have been adduced as modern comparanda to the ancient Aristophanes because of the slippery, unbound con-tours of their comic personas, their disingenuous, tongue-in-cheek voices.4 This Taiwanese Aristophanes seems, in fact, to be a genuinely, unapologetically, “seriously” progressive feminist voice.5 Her video “Scream,” which was produced in collabora-tion with the Canadian singer Grimes6 and released with both Mandarin and English subtitles, is an anti-rape protest with a graphic description of sexual violence delivered through a voice mixing enraged clamor and defiantly seductive modulations as well as laughter. Instead of undermining the message, the irony, in a sense, enhances it.