This chapter focuses on issues of objection and dissent. As well as examining the ways in which the theatre challenged or questioned the war - through works such as Drinkwater’s X=0 (1917) and Malleson’s banned Black ‘Ell (1917) - it considers the theatre’s representation of objectors to the war - through pieces such as Jones’ The Pacifists (1917) and Collins’ revue sketch The Consciensciousless Objector (1916). It contextualises the production of these works in relation to changes in wider attitudes towards the war, as well as considering how playwrights with pacifist leanings were constrained both by the censor and by cultural nationalism. It discusses the contribution of George Bernard Shaw to debates over the war and, as the final chapter in this part of the book, it also links to part III and the discussion of changing attitudes towards the war in the 1920s and 1930s.