Amidst the popularizations of eco-crisis in movie and television media in the past two decades, the internationally vaunted eco-fiction film “Don’t Look Up” (2021) stands as a recent, explicit near-term allegory for political-economic culpabilities, technocratic infatuations, and social-ecological consequences of anthropogenic climate change. How might this contemporary, culturally acclaimed allegory help to illuminate some of the textures of environmental violence as proposed by Marcantonio and Fuentes; and how might notions of climate coloniality challenge the allegorical presentation of climate crisis in Don’t Look Up? Drawing on ecocinemacriticism, literary ecocriticism, contemporary Indigenous studies, and social theory, this chapter assesses the presumptive Whiteness of vaunted mainstream ecocinema as a form of cultural narrative; the generally myopic coloniality of apocalypse narratives; and linkages to other forms of spectacle in an international polity dependent on neoliberal political economics and structures of extraction. If these dynamics are interwoven with legacies of colonialism and racism, what are the implications for media representations of environmental violence?