A witness at the Madlanga Commission testifies that events from long ago prevent accurate recall and requests the question be repeated. Two standing uniformed figures point handguns directly at the seated man from either side of the table. The image captures the tension of the ongoing inquiry session dated around mid-June 2026.
On June 19, 2026, a cartoon shows Donald Trump at a podium criticizing U.S. border policies for barring or harassing World Cup players, fans and officials from Iran, Senegal, Morocco, Uzbekistan and Somalia. He asks what FIFA thinks of the situation. In a separate panel Trump urges Gianni to speak out while a figure labeled FIFA kneels at his feet. The image responds to ongoing enforcement actions near the 2026 tournament.
Zapiro's June 2026 cartoon shows an e-troll fleeing a Johannesburg toll plaza with a sack of cash while a grandmother reads the tale to children. The image references ongoing disputes over Gauteng's electronic toll system and missing revenue. The upper panel depicts the toll gantry and city skyline with the troll escaping. The lower panel shows the domestic bedtime scene with the book titled Joburg Tales. The cartoon uses a children's story format to highlight public frustration with the toll collection process.
Gary McCoy's cartoon captures a family moment where a young son hands his mother a lit bomb marked GAS, exclaiming Happy Mother's Day, while she thanks him enthusiastically. The image ties into tags like Mom, mother, Mothers Day, gas, oil, petro, prices, economy, inflation. It highlights the burden of rising energy costs on families, with the explosive gift symbolizing volatile fuel markets. Amid references to Iran, strait of hormuz, Trump, the satire underscores how global tensions affect everyday life, blending holiday cheer with economic reality in a straightforward, exaggerated style typical of political cartoons.
Donald Trump appears in a 2026 editorial image holding a paintbrush and bucket while standing on a blue painted area resembling the Strait of Hormuz. The scene responds to ongoing concerns over Iranian oil routes, potential conflict, and resulting effects on global oil and gas prices. The visual shows the figure applying paint that creates a path leading to restricted movement.
On April 29 2026 Dave Whamond depicts an elderly prophet and an A.I. robot both holding signs warning the end is near. The robot claims the end is nearer than the prophet thinks while two men react that the signs are not good. The image addresses ongoing public debate over artificial intelligence risks and workplace transformation.
A large robot marked AI bends down to a crib containing a small human figure holding a blue device. The image from April 27 2026 illustrates the expanding presence of artificial intelligence next to everyday human life. The composition places the mechanical form above the wooden crib on a plain background.
Marian Kamensky's cartoon depicts Trump holding a jeweled crown over King Charles's head while King Charles extends a crown of thorns, set against US and UK flags. The image, tagged Trump, King Charles, MAGA terror, Doctor Jesus, fascism, shows King Charles in a suit with pants down, standing in a basin on a spiked stool. This setup underscores themes of painful power exchanges, with Trump in a robe-like garment. The dark background and illuminated halo add to the satirical edge, commenting on political alliances and suffering in leadership.
Marian Kamensky nails the absurdity with a Trump caricature striding across the Hormuz waves like some divine emperor, complete with a lamppost halo and a sword in hand. He's dangling a crown of thorns to a bearded prophet type popping up from the depths, all set against a starry night with mountains and a crescent moon. Tags like Iran, Hormuz, Trump, MAGA Terror, Oil War, Fascism scream the point without words. It's classic cartoon exaggeration, poking at ego-driven foreign policy blunders. The red cape flutters, the water splashes—pure visual punch. No subtlety here, just sharp commentary on power plays in troubled waters.
The cartoon depicts a classical building labeled 'World Order' being demolished by a yellow crane's wrecking ball, with debris scattering below and a prominent sign announcing 'Here Comes the Big, Beautiful, Trump Ballroom.' Tags like world order, NATO rift, allies, unreliable, chaos, and tariffs underscore the imagery of disruption. The scene captures a straightforward visual metaphor for upheaval, with broken columns and rubble emphasizing destruction. No characters appear, keeping the focus on structural collapse. Europe and Asia tags suggest broader implications, while the dry humor lies in rebranding ruin as a luxurious ballroom. Oil prices and economy tags tie into the fallout, making it a pointed commentary on global shifts.
Dave Whamond's political cartoon depicts a group of military officials in a war room, gathered around a map with toy ships, discussing a chain of distractions starting from attacking Cuba to cover needless attacks on Iran, which distracted from Venezuela, looping back to Epstein Island. The scene captures the absurdity with one figure pointing at the map and another expressing confusion over 'needlessly attacking.' This satirical illustration uses dry humor to comment on convoluted military strategies and political diversions, incorporating elements like crossed-out 'War' sign replaced by 'Military Operation Room' for added irony. Tags like political satire, war distractions, foreign policy cartoon, Epstein Island reference, military humor, and endless distraction chain emphasize the cartoon's sharp critique.
Rick McKee's cartoon depicts a dimly lit museum where a striped-shirted thief, masked and wielding a hammer, targets a display case with a red gas can marked 'GAS,' overlooking iconic pieces like the Mona Lisa portrait, Venus de Milo statue, a large diamond, Van Gogh-style sunflowers painting, abstract Mondrian-like art, and smaller framed works. An 'EXIT' sign glows above, and a 'no' symbol sign hangs nearby. The scene uses tags such as Trump, war, Iran, gas prices, oil, museum to comment on how escalating fuel costs make gasoline more valuable than cultural treasures, blending humor with commentary on energy crises.
