The cartoon depicts the Chicago Bean sculpture reflecting numerous ICE agents in formation. A woman stands in the foreground holding a bag. The image responds to immigration enforcement operations active in Chicago around early October 2025.
In a cartoon published September 29 2025 two girls converse in a sandbox about Halloween plans. The child on the right states she wanted to dress as a clown but her parents feared Trump would take it personally. The background includes playground equipment and greenery under a clear sky. The image references ongoing political tensions around the former and potential future president. Artist Christopher Weyant signed the work for the Boston Globe.
Randall Enos captures Donald Trump in a state visit to England, caricatured as King Trump lounging in bed with Melania, donning a massive crown while dismissing a servant's accusation of removing something from King Charles' chambers as 'fake news.' The cartoon cleverly merges Trump's signature phrases with royal pomp, highlighting the absurdity of his denials in a foreign, majestic context. Tags like state visit, King Charles, and fake news underscore the humor in blending American politics with British monarchy, making it a sharp commentary on Trump's larger-than-life persona.
An ICE officer and a government official stand at a home entrance while a resident asks an elderly relative about a great-grandmother's naturalization certificate. The scene occurs on July 1 2025 during heightened immigration enforcement actions. Officials seek documentation that could affect long-term residents.
Tom Janssen's cartoon captures a Trump caricature, complete with red cap, standing beside a Pope figure on a blue globe, both pointing ahead. The speech bubble reads '...WE AMERICANS LEAD THE WORLD..!' This satirical image pokes at American exceptionalism, global leadership, and perhaps the blending of political and religious authority. With dry humor, it illustrates how figures like Trump assert dominance, while the Pope's presence adds a layer of irony to claims of leading the world. The composition is simple, emphasizing the oversized characters atop the planet, symbolizing oversight or control.
Adam Zyglis draws Trump as a massive figure in military uniform topped with a crown, sporting a 'Presidential Medal of Do What I Want' and an absurdly long red tie, looming over a tiny lawyer in a supreme court courtroom. The judge, labeled 'Supreme Court,' holds a gavel while the lawyer pleads, 'Your Dishonor, my client is clearly at war with democracy, so he can invoke the War Powers Act for everything.' This pokes at Trump's potential use of war powers, alien enemies act, MAGA rhetoric, king-like authority, SCOTUS decisions, deportations, and presidential overreach in a direct, exaggerated style that highlights the absurdity.
Dick Wright's cartoon captures the irony of reciprocal tariffs with a massive foot marked 'excessive foreign tariffs' descending on a caricatured Trump, who grimaces while clutching a metallic object. The red label 'Reciprocal TARIFFS' floats nearby, emphasizing the backlash from unfair trade policies. Trade deficits loom large as the foot represents international retaliation, potentially sparking a stock market downturn. In a tariff driven economy, the image satirizes how such measures invite excessive foreign tariffs, risking recession. The composition underscores the self-defeating nature of aggressive trade stances, with Trump's strained expression highlighting the pressure on domestic markets. This piece fits into ongoing debates on global trade imbalances.
The cartoon depicts a massive DOGE figure wielding chainsaws while two seniors labeled Social and Security express concern on a sidewalk. Text on the wall recites an updated version of the 'First they came' poem listing USAID, FBI, NOAA, FEMA and the Department of Education. The seniors reply that a nice man promised to care for them. The image responds to 2025 efforts by the Department of Government Efficiency to reduce federal agencies and spending.
Guy Parsons captures Trump in a cartoon where the former president, with his signature blonde hair and red tie, points to tariff-labeled blobs on a table, saying 'How about that, there it is again.' The scene includes a balding man and a woman with tall pink hair looking on. Tags like Trump, tariff, tax, steel and aluminum, duties, reciprocal, USA, America underscore the satire on trade policy shifts. This piece pokes at inconsistencies in economic approaches, typical of political cartoons that blend humor with commentary on current events.
Pat Bagley's cartoon shows Trump in a gleeful dance pose, arms raised to spell YMCA, standing on a chaotic pile of government department signs like Dept of Education, Social Security, Medicaid, FEMA, FAA, EPA, and Dept of Justice. An elephant in a suit claps along, as a crane labeled DOGE operated by a figure drops a Dept of Thoughts & Prayers building. Musical notes float around, emphasizing the parody of the Village People song. The dark background highlights the satirical demolition scene, with tags pointing to Trump, MAGA, Republicans, Elon Musk, and cuts to health, education, and social programs. This image captures a straightforward visual jab at policy shifts without hidden layers.
On February 4, 2025, John Cole's cartoon portrays Donald Trump as a brain worm emerging from the head of a Republican elephant. The elephant clutches a document noting RFK Jr.'s nomination advanced by the Senate Finance Committee.
On February 3 2025 a cartoon depicts President Trump accusing China of stealing intellectual property during a negotiation. The Chinese representative responds by claiming credit for the wheel and demanding royalties from US car makers. The scene captures ongoing tensions over trade practices and historical claims.
The image shows a rugged wooden cross planted in a pile of stones, with a small green plant emerging from the horizontal beam. A flat rock at the base bears the words I AM. Strong light rays stream down from the upper left, illuminating the scene against a pale blue sky. The composition marks the Easter season with symbols of death and new life. The cross is bound with rope and shows weathered texture. The plant's fresh leaves contrast with the rough wood. This visual appeared on March 28, 2024, near Easter Sunday.
