MEDIA MONDAY / DAVID HORSEY POLITICAL CARTOONIST PAR EXCELLENT

 

David Horsey is one of America’s most respected editorial cartoonists, known for combining sharp political satire with richly detailed illustration and an often cinematic sense of humor. 

His work has been syndicated widely, appearing in major newspapers including The New York Times, The Washington Post, USA Today, and the Chicago Tribune. A two-time winner of the Pulitzer Prize for Editorial Cartooning, Horsey earned his first Pulitzer in 1999 for cartoons centered on the Clinton-Lewinsky era and won again in 2003 for work critiquing the George W. Bush administration and the Iraq War climate. 

Columbia University Provost Jonathan Cole (left) presents
David Horsey with the 1999 Pulitzer Prize for Editorial
Cartooning.

Born in Evansville, Indiana, in 1951, Horsey moved to Seattle as a child and developed an early fascination with politics and drawing. While attending the University of Washington, he became the first editorial cartoonist ever selected as editor-in-chief of the student newspaper, The Daily, a sign of the influence his visual commentary already carried. 

 Horsey began his professional journalism career as a reporter before joining the Seattle Post-Intelligencer in 1979 as editorial cartoonist. Over the next three decades, he became nationally recognized for cartoons that skewered politicians of every stripe while also examining American culture, media excess, war, and public hypocrisy. His style blends caricature, painterly draftsmanship, and concise writing, often delivering a joke and a political argument simultaneously. 

Beyond cartooning, Horsey has also written opinion columns and published numerous collections of his work. Following the closure of the print edition of the Seattle Post-Intelligencer, Horsey worked for the Los Angeles Times before returning to Seattle, where his cartoons later appeared in The Seattle Times. In recent years he has expanded into fiction writing, publishing his debut novel Beach of Stars in 2025.  Click Here: 

Despite changes in media and politics, Horsey remains part of the distinguished tradition of American editorial cartoonists whose drawings can summarize an era in a single unforgettable image. 

Pulitzer Prize double winner, David Horsey.

A RANDOM SELECTION OF HIS POLITICAL CARTOONS:

SUNDAY REVIEW / ALTERNATIVE ENDING TO KILLING EVE, A BRILLIANT BUT FLAWED BRIT TV SERIES.

OPINION By Thomas Shess, PillartoPost.org--No one who stayed with Killing Eve for four seasons wanted a tidy ending. 

What they got instead was something worse: a reflex. A sudden act of narrative housekeeping that mistook shock for resolution and punishment for meaning. The problem wasn’t simply that Villanelle died. It’s that her death felt like a retreat into convention at the exact moment the story demanded courage. 

After years of moral elasticity, psychological intimacy, and dangerous fascination, the finale snapped back to an old rule: the volatile woman cannot be allowed to live once she finds clarity. 

 That’s not subversive. 

That’s familiar. 

 A better ending doesn’t require sentimentality. 

Religion didn't work.

It requires consequence. The real engine of the series was never just Villanelle’s violence or Eve’s obsession—it was the machinery around them. The handlers. The institutions. The quiet, unaccountable power that creates people like this and then pretends shock when they behave accordingly. 

 Start there. 

 Actor Fiona Shaw as Carolyn Martens was always the most dangerous person in the room. Not because she killed, but because she never needed to. She outsourced everything—risk, loyalty, blood—and maintained the illusion of control. 

So her end should not come in shadow, but in light. A public moment. Her daughter's wedding. A church. The one place she would assume herself untouchable. And then the system fails her. 

A warning shot is fired from the nave.  In the subsequent alarm of that moment, the truth of the series surfaces: alliances were always temporary, and survival was never guaranteed. Eve Polastri and Villanelle, long defined by pursuit and resistance, converge not as opposites but as products of the same design. 

The reckoning is swift, personal, and final. Carolyn, for once, misreads the room. 

 Elsewhere, there is no theater. Konstantin Vasiliev does not get a dramatic exit. He gets what the system gives its liabilities: a quiet removal. A drab courtyard. A brief instruction. A shot. No speeches, no irony—just the end of usefulness. 

His daughter’s fate echoes the same logic. Freelancing has a cost, and the bill always comes due. 

 This is the part the series lost: the understanding that intelligence work is not glamorous, not even tragic. It is procedural. It erases. And then, something rarer. Eve and Villanelle live. Not as a reward. Not as a fantasy. As a complication. 

 They step outside the immediate blast radius of the world that made them, but they do not escape it. 

Picture them far from London, far from Moscow—on a strip of sun and sand in Coronado. A condominium near the water. The illusion of distance. The suggestion of peace. 

 But listen. 

 To the north (Top illustration) Naval Air Station North Island hums with the weight of carriers and flight wings. To the south, Naval Amphibious Base Coronado trains the next generation of Seals in sanctioned violence. 

Overhead, jets cut the sky on their way in, close enough to rattle the air, close enough to remind anyone paying attention that the machine is still there. 

Eve and Villenelle lie nude on the beach covered with towels in the chill of dusk. 

The war seems over for them--except it isn’t. It never is. That’s my alternative: an ending the series avoided. Not death, but persistence. Not closure, but proximity. Not escape, but the uneasy knowledge that the same forces that shaped them are still in motion, just beyond the horizon. One ending shuts the door. The other leaves it open—and lets the noise of the world come through. Then as a closer the faces of the 12 show up while the credits roll ext to the images. 

 What about the "12"? One of the quiet evasions in Killing Eve is that the Twelve are treated like a secret waiting to be solved—twelve faces, twelve names, twelve chairs somewhere in a dark room. 

The show circles the idea, hints at it, and then, at the moment of reckoning, looks away. That’s the mistake. The Twelve are not twelve people. They are twelve seats. Seats that persist even as the occupants change. 

Seats defined by function, not identity. Remove one body and another slides in, often before the chair has cooled. Seen that way, the organization stops being a conspiracy and becomes something more unsettling: a system that large institutions quietly require in order to do what they cannot publicly sanction. 

 Start with the two who hover closest to that truth. 

 Carolyn Martens never belonged to a service so much as she learned how to use one. Her gift was not loyalty but calibration—feeding just enough truth upward while directing the real work sideways. If anyone sits at the center of a structure like this, it is someone who understands that allegiance is a performance.

Kim Bodnia as Konstantin Vasiliev, above, is the necessary counterpart: a fixer who survives by being useful to everyone and owned by no one. Not the architect, not the face—but the connective tissue. The man who knows which doors open and which ones are sealed from the inside. 

 Around them, the Twelve resolve into roles that any functioning shadow system would require   :

--A financier who converts risk into liquidity. 

-- A political broker who trades favors across borders and ideologies. 

-- A corporate conduit whose logistics move more than products. 

-- An intelligence liaison who keeps agencies informed—but never fully. 

-- A legal engineer who ensures that accountability dissolves on contact. 

-- A cultural intermediary who manages narrative when events leak. 

-- A military contractor who provides force without flags. 

-- A technologist who surveils at scale and erases on demand. 

-- A courier class—operatives like Villanelle—who execute without context. 

-- And one seat that is always provisional, because every system requires a sacrifice when exposure looms. Count them and you reach twelve. Replace any of them and you still have twelve. This is why the Twelve can never be fully “revealed.” 

A list would reduce them; a roster would weaken them. 

What matters is not who they are, but what they do—and how seamlessly their functions persist across governments, across agencies, across the polite fiction of oversight. In that light, the real story was never about tracking down a hidden cabal. 

It was about recognizing that the cabal is embedded—within the very institutions that claim to oppose it. The Twelve do not hide. They are simply arranged in such a way that no one is meant to see the whole. The brilliance of Killing Eve—and of the novels that inspired it by Luke Jennings—lies not in their final presentation, but in the shadow they cast on a world that both exists and denies its own existence. 

In the meantime we reflect on the art of Jodie Comer:

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