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| Meta Title | South Park has become the most important TV show of the Trump 2.0 era | South Park | The Guardian |
| Meta Description | This season of the long-running animated sitcom has aimed its ire at the cruelty and stupidity of an administration others have found hard to successfully ridicule |
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| Boilerpipe Text | I
âll admit it: Iâm more of a
Simpsons
guy than a
South Park
guy. Nothing really against those South Park guys â Iâve caught plenty of episodes over its astonishing near-30-year run, and loved the 1999 big-screen movie. But while I havenât always maintained clockwork viewership of The Simpsons, either, those characters have proved durable enough to revive my interest in episodes old and new. South Park has a thinner bench by comparison, and as the show itself astutely pointed out years ago, itâs difficult for a satirically minded animated sitcom to explore ground that The Simpsons hasnât covered already. South Parkâs political bent, too, has often seemed less varied than the warmer (but still sometimes cutting) social ribbing of Matt Groeningâs signature show. Itâs a fine line between omnidirectional satire and libertarian crankiness.
And yet the
27th season of South Park
has accomplished something vanishingly few of its peers, whether in animation or topical comedy, have been able to do: getting laughs taking shots at the second
Trump administration
. Itâs not that the White House is beyond reproach. Quite the opposite problem, much-documented: the
Donald Trump
cabal is so outsized in its stupidity and cruelty that itâs hard to distend it into a âfunnyâ caricature, even a bleak one. In Trumpâs second term, it has only gotten bleaker; jokes that were worn out by the end of 2020 are getting retold with a nasty vengeance, and the bar for cathartic laughter has been raised considerably.
For a comedy fan, this winds up translating to an aversion. The occasional shots taken by The Simpsons somehow donât land as squarely as they did when aimed at presidents I liked much, much more. I watch
Saturday Night Live
every week, and mostly dread James Austin Johnsonâs accurate but ultimately defanged
impression
. (Some weeks, Johnson himself seems bummed out to be doing it.) I respect the hell out of Stephen Colbert, but I have never sought out his Trump commentary; I donât need any more clapter â the reaction encouraged by comedy that wants your approval more than your laughter â in my life. South Park creators Trey Parker and Matt Stone seemed to agree; Parkerâs 2017 announcement that theyâd grown bored of taking shots at Trump â then barely into his first presidential term â was one of the showâs
many controversies
over the years.
So how is it that South Parkâs revived anti-Trump blows this season have managed to land? A big part of it is precisely Stone and Parkerâs allergy to clapter and the grandstanding that inspires it. They obviously resent anything they read as putting on airs and sometimes in the past, this came across as its own form of preachiness, with âeverybody chillâ-style speeches at an episodeâs end that would secretly sound just as prescriptive as the self-righteousness they wanted to send up. With their most recent Trump parody, though, there isnât much moralizing â just gratifyingly mean caricatures of deserving figures such as Trump,
JD Vance
and the homeland security secretary,
Kristi Noem
. Some (not all) of their past roastings have verged on point-and-laugh bullying; here are targets worthy of that derision.
Some of this derision speaks through the language of South Park itself. Trump isnât vocally or visually imitated; heâs depicted in a series of repurposed photos, with the same voice and animation technique that Parker and Stone used to bring Saddam Hussein to life in the South Park movie. Heâs also given the same sexual partner: a
muscled-up and put-upon version of Satan
, who has found himself in another toxic relationship. Calling Trump a wannabe dictator doesnât break new ground, but thereâs something satisfying in Stone and Parker using their personal toolkit to draw a line between Trump and Saddam; if they thought it was a histrionic comparison, theyâd be making fun of it instead of making it. Similarly, thereâs real spite animating the depiction of Noem as a
dog-murdering
zealot whose glamorous face needs to be repeatedly lacquered and reaffixed to her head as she commands an army of Immigration and Customs Enforcement thugs.
Not all of the seasonâs satire has involved making real-life figures regulars on the show. Because South Parkâs ensemble has rarely felt as vast or believably developed as Springfield of The Simpsons (or even Arlen on King of the Hill), itâs also flexible enough to turn Randy, Stanâs desperately trend-following dad, into a ketamine-microdosing, tech-bro moron addicted to the soothing, empty reassurances of ChatGPT â the focus of
the most recent episode
, to the point where most of the core child cast doesnât appear. Surprisingly, this season has deployed forever favorite Cartman more sparingly so far, again getting self-referential in the seasonâs second episode, where the id-driven and arguably evil little kid is incensed to find out that podcasters have stolen his âshtickâ â his pervasive hatefulness, repackaged as a challenge to debate where the aggressor is always the self-appointed winner. Ascribing this âmaster debaterâ title to Cartman (alongside a fellow kid serving as an obvious Charlie Kirk/Ben Shapiro stand-in) somehow manages to make this ridiculous behavior funny in its petty smallness without glorifying it.
A South Park diehard would probably describe this praise as a fair-weather fan only enjoying the show when it goes after the ârightâ targets. Maybe thatâs true, but itâs also a lot easier to take some joy in savaging Vance as a meme-faced version of a Fantasy Island sidekick than, say, accusing George Lucas and Steven Spielberg of cultural rape. Itâs probably wishful thinking to wonder if Parker and Stone might actually move the needle of the perception on tech bros, debate-me podcasters and Trump-world ghouls, especially among the dude demo. But itâs also just a blessed change of pace to see say-anything, first-amendment types finding a fresher target than the wokeness bogeyman. While countless standups continue to whine about being silenced, Parker and Stone seem highly aware of their rarified position (and, as
Paramount
contractors, also
aware
of what actual political-corporate
interference
looks like). In a world where Trumpâs actual political opponents seem terrified to actually fight him, some well-deserved, point-and-laugh meanness has become a surprising novelty. |
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A still from South Park. Photograph: Comedy Central
[View image in fullscreen](https://www.theguardian.com/tv-and-radio/2025/aug/23/south-park-trump#img-1)
A still from South Park. Photograph: Comedy Central
[South Park](https://www.theguardian.com/tv-and-radio/south-park)
This article is more than **6 months old**
# South Park has become the most important TV show of the Trump 2.0 era
This article is more than 6 months old
[Jesse Hassenger](https://www.theguardian.com/profile/jesse-hassenger)
This season of the long-running animated sitcom has aimed its ire at the cruelty and stupidity of an administration others have found hard to successfully ridicule
Sat 23 Aug 2025 11.02 CEST
Last modified on Mon 25 Aug 2025 20.08 CEST
Share
Iâll admit it: Iâm more of a [Simpsons](https://www.theguardian.com/tv-and-radio/the-simpsons) guy than a [South Park](https://www.theguardian.com/tv-and-radio/south-park) guy. Nothing really against those South Park guys â Iâve caught plenty of episodes over its astonishing near-30-year run, and loved the 1999 big-screen movie. But while I havenât always maintained clockwork viewership of The Simpsons, either, those characters have proved durable enough to revive my interest in episodes old and new. South Park has a thinner bench by comparison, and as the show itself astutely pointed out years ago, itâs difficult for a satirically minded animated sitcom to explore ground that The Simpsons hasnât covered already. South Parkâs political bent, too, has often seemed less varied than the warmer (but still sometimes cutting) social ribbing of Matt Groeningâs signature show. Itâs a fine line between omnidirectional satire and libertarian crankiness.
And yet the [27th season of South Park](https://www.theguardian.com/tv-and-radio/2025/jul/26/south-park-history-controversy-trump) has accomplished something vanishingly few of its peers, whether in animation or topical comedy, have been able to do: getting laughs taking shots at the second [Trump administration](https://www.theguardian.com/us-news/trump-administration). Itâs not that the White House is beyond reproach. Quite the opposite problem, much-documented: the [Donald Trump](https://www.theguardian.com/us-news/donaldtrump) cabal is so outsized in its stupidity and cruelty that itâs hard to distend it into a âfunnyâ caricature, even a bleak one. In Trumpâs second term, it has only gotten bleaker; jokes that were worn out by the end of 2020 are getting retold with a nasty vengeance, and the bar for cathartic laughter has been raised considerably.
[Satire at its finest: South Park takes on Trumpâs martial takeover, AI and tech bros Read more](https://www.theguardian.com/tv-and-radio/2025/aug/21/south-park-takes-on-trumps-martial-takeover-ai-and-tech-bros)
For a comedy fan, this winds up translating to an aversion. The occasional shots taken by The Simpsons somehow donât land as squarely as they did when aimed at presidents I liked much, much more. I watch [Saturday Night Live](https://www.theguardian.com/tv-and-radio/saturday-night-live) every week, and mostly dread James Austin Johnsonâs accurate but ultimately defanged [impression](https://www.theguardian.com/tv-and-radio/2021/nov/07/saturday-night-live-trump-james-austin-johnson-kieran-culkin). (Some weeks, Johnson himself seems bummed out to be doing it.) I respect the hell out of Stephen Colbert, but I have never sought out his Trump commentary; I donât need any more clapter â the reaction encouraged by comedy that wants your approval more than your laughter â in my life. South Park creators Trey Parker and Matt Stone seemed to agree; Parkerâs 2017 announcement that theyâd grown bored of taking shots at Trump â then barely into his first presidential term â was one of the showâs [many controversies](https://www.theguardian.com/tv-and-radio/2025/jul/26/south-park-history-controversy-trump) over the years.
So how is it that South Parkâs revived anti-Trump blows this season have managed to land? A big part of it is precisely Stone and Parkerâs allergy to clapter and the grandstanding that inspires it. They obviously resent anything they read as putting on airs and sometimes in the past, this came across as its own form of preachiness, with âeverybody chillâ-style speeches at an episodeâs end that would secretly sound just as prescriptive as the self-righteousness they wanted to send up. With their most recent Trump parody, though, there isnât much moralizing â just gratifyingly mean caricatures of deserving figures such as Trump, [JD Vance](https://www.theguardian.com/tv-and-radio/2025/aug/07/south-park-anti-deportation-episode-ice) and the homeland security secretary, [Kristi Noem](https://www.theguardian.com/us-news/2025/aug/08/homeland-security-kristi-noem-south-park). Some (not all) of their past roastings have verged on point-and-laugh bullying; here are targets worthy of that derision.
Some of this derision speaks through the language of South Park itself. Trump isnât vocally or visually imitated; heâs depicted in a series of repurposed photos, with the same voice and animation technique that Parker and Stone used to bring Saddam Hussein to life in the South Park movie. Heâs also given the same sexual partner: a [muscled-up and put-upon version of Satan](https://www.theguardian.com/tv-and-radio/2025/jul/24/south-park-most-furious-episode-ever-the-jaw-dropping-satanic-takedown-of-donald-trump), who has found himself in another toxic relationship. Calling Trump a wannabe dictator doesnât break new ground, but thereâs something satisfying in Stone and Parker using their personal toolkit to draw a line between Trump and Saddam; if they thought it was a histrionic comparison, theyâd be making fun of it instead of making it. Similarly, thereâs real spite animating the depiction of Noem as a [dog-murdering](https://www.theguardian.com/books/2024/apr/26/trump-kristi-noem-shot-dog-and-goat-book) zealot whose glamorous face needs to be repeatedly lacquered and reaffixed to her head as she commands an army of Immigration and Customs Enforcement thugs.
[Lewd, crude and politically astute: South Parkâs history of controversy Read more](https://www.theguardian.com/tv-and-radio/2025/jul/26/south-park-history-controversy-trump)
Not all of the seasonâs satire has involved making real-life figures regulars on the show. Because South Parkâs ensemble has rarely felt as vast or believably developed as Springfield of The Simpsons (or even Arlen on King of the Hill), itâs also flexible enough to turn Randy, Stanâs desperately trend-following dad, into a ketamine-microdosing, tech-bro moron addicted to the soothing, empty reassurances of ChatGPT â the focus of [the most recent episode](https://www.theguardian.com/tv-and-radio/2025/aug/21/south-park-takes-on-trumps-martial-takeover-ai-and-tech-bros), to the point where most of the core child cast doesnât appear. Surprisingly, this season has deployed forever favorite Cartman more sparingly so far, again getting self-referential in the seasonâs second episode, where the id-driven and arguably evil little kid is incensed to find out that podcasters have stolen his âshtickâ â his pervasive hatefulness, repackaged as a challenge to debate where the aggressor is always the self-appointed winner. Ascribing this âmaster debaterâ title to Cartman (alongside a fellow kid serving as an obvious Charlie Kirk/Ben Shapiro stand-in) somehow manages to make this ridiculous behavior funny in its petty smallness without glorifying it.
A South Park diehard would probably describe this praise as a fair-weather fan only enjoying the show when it goes after the ârightâ targets. Maybe thatâs true, but itâs also a lot easier to take some joy in savaging Vance as a meme-faced version of a Fantasy Island sidekick than, say, accusing George Lucas and Steven Spielberg of cultural rape. Itâs probably wishful thinking to wonder if Parker and Stone might actually move the needle of the perception on tech bros, debate-me podcasters and Trump-world ghouls, especially among the dude demo. But itâs also just a blessed change of pace to see say-anything, first-amendment types finding a fresher target than the wokeness bogeyman. While countless standups continue to whine about being silenced, Parker and Stone seem highly aware of their rarified position (and, as [Paramount](https://www.theguardian.com/culture/2025/jul/19/paramount-cbs-trump) contractors, also [aware](https://www.theguardian.com/tv-and-radio/2025/jul/24/south-park-trump-paramount) of what actual political-corporate [interference](https://www.theguardian.com/media/2025/jul/02/paramount-settles-with-trump-for-16m-over-60-minutes-interview-with-kamala-harris) looks like). In a world where Trumpâs actual political opponents seem terrified to actually fight him, some well-deserved, point-and-laugh meanness has become a surprising novelty.
Explore more on these topics
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| Readable Markdown | Iâll admit it: Iâm more of a [Simpsons](https://www.theguardian.com/tv-and-radio/the-simpsons) guy than a [South Park](https://www.theguardian.com/tv-and-radio/south-park) guy. Nothing really against those South Park guys â Iâve caught plenty of episodes over its astonishing near-30-year run, and loved the 1999 big-screen movie. But while I havenât always maintained clockwork viewership of The Simpsons, either, those characters have proved durable enough to revive my interest in episodes old and new. South Park has a thinner bench by comparison, and as the show itself astutely pointed out years ago, itâs difficult for a satirically minded animated sitcom to explore ground that The Simpsons hasnât covered already. South Parkâs political bent, too, has often seemed less varied than the warmer (but still sometimes cutting) social ribbing of Matt Groeningâs signature show. Itâs a fine line between omnidirectional satire and libertarian crankiness.
And yet the [27th season of South Park](https://www.theguardian.com/tv-and-radio/2025/jul/26/south-park-history-controversy-trump) has accomplished something vanishingly few of its peers, whether in animation or topical comedy, have been able to do: getting laughs taking shots at the second [Trump administration](https://www.theguardian.com/us-news/trump-administration). Itâs not that the White House is beyond reproach. Quite the opposite problem, much-documented: the [Donald Trump](https://www.theguardian.com/us-news/donaldtrump) cabal is so outsized in its stupidity and cruelty that itâs hard to distend it into a âfunnyâ caricature, even a bleak one. In Trumpâs second term, it has only gotten bleaker; jokes that were worn out by the end of 2020 are getting retold with a nasty vengeance, and the bar for cathartic laughter has been raised considerably.
For a comedy fan, this winds up translating to an aversion. The occasional shots taken by The Simpsons somehow donât land as squarely as they did when aimed at presidents I liked much, much more. I watch [Saturday Night Live](https://www.theguardian.com/tv-and-radio/saturday-night-live) every week, and mostly dread James Austin Johnsonâs accurate but ultimately defanged [impression](https://www.theguardian.com/tv-and-radio/2021/nov/07/saturday-night-live-trump-james-austin-johnson-kieran-culkin). (Some weeks, Johnson himself seems bummed out to be doing it.) I respect the hell out of Stephen Colbert, but I have never sought out his Trump commentary; I donât need any more clapter â the reaction encouraged by comedy that wants your approval more than your laughter â in my life. South Park creators Trey Parker and Matt Stone seemed to agree; Parkerâs 2017 announcement that theyâd grown bored of taking shots at Trump â then barely into his first presidential term â was one of the showâs [many controversies](https://www.theguardian.com/tv-and-radio/2025/jul/26/south-park-history-controversy-trump) over the years.
So how is it that South Parkâs revived anti-Trump blows this season have managed to land? A big part of it is precisely Stone and Parkerâs allergy to clapter and the grandstanding that inspires it. They obviously resent anything they read as putting on airs and sometimes in the past, this came across as its own form of preachiness, with âeverybody chillâ-style speeches at an episodeâs end that would secretly sound just as prescriptive as the self-righteousness they wanted to send up. With their most recent Trump parody, though, there isnât much moralizing â just gratifyingly mean caricatures of deserving figures such as Trump, [JD Vance](https://www.theguardian.com/tv-and-radio/2025/aug/07/south-park-anti-deportation-episode-ice) and the homeland security secretary, [Kristi Noem](https://www.theguardian.com/us-news/2025/aug/08/homeland-security-kristi-noem-south-park). Some (not all) of their past roastings have verged on point-and-laugh bullying; here are targets worthy of that derision.
Some of this derision speaks through the language of South Park itself. Trump isnât vocally or visually imitated; heâs depicted in a series of repurposed photos, with the same voice and animation technique that Parker and Stone used to bring Saddam Hussein to life in the South Park movie. Heâs also given the same sexual partner: a [muscled-up and put-upon version of Satan](https://www.theguardian.com/tv-and-radio/2025/jul/24/south-park-most-furious-episode-ever-the-jaw-dropping-satanic-takedown-of-donald-trump), who has found himself in another toxic relationship. Calling Trump a wannabe dictator doesnât break new ground, but thereâs something satisfying in Stone and Parker using their personal toolkit to draw a line between Trump and Saddam; if they thought it was a histrionic comparison, theyâd be making fun of it instead of making it. Similarly, thereâs real spite animating the depiction of Noem as a [dog-murdering](https://www.theguardian.com/books/2024/apr/26/trump-kristi-noem-shot-dog-and-goat-book) zealot whose glamorous face needs to be repeatedly lacquered and reaffixed to her head as she commands an army of Immigration and Customs Enforcement thugs.
Not all of the seasonâs satire has involved making real-life figures regulars on the show. Because South Parkâs ensemble has rarely felt as vast or believably developed as Springfield of The Simpsons (or even Arlen on King of the Hill), itâs also flexible enough to turn Randy, Stanâs desperately trend-following dad, into a ketamine-microdosing, tech-bro moron addicted to the soothing, empty reassurances of ChatGPT â the focus of [the most recent episode](https://www.theguardian.com/tv-and-radio/2025/aug/21/south-park-takes-on-trumps-martial-takeover-ai-and-tech-bros), to the point where most of the core child cast doesnât appear. Surprisingly, this season has deployed forever favorite Cartman more sparingly so far, again getting self-referential in the seasonâs second episode, where the id-driven and arguably evil little kid is incensed to find out that podcasters have stolen his âshtickâ â his pervasive hatefulness, repackaged as a challenge to debate where the aggressor is always the self-appointed winner. Ascribing this âmaster debaterâ title to Cartman (alongside a fellow kid serving as an obvious Charlie Kirk/Ben Shapiro stand-in) somehow manages to make this ridiculous behavior funny in its petty smallness without glorifying it.
A South Park diehard would probably describe this praise as a fair-weather fan only enjoying the show when it goes after the ârightâ targets. Maybe thatâs true, but itâs also a lot easier to take some joy in savaging Vance as a meme-faced version of a Fantasy Island sidekick than, say, accusing George Lucas and Steven Spielberg of cultural rape. Itâs probably wishful thinking to wonder if Parker and Stone might actually move the needle of the perception on tech bros, debate-me podcasters and Trump-world ghouls, especially among the dude demo. But itâs also just a blessed change of pace to see say-anything, first-amendment types finding a fresher target than the wokeness bogeyman. While countless standups continue to whine about being silenced, Parker and Stone seem highly aware of their rarified position (and, as [Paramount](https://www.theguardian.com/culture/2025/jul/19/paramount-cbs-trump) contractors, also [aware](https://www.theguardian.com/tv-and-radio/2025/jul/24/south-park-trump-paramount) of what actual political-corporate [interference](https://www.theguardian.com/media/2025/jul/02/paramount-settles-with-trump-for-16m-over-60-minutes-interview-with-kamala-harris) looks like). In a world where Trumpâs actual political opponents seem terrified to actually fight him, some well-deserved, point-and-laugh meanness has become a surprising novelty. |
| Shard | 99 (laksa) |
| Root Hash | 4161074618625082499 |
| Unparsed URL | com,theguardian!www,/tv-and-radio/2025/aug/23/south-park-trump s443 |