“The ease with which politicians attack journalists is very worrying”: Can the EU protect press freedom?

May 9 marks Europe Day, which celebrates peace and unity in Europe. This year, it also commemorates 75 years since the Schuman Declaration laid the foundation for European cooperation. At a time when peace and unity on the continent seem increasingly under threat, the role of free press is more important than ever. Studio Europa sat down with award-winning political cartoonist Emanuele Del Rosso, to discuss the challenges journalists are facing in Europe and beyond. Emanuele also oversees the European Cartoon Award, founded by Studio Europa Maastricht in 2019 to support political cartoonists.

From threats to lawsuits

As a political cartoonist working at the intersection of journalism and art, Emanuele Del Rosso sees the current state of press freedom in Europe as complicated but not yet critical:

“In Europe, we are lucky because we are not in a situation of explicit censorship, although there are cases like Hungary and other countries where things are more complicated. But still, that doesn’t mean that what happens around the world, especially in the United States lately, doesn’t affect us. What we have in terms of the behaviour of politicians—the ease with which they think of attacking a journalist, a cartoonist, or a newspaper—is actually very worrying. That’s the level of threat we are facing in Europe.”

Del Rosso explains that while physical attacks on cartoonists are rare in Europe, other risks are growing:

“There are a couple of things that can happen to a cartoonist. I wouldn’t put physical attacks on top of the list in Europe, because they don’t happen that much here—although threats, for sure, do. Charlie Hebdo was one tragic episode, but there haven’t been other cases of the same magnitude concerning cartoonists on our continent, to my knowledge, so I would say it’s relatively safe. 

However, you could always be sued. There are SLAPPs—Strategic Lawsuits Against Public Participation—which can also affect cartoonists. Cristina Sampaio in Portugal, for example, was the subject of a criminal complaint over a cartoon criticising racism within police forces. And politicians can sue too. In Italy, Mario Natangelo was sued for a cartoon about the brother-in-law of Italian Prime Minister Giorgia Meloni’s sister, who is also in the government. You can definitely see press freedom in Europe being pushed or compressed in several ways.”

Beyond legal threats, Del Rosso points to economic pressures:

“Corporate ownership has always been a thing in the media. If it’s not state-owned —which is good for some reasons and bad for others — it’s privately owned. But there used to be an understanding that the publisher didn’t meddle with the content. Now it’s becoming easier for newspapers to take positions to please the powerful.”

Finding new audiences

Today, powerful figures like Donald Trump and Elon Musk openly attack the press and free speech, while billionaires like Jeff Bezos buy major media outlets and exert influence over editorial decisions. Del Rosso sees direct consequences for cartoonists:

“Newspapers often have editors who screen cartoons—that’s a mechanism of control for safety, avoiding mistakes, or getting feedback. As a cartoonist, you work alone and can become a victim of your own focus. Sometimes you don’t see the bigger picture, or realise a cartoon could be offensive. But when an editor decides a cartoon cannot be published because it criticises Bezos, like what happened to two-time Pulitzer Prize winner Ann Telnaes at The Washington Post, there is nothing you can do. Her choice to speak out and quit was a good decision in my opinion, but for every Ann Telnaes, there are many cartoonists who either go silent or are laid off—and nobody notices. What happened at The Washington Post could happen in Europe too, maybe it is already happening, so we need to stay alert.”

“What happened at The Washington Post could happen in Europe too, maybe it is already happening, so we need to stay alert.”

Del Rosso believes cartoonists must advocate for themselves:

“There needs to be some positive lobbying by cartoonists within journalistic associations. In the Netherlands, there is the NVJ (Dutch Association of Journalists), which I’m a member of, along with many cartoonists I know.”

Cartoonists also need to adjust to the changing media landscape, he adds:

 “At the beginning—the Golden Age of cartoons—cartoonists had a desk in the newsroom. They were considered journalists. Now, when a newspaper is in trouble, the first to go is always the cartoonist. This needs to change. Newspapers have lost their prestige, or have done little to keep it. And new generations don’t feel the same connection with this profession. Finding new avenues to make cartooning sustainable is crucial.

“Now, when a newspaper is in trouble, the first to go is always the cartoonist. This needs to change.”

Ann Telnaes is now on Substack and is doing very well with subscriptions, reaching an audience much younger than traditional newspaper readers. The question of sustainability is complicated. But in terms of audience reach, it’s huge. Some of my cartoons have had millions of views. You don’t make money from it, but you get visibility—and a lot of risks too. I get hate messages every day and earn no money from that visibility. It’s a good moment for cartoonists because of social media, but a bad one because of the collapse of legacy media.”

Supporting cartoonists on the European level

Del Rosso believes the European Union can play an important role in protecting political cartoonists and strengthening press freedom by funding independent organisations:

“Countries like Italy, where I’m from, are moving in the opposite direction—making it harder for journalists to do their job and access information. There should be legislation that keeps cartoonists and journalists in high regard, because good journalism sets the standard for democracy. But regulating through the state can be dangerous, too. In Italy, the government already basically appoints the directors of the main public TV channels.

A better solution is funding independent organisations. In France, there’s Cartooning for Peace; in the Netherlands, the European Cartoon Award and the European Cartoon Movement. When these organisations receive funding, they can show the public why cartoons matter. Unfortunately, populist governments often cut education and culture budgets to keep their promises of tax cuts.”

The European Cartoon Award stands out for a few reasons, Del Rosso explains:

“There are a lot of awards for journalists and cartoonists, but two things set the European Cartoon Award apart. First, we award the best cartoon of the year. Many awards focus on a specific topic, for example pollution—which is important, of course—but picking the best cartoon of the year shows what kind of year it was, it provides the audience with a view over what happened. Second, we organise an exhibition that tours Europe, helping people see what cartoonists have produced and understand current realities.  

The profession isn’t doing great, so promoting political cartoons matters. That’s why we also organise the ECA Cartoon’s Day in The Hague, with panels and workshops. My idea was to open it to the general public. Historically, cartoons connected with readers the most, because they are a means of communication available to all social classes. Thomas Nast in 19th-century New York, for example, invented the elephant symbol for the Republican Party. There’s so much history behind cartoons. Having an award that ties this tradition to the present is crucial. That’s why this year, the European Cartoon Award will expand into a two-day event in The Hague, with documentary screenings, discussions, workshops, and activities for kids—making it even more engaging for the public.

You are all invited!”