In 1987, Spitting Images, a collection of photographic portraits showcasing unforgettable puppets from the satirical television show of the same name, was published. Harcourt Brace Jovanovich released this collection, with text written by Sean Kelly, a prominent contributor to National Lampoon. This book captured the outrageous and exaggerated characters that had become a hallmark of British political and pop culture satire during the show’s height.
The puppets of Spitting Image were not ordinary creations. Made by a team of skilled sculptors and designers, these caricatured figures blended artistry and grotesque humor. Each puppet amplified the most recognizable features of its subject, whether it was Margaret Thatcher’s sharp nose and stiff posture or Ronald Reagan’s exaggerated smile and vacant expression. The designs weren’t subtle. They were meant to provoke, making the subjects both recognizable and ridiculous at first glance.
The portraits in the book freeze these exaggerated figures in time, highlighting the craftsmanship that went into their creation. The photographs emphasized every detail: the wrinkles and bulging eyes, the distorted proportions, and the bold colors. Seeing these puppets in still form gave viewers a chance to appreciate their intricate designs in a way that was harder to grasp during the rapid pace of the television show.
The text by Sean Kelly added another layer of satire. Accompanying each puppet portrait, the writing blended humor, criticism, and sharp commentary. Kelly’s words matched the spirit of the show, often taking aim at the real-life personalities that the puppets represented. Whether he was poking fun at politicians, celebrities, or other public figures, Kelly’s writing enhanced the absurdity of the visual caricatures. For example, his descriptions often exaggerated the traits already emphasized by the puppets, creating a double dose of ridicule.
Among the most notable puppets featured in the book were those of key political figures. Margaret Thatcher, then Prime Minister of the United Kingdom, appeared frequently on Spitting Image as a dominant and often domineering presence. Her puppet was dressed in a man’s suit, a clear jab at her perceived masculine approach to leadership. In the book, Thatcher’s puppet was often shown with an icy glare or an exaggerated expression of disdain. The imagery paired with Kelly’s biting commentary turned her into a caricature of authoritarianism.
