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At the beginning of the long reign of George III, a new mass media outlet for political expression surfaced in England: the colored political and social print. These prints were first carried as a sideline at stationers and bookstores, but from the middle 1770s on their popularity was great enough to justify setting up special print shops.The Georgian print after 1760 was different in more than color from those that had preceded it, though the use of color was indicative of the change. Artistically they were less representational, more free in line, and made heavier use of caricature in both face and body action. In content their appeal was more populist and urban than aristocratic and rural. They were also more journalistic; they focused their comment increasingly on current and often trivial political and social events and were published soon after the event occurred. In an earlier period, comment was in response to events. After George III, the commentators became established professionals seeking out events which they could make the theme of their weekly or so caricature comment. The prints also continued to be unrestrained in ridicule, attacking not only political leaders, but royalty itself. If possible, they became more unfair and calumnious than the prints of the period of the first two Georges. The prints were a part of what was evolving, I will argue, as a new democratizing force in the politics of England: a stream of mass media criticism of current political practices.