For years, Donald Trump’s critics have accused him of behaving like a crooked used-car salesman. Yesterday afternoon, he did it for real on the White House South Lawn.
Squinting in the sun with Elon Musk, Trump stood next to five Tesla vehicles, holding a piece of paper with handwritten notes about their features and costs. Trump said he would purchase a car himself at full price. Then Trump and Musk got into one of the cars.

Of all the ways that today’s plutocrats spend their billions, founding an art museum is one of the more benign, somewhere behind eradicating malaria but ahead of eradicating democracy. The art in these museums is almost always contemporary, reflecting the dearth of available old masters along with a global chattering-classes consensus that avant-garde art is socially, intellectually, and culturally important.

The director Bong Joon Ho’s new movie, Mickey 17, at first seems like a major pivot from his previous one, 2019’s Parasite. After winning Best Picture at the Oscars for the domestic (if gonzo) Korean black comedy, he’s following it up six years later with a lavish Hollywood sci-fi epic starring Robert Pattinson. But even though Mickey 17 is set in outer space about 30 years from now, its hero isn’t that different from those found throughout Bong’s filmography: a working-class schmo.

Sadegh Zibakalam is in trouble again. The retired 76-year-old professor of political science was already serving an 18-month sentence for criticizing the Iranian regime. He came out on medical furlough—only for Tehran’s prosecutor to start investigating him again. Now Zibakalam, one of Iran’s best-known public intellectuals, whose combined followers on Instagram, Facebook, and X total almost 2 million, is worried he may be sent back to prison.

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This morning, President Donald Trump used the standard diplomatic channel—his Truth Social account—to announce retaliation against Canada for Ontario’s new electricity tariffs, which were themselves retaliatory.