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Americans love to hate the IRS, that historically unpopular revenue-collection agency with its slow processes and fax machines and many, many forms.

The thing about American newspaper opinion sections is this: Their owners get final say. If the man who signs the checks—it’s almost always a man—really wants to see his cocker spaniel run City Hall, you’ll probably see Our Choice: Fluffernutter for Mayor atop the editorial page. For generations, this has been one of the overriding perks of media ownership. If Jeff Bezos wanted to turn The Washington Post’s opinion section over to an AI-powered version of Alexa, he’d be within his rights.

With last year’s slow-roll Oppenheimer sweep, the leading Oscar contenders seemed to have sewn up their wins long before the ceremony began. This edition of the Academy Awards has been quite the compelling scramble by comparison, as half a dozen movies have gained and lost supposed front-runner status over the past few months.

The rivalry between Sam Altman and Elon Musk is entering its Apprentice era. Both men have the ambition to redefine how the modern world works—and both are jockeying for President Donald Trump’s blessing to accelerate their plans.
Altman’s company, OpenAI, as well as Musk’s ventures—which include SpaceX, Tesla, and xAI—all depend to some degree on federal dollars, permits, and regulatory support.

It is the misfortune of Jews that they so often find themselves the subject of obsessive fixation. By his own description, Pankaj Mishra is a lifelong obsessive. As a boy in India in the 1970s, the writer grew up in a Hindu-nationalist family that revered Jews, despite not knowing any. In that spirit, Mishra placed a portrait of the Israeli general Moshe Dayan, the hero of the Suez Crisis, on his bedroom wall.