Radio Atlantic

This week, the Atlantic staff writer Elaine Godfrey was covering a campaign rally in Texas when she was ushered out. Elaine has been covering national politics for years, and has been turned away before—but that usually happens only at Trump rallies.This time, she was turned away by the staff of a Democrat running in the Texas Senate primary. The Atlantic’s Adam Harris talks with Godfrey about her experience and what to know about the Texas primaries. 

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President Trump has given plenty of signals recently that he is prepared to take military action against Iran. The exact reasoning, however, is less obvious. The Atlantic staff writers Nancy Youssef and Tom Nichols explain what’s next for the United States and Iran, and how Pentagon officials might be planning for another conflict in the Middle East.

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The Trump administration is trying to sanitize U.S. history by removing mentions of slavery on historic monuments, scrubbing words such as “oppression” from government websites, and obscuring the legacy of Black American heroes. Last summer, the president personally criticized the Smithsonian for focusing too much on “how bad slavery was.”

The Atlantic’s Clint Smith and Adam Harris argue that if the federal government won’t reckon with the nation’s past, it might be time for a different approach to understanding Black history. 

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The writer-director Jafar Panahi’s new film, It Was Just an Accident, is the second Iranian film ever nominated for multiple Oscars. Panahi is in the United States for the awards season, but soon after, he plans to return to Iran, where he may well be arrested. 

His co-writer on the film was recently jailed after signing a letter objecting to the deadly crackdown on protests in Iran. Panahi, who also signed the letter, has been sentenced to one year in prison in absentia. His lawyer has said they plan to appeal the sentence.

But Panahi doesn’t seem afraid. (He made It Was Just an Accident in secret, as he has in the past with other films.) Even with the crackdown in Iran and violence against protesters here in the U.S., he says he still has reason to hope: “I see a greater future. I see from above.”

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The Melania movie is pitched as a documentary following the first lady of the United States in the lead-up to her husband’s second inauguration. But it’s missing all the hallmarks of a journalistic, biographical film. What you get instead is a series of aphorisms that clang loudly against the reality being shaped by Donald Trump. And of course, shot after shot of $1,000 shoes, gold decorations, and private planes.

The Atlantic staff writer Sophie Gilbert describes the film as a “two-hour perfume commercial." Gilbert joins the show to talk about the movie, about the real Melania, and about President Trump’s efforts to shape culture.  

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