American television news coverage of war, from Vietnam through the invasion of Iraq, is the target of this film by Mark Daniels, which argues that what gets shown on screen is deliberately managed. The film traces a shift in Pentagon policy after Vietnam: once uncensored footage of dead soldiers and civilians turned public opinion against the war, the military moved to control what cameras could capture, folding civilian deaths into the sanitized term "collateral damage." Daniels lays out this argument through news clips and archival footage spanning several decades of conflict coverage, building toward a detailed takedown of the Jessica Lynch story, the 2003 rescue narrative broadcast as heroic combat footage that the film says was staged for the cameras. The throughline is that the enemy image handed to American viewers, and the hero image alongside it, are both products of a scripted media operation rather than neutral reporting. The film treats war coverage itself as a battlefield, with the press cast less as observer than participant.