As someone with a lifelong curiosity about the Vietnam War-a conflict largely concluded from the U. S. perspective before my birth-I've noticed a troublingly consistent formula in many retellings. Often, there's an inherent political bias: "Yes, LBJ was bad, but he gave us The Great Society; Nixon was worse." Unfortunately, "Turning Point: The Vietnam War" follows this well-worn path, particularly evident toward the end of this episode.

Let's start at the end and work backward. The final third of this installment veers away from the actual war, shifting abruptly to domestic turmoil around the 1968 Democratic National Convention. After poignant footage of RFK's funeral, we quickly pivot to protests. Historian Fredrik Logevall (curiously noted only for his 2012 book, "Embers of War," while omitting his notable 2020 work, "JFK: Coming of Age") speaks about RFK inspiring youth, conveniently sidestepping RFK's prior advocacy for escalating U. S. involvement in Vietnam. Logevall vaguely references "deep divisions in the Democratic Party" without clarification.

Given Dan Rather's involvement (yes, the same Rather associated with the infamous Killian Documents scandal), it's predictable we see footage of his "roughing up" at the convention. This incident remains ambiguous, and viewers should judge the footage themselves. More problematic is the repeated footage of violent clashes outside, dramatically labeled a "civil war," without mentioning that the Chicago police acted under orders from Democratic Mayor Richard J. Daley. Without context, viewers could mistakenly attribute responsibility to Nixon, conveniently the narrative's next focus.

Thomas Bass (SUNY-Albany professor and author of "Vietnamerica," a Miss Saigon-inspired work on Amerasian children) ominously asserts, "the forces that wish to continue that war" would win the election, setting up a montage painting Nixon's policies as "far more dangerous" than Johnson's. Such framing feels intentionally misleading, given what was to come.

It's disappointing that an episode featuring powerful segments on the My Lai Massacre-particularly Ronald Haeberle's recollections-ends by casting Nixon as the looming villain. Historical documentaries shape the understanding of generations distant from events depicted. Producers bear responsibility for accuracy, nuance, and fairness. Unfortunately, this episode prioritizes partisan storytelling over historical integrity.

The documentary is a form of non-fiction storytelling that aims to present factual information, insights, and perspectives on real-world subjects, events, issues, or people. Documentaries can cover a wide range of topics, including history, science, culture, social issues, nature, biographies, and more.

Dziga Vertov in Man with a Movie Camera (1929)

The history genre features recounting and analyzing past events, societies, cultures, and historical figures. This genre aims to provide insights into the development of civilizations, the causes and consequences of historical events, and the impact of individuals and ideas on the course of history.

The war genre features armed conflicts, both historical and fictional, and the experiences of individuals and groups involved in warfare. This genre explores the physical, emotional, and moral challenges faced by soldiers, civilians, and others affected by war.

The Tet Offensive shatters the myth that American victory is at hand. Firsthand witnesses and survivors recall the horror of the My Lai massacre.

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