Several of them are playing clips.
The first clip Silver notices is on the far left. This must be a live broadcast, because the quality of the image is poor, regularly covered in 'snow,' or breaking up in static. All the same, Silver can make out tremendous detail as the camera pans across what seems to be a group of soldiers standing in a trench. The trench itself is well built, with concrete walls and a wooden cover above. The soldiers are packed against the wall in a dense line, most standing, some sitting, and many at various angles to the wall, but by and large facing the camera. There's something decidedly unnatural about their appearance. Whereas the soldiers of yesteryear were noble born stallions who stood straight and firmly in amber clad armor that accentuated and never covered their legs, horns, and wings, the row of conscripts staring back at the camera wear gas masks with large dual filters and rubber covered goggles that give them an almost insect-like appearance. Their heads are sheathed in thick steel helmets that bend out and cover the back of their necks, do not allow the ears to poke through, and only begrudgingly admit of the few unicorn horns. Their backs and sides are covered in what must be several inches of thick nylon. Nylon pads cover their legs, and no wings can be seen, though several bulky outfits attest to hidden appendages. They carry big heavy sacks on their backs, although half at least have taken these packs off and placed them beside or in front of them. Most carry Jenny battle rifles, some pointed up, some on the side, and some let their rifle point carelessly whichever way, even directly at the camera. But most let it simply slump down on the sling or have taken it off and lean it against the concrete wall. Through these cocoons of rubber, nylon and steel, there is a glimpse of the ponies beneath. Hindquarters press firmly against the concrete walls and back against the edges, tails bend in between their legs, and iris in every shade of grey peer back at the camera. They are ponies, after all.
The camera moves further along the trench, before cutting to a pair of ponies with large steel cylinders on their backs, and even thicker goggles and jackets. They carry thin, pointed devices linked by rubber hoses to their backs. And though Silver knows what these are, the narrator explains. These shock troops will help to clear out the webwork of Changeling tunnels once they get there. The camera cuts again, to show a perspective beyond the trench of the yet to be liberated Equestria. Only the tops of trees and distant foothills can be distinguished in the grainy image, beneath a gray and black sky. Small objects trailing dark gray smoke fall down at angles as the footage plays.
Moving over to the next screen, Silver sees what seems to be an earth pony mare and her foals. The angle of the shot allows only the edges of bushes and a paved road to be visible at the bottom of the screen, instead focusing the image almost entirely on a clear blue sky and the ponies within. A mare moves forward, dragging a large bag. She wears a rather nice semi-formal dress that must be green with a band around her middle. Her tail is long, and like her mane, kept up with a tie. Her coat is a soft color, perhaps pink. One, two, three foals of varying sizes follow her. The smallest one stops for a moment, looking back, and the mare in turn stops, sets her bag down, goes back towards the smallest foal, and with a hoof drags him forward, before using the same hoof to pick up her bag and start walking again. What makes the scene different is that every pony in it is wearing a mask - a large, black rubber mask held on the head with a cloth band, with thick goggles that completely obscures the face and muzzle and capped at the end with a pair of short green cylindrical cartridges. The large, rounded ears stand out from the almost insect-like face. The narrator states: "Precautionary evacuations of major urban centers continue."
The next screen is likewise seen for only a few seconds, and is even grainer, with static appearing almost like snow. The camera's perspective is from a road on a small hill, with a few houses of an architectural style Silver knew in his youth below in the foreground. In the distance, Silver sees a cityscape of low buildings, powerlines, smokestacks, and the tops of church steeples that he finds a little too familiar. Much of what is visible is on fire, or at least spewing black smoke, and most of the cityscape is obscured by a black cloud that now consumes the sky. This black cloud rises into the sky with a mushroom shape, with a base and a top almost as wide the city itself. The narrator sorrowfully tells, "Coltsyn has fallen to an infiltrator's attack."
On another screen, briefly, Silver sees another, grainier image. Looking across a bay and beneath rock-capped, tree covered foothills, Silver can see a city of low, foreign-looking, tall-roofed buildings, many ruined, collapsed, or washed away with receding water. In the gloomy skies, Silver can see dots falling with black tails, and thick dust rising in the distance.
Still another screen shows a pony in a white-walled room using magic to insert a pair of glass spheres in an odd container into an opened side of what seems to be a large rocket. This pony wears not only the now expected mask, but thicker goggles, and is completely covered in a thick, presumably rubber suit. Even the horn and tail are covered by rubber.
The narrator explains that this little pony is inserting sarin precursors into a home guard artillery rocket. Sarin, you see, must be stored as its precursors, lest it decay. That the minotaurs of the Asterionese Republic would betray their benefactors in this time of weakness is disappointing, to be sure, but nothing the Republic has not prepared for. Over a hundred thousand tons of Sarin nerve gas were manufactured and distributed, including to the garrison in the Griffonian territories.