IranInternational TV engaged extensively in shaping Iranians' perceptions during the Third Imposed War. Analyzing the visual and discursive representational mechanisms through which IranInternational covered this war on social media platforms such as Telegram is therefore of particular importance. The central question of this study is: through what visual, emotional, and discursive strategies does the network's Telegram channel represent the recent war, and what patterns do these strategies follow over the course of the war? Using descriptive-computational and interpretive-explanatory methods, 6,868 messages were analyzed across three layers- sentiment, theme, and news frame. The findings reveal a "war as visual spectacle" strategy: the overwhelming dominance of visual content (93.1%), the prevalence of negative sentiment (48.6% versus 17.6% positive), and a latent "threat and crisis" frame concealed behind the ostensibly neutral "news" frame. The war is simultaneously represented as both an external and a naturalized phenomenon, and the network's core strategy operates through the systematic absence of peaceful alternatives- a mechanism termed "negative framing through omission." High levels of user-generated content (27.2%) likewise coexist with the near-total absence of genuine engagement tools, a pattern termed "participatory extractivism." The study demonstrates that IranInternational should be understood as a pseudo-diasporic medium- one that does not operate merely as an identity-preserving channel but plays an active role in shaping public perceptions of threat and political legitimacy. The study recommends that regulatory bodies strengthen ownership-transparency requirements for such media, and that media literacy programs equip audiences to recognize meaningful absences in crisis narratives.