What Pathway to the Gods settled is narrower than it is sometimes credited with settling, and the distinction matters for how the atlas describes the Ica stones today. The film demonstrates that a forgery TECHNIQUE existed, was practiced by named individuals for money, and could produce stones matching the promotional photographs; it does not, on its own, prove that every one of the thousands of stones in circulation is a forgery of this kind, since a large industry supplying tourist curios and antiques dealers is a separate claim from a total inventory.
In practice the two claims collapse into the same conclusion once the wider evidence is weighed together: no Ica stone has a documented, controlled excavation provenance, later interviews found multiple carvers besides Uschuya independently describing the same production and aging methods for the same market, and no mainstream archaeologist treats the collection as authentic. The documentary functions less as a single knockout blow than as the visible, filmable center of a case that is otherwise built from testimony and absence of provenance, which is exactly why skeptical researchers and archaeologists reach for it first.
The wider claim the stones were mustered to support, that an ancient culture recorded dinosaurs or performed advanced surgery, gets no separate defense here: it depends entirely on the stones being genuine, and the stones are not.