Network
When veteran anchorman Howard Beale is forced to retire his 25-year post because of his age, he announces to viewers that he will kill himself during his farewell broadcast. Network executives rethink their decision when his fanatical tirade results in a spike in ratings.
Despite its modest budget of $3.8M, Network became a box office phenomenon, earning $23.7M worldwide—a remarkable 524% return. The film's distinctive approach connected with viewers, confirming that strong storytelling can transcend budget limitations.
4 Oscars. 20 wins & 27 nominations
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
Network (1976) showcases precise plot construction, characteristic of Sidney Lumet's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 2 hours and 2 minutes. With an Arcplot score of 6.7, the film balances conventional beats with creative variation.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Howard Beale, veteran UBS news anchor, is fired due to poor ratings. Max Schumacher, news division president and Howard's best friend, delivers the bad news in a bar. Howard has two weeks left on air.. Significantly, this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 14 minutes when Howard Beale announces on live television that he will commit suicide on air during his final broadcast next Tuesday. The shocking declaration disrupts the network, the news division, and sets the entire story in motion.. At 12% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 29 minutes marks the transition into Act II, occurring at 24% of the runtime. This demonstrates the protagonist's commitment to Howard is allowed back on air where he delivers his "I'm as mad as hell" speech, becoming an overnight sensation. Max makes the active choice to let the broadcast continue. The news division crosses into entertainment, abandoning traditional journalistic standards., moving from reaction to action.
At 61 minutes, the Midpoint arrives at 50% of the runtime—precisely centered, creating perfect narrative symmetry. Significantly, this crucial beat The Howard Beale Show reaches number one in the ratings. Max is promoted and seduced deeper into Diana's world. False victory: it appears the new approach is working, but the human cost is mounting. Howard's mental state deteriorates as he's exploited further., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 90 minutes (74% through) represents the emotional nadir. Here, Max is fired from UBS for refusing to control Howard. His friendship with Howard and his career are dead. He recognizes that Diana is incapable of love, only seeing people as ratings points. Max has lost everything: his marriage, his career, his integrity, his best friend., indicates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 97 minutes initiates the final act resolution at 79% of the runtime. Network executives, led by Diana, decide Howard's failing ratings require his assassination on live television. They make a deal with the terrorist group to murder Howard on air. The final corruption: not just exploiting death, but creating it for entertainment., demonstrating the transformation achieved throughout the journey.
Emotional Journey
Network's emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs structural analysis methodology used to understand storytelling architecture. By mapping Network against these established plot points, we can identify how Sidney Lumet utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish Network within the drama genre.
Sidney Lumet's Structural Approach
Among the 15 Sidney Lumet films analyzed on Arcplot, the average structural score is 6.8, demonstrating varied approaches to story architecture. Network takes a more unconventional approach compared to the director's typical style. For comparative analysis, explore the complete Sidney Lumet filmography.
Comparative Analysis
Additional drama films include After Thomas, South Pacific and Dirty Dancing: Havana Nights. For more Sidney Lumet analyses, see Guilty as Sin, Dog Day Afternoon and Murder on the Orient Express.
Plot Points by Act
Act I
SetupStatus Quo
Howard Beale, veteran UBS news anchor, is fired due to poor ratings. Max Schumacher, news division president and Howard's best friend, delivers the bad news in a bar. Howard has two weeks left on air.
Theme
Max warns Howard about the network's shift: "It's because you're not a well-liked man, Howard." The film's theme emerges: television has become a business that exploits human dignity for ratings, where people are commodities, not individuals.
Worldbuilding
Establishment of the UBS network hierarchy, the failing news division, and the cutthroat corporate environment. Introduction of Diana Christensen, ambitious programming executive seeking ratings at any cost. Max's marriage to Louise and his position in the old guard of news.
Disruption
Howard Beale announces on live television that he will commit suicide on air during his final broadcast next Tuesday. The shocking declaration disrupts the network, the news division, and sets the entire story in motion.
Resistance
Network executives debate what to do about Howard. Max initially tries to protect his friend and maintain journalistic integrity. Howard is briefly taken off the air, but Diana sees opportunity in the controversy. Max wrestles with loyalty versus corporate pressure.
Act II
ConfrontationFirst Threshold
Howard is allowed back on air where he delivers his "I'm as mad as hell" speech, becoming an overnight sensation. Max makes the active choice to let the broadcast continue. The news division crosses into entertainment, abandoning traditional journalistic standards.
Mirror World
Max begins his affair with Diana Christensen. She represents the new corporate television culture that will challenge Max's old-world values. This relationship embodies the film's thematic conflict: humanity versus commodification.
Premise
The "Howard Beale Show" becomes a massive hit. Diana takes over programming, creating sensational content including a show with an actual terrorist group. Max is torn between Diana and his wife Louise, between old journalism and new entertainment. Howard becomes a prophet figure for UBS.
Midpoint
The Howard Beale Show reaches number one in the ratings. Max is promoted and seduced deeper into Diana's world. False victory: it appears the new approach is working, but the human cost is mounting. Howard's mental state deteriorates as he's exploited further.
Opposition
Corporate forces close in. Max's marriage collapses. Howard begins attacking the network's parent corporation on air, threatening a major business deal. Diana's shows become more extreme. Max increasingly realizes he's lost himself, and Louise confronts him about his hollow relationship with Diana.
Collapse
Max is fired from UBS for refusing to control Howard. His friendship with Howard and his career are dead. He recognizes that Diana is incapable of love, only seeing people as ratings points. Max has lost everything: his marriage, his career, his integrity, his best friend.
Crisis
Max processes his devastation. Diana continues programming without conscience. Howard's ratings begin to fall as his angry prophet act grows stale. The corporate machine moves forward without Max, revealing how little individuals matter to the system.
Act III
ResolutionSecond Threshold
Network executives, led by Diana, decide Howard's failing ratings require his assassination on live television. They make a deal with the terrorist group to murder Howard on air. The final corruption: not just exploiting death, but creating it for entertainment.
Synthesis
The plan is executed. Howard delivers his final broadcast, unaware of his fate. The assassination occurs on live television. The networkachine continues operating. Diana pitches the murder footage as programming. The system has completely consumed human life.
Transformation
Voiceover narration: "This was the story of Howard Beale, the first known instance of a man who was killed because he had lousy ratings." The closing image shows the network carrying on, unchanged. Where the Status Quo showed a man being fired, the Transformation shows the ultimate endpoint: murder for ratings.