The Big Sick
Pakistan-born comedian Kumail Nanjiani and grad student Emily Gardner fall in love but struggle as their cultures clash. When Emily contracts a mysterious illness, Kumail finds himself forced to face her feisty parents, his family's expectations, and his true feelings.
Despite its tight budget of $5.0M, The Big Sick became a runaway success, earning $56.3M worldwide—a remarkable 1026% return. The film's distinctive approach connected with viewers, proving that strong storytelling can transcend budget limitations.
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%)
The Big Sick (2017) exemplifies strategically placed narrative design, characteristic of Michael Showalter's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 2 hours. With an Arcplot score of 7.7, the film showcases strong structural fundamentals.
Structural Analysis
The Status Quo at 2 minutes (2% through the runtime) establishes Kumail performs stand-up comedy at a small Chicago club, living his life as a struggling comedian and Uber driver, caught between his traditional Pakistani family's expectations and his American dreams.. Of particular interest, this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 13 minutes when Kumail and Emily connect after the show despite his initial annoyance at her heckling. Their chemistry is immediate and undeniable, disrupting his carefully compartmentalized life.. At 10% 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 Emily discovers the cigar box of photos from Kumail's arranged marriage meetings and confronts him about his inability to commit. Kumail admits he can't introduce her to his family, and Emily breaks up with him., moving from reaction to action.
At 61 minutes, the Midpoint arrives at 50% of the runtime—precisely centered, creating perfect narrative symmetry. Structural examination shows that this crucial beat Emily's condition worsens and doctors suggest experimental treatment with serious risks. Kumail must authorize the procedure as Emily's emergency contact, taking full responsibility for someone he loves but who may never forgive him., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 89 minutes (74% through) represents the emotional nadir. Here, Emily wakes from the coma but is angry at Kumail for being there, telling him she doesn't want to see him. He has lost both his family and the woman he loves. His attempt to reconcile fails completely., indicates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 94 minutes initiates the final act resolution at 78% of the runtime. Kumail realizes he must fight for Emily regardless of the outcome. He sees Terry and Beth arguing but staying together through difficulty, understanding that real love means choosing someone despite fear and cultural pressure., demonstrating the transformation achieved throughout the journey.
Emotional Journey
The Big Sick'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 The Big Sick against these established plot points, we can identify how Michael Showalter utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish The Big Sick within the comedy genre.
Michael Showalter's Structural Approach
Among the 3 Michael Showalter films analyzed on Arcplot, the average structural score is 7.3, reflecting strong command of classical structure. The Big Sick represents one of the director's most structurally precise works. For comparative analysis, explore the complete Michael Showalter filmography.
Comparative Analysis
Additional comedy films include The Ministry of Ungentlemanly Warfare, The Bad Guys and Lake Placid. For more Michael Showalter analyses, see Hello, My Name Is Doris, The Idea of You.
Plot Points by Act
Act I
SetupStatus Quo
Kumail performs stand-up comedy at a small Chicago club, living his life as a struggling comedian and Uber driver, caught between his traditional Pakistani family's expectations and his American dreams.
Theme
During family dinner, Kumail's mother discusses arranged marriage expectations, stating "You have to honor your family." The theme of balancing cultural identity with personal authenticity is introduced.
Worldbuilding
Establishment of Kumail's dual life: his stand-up comedy circle with fellow comedians, his traditional family dinners with arranged marriage setups, and his Uber driving job. Emily heckles him at a show.
Disruption
Kumail and Emily connect after the show despite his initial annoyance at her heckling. Their chemistry is immediate and undeniable, disrupting his carefully compartmentalized life.
Resistance
Kumail and Emily's relationship develops through dates and intimacy, but Kumail hides her from his family. He continues attending arranged marriage meetings while dating Emily, creating internal conflict about his future.
Act II
ConfrontationFirst Threshold
Emily discovers the cigar box of photos from Kumail's arranged marriage meetings and confronts him about his inability to commit. Kumail admits he can't introduce her to his family, and Emily breaks up with him.
Mirror World
Emily is hospitalized with a mysterious infection and placed in a medically induced coma. Kumail meets Emily's parents, Beth and Terry, who arrive from North Carolina. This relationship will force Kumail to confront his values.
Premise
Kumail spends days at the hospital with Emily in a coma, building an unlikely relationship with her parents. He faces his fears about commitment and family while Emily's parents initially distrust him.
Midpoint
Emily's condition worsens and doctors suggest experimental treatment with serious risks. Kumail must authorize the procedure as Emily's emergency contact, taking full responsibility for someone he loves but who may never forgive him.
Opposition
Kumail's family discovers he's been seeing a white woman and disowns him. He continues vigil at hospital, bonding with Beth and Terry. His comedy career advances with a showcase opportunity, but emotional pressure mounts from all sides.
Collapse
Emily wakes from the coma but is angry at Kumail for being there, telling him she doesn't want to see him. He has lost both his family and the woman he loves. His attempt to reconcile fails completely.
Crisis
Kumail performs at the Montreal comedy showcase but bombs on stage, making a heartfelt but rambling confession about Emily instead of doing comedy. He sits alone processing his losses and what matters most to him.
Act III
ResolutionSecond Threshold
Kumail realizes he must fight for Emily regardless of the outcome. He sees Terry and Beth arguing but staying together through difficulty, understanding that real love means choosing someone despite fear and cultural pressure.
Synthesis
Kumail returns to Chicago and performs a successful set incorporating his truth. He goes to Emily's apartment to tell her he loves her. She's hesitant but agrees to attend his show, where he publicly declares his feelings during his set.
Transformation
Emily appears at Kumail's comedy show. He sees her in the audience and they share a meaningful look. The final image shows them together, having both chosen authenticity and each other over fear and cultural expectations.