* ActorAllusion: In the film, Max and Diana refer to their affair as "a many-splendored thing" - an inside joke, since Creator/WilliamHolden had starred in ''Film/LoveIsAManySplendoredThing''.
* AFIS100YearsSeries:
** AFIS100Years100Movies: #66
** AFIS100Years100MovieQuotes:
*** #19, "I'm mad as hell, and I'm not going to take it anymore!"
** AFIS100Years100Movies10THAnniversaryEdition: #64
* BeamMeUpScotty: The actual line from Howard Beale's rant is "I'm ''as'' mad as hell, and I'm not ''going'' to take ''this'' anymore!" Often misquoted as "I'm mad as hell, and I'm not gonna take it anymore!" Also, Beale doesn't shout it out the window; only his viewers do, although their wording differs slightly... which makes this case of BeamMeUpScotty understandable.
* DoingItForTheArt: Peter Finch was desperate to win the role of Howard Beale once he had read the script. He even offered to pay his own airfare to New York for the screen test.
* FakeAmerican: Australian Peter Finch as Howard Beale.
* UnintentionalPeriodPiece:
** The film specifically dates itself to the 1975-76 television season by the reference to the assassination attempts against UsefulNotes/GeraldFord, as well as, more broadly, by its depiction of the pre-cable television landscape (the fictional UBS network is portrayed as a second-string also-ran behind the "Big Three" of Creator/{{CBS}}, Creator/{{NBC}}, and Creator/{{ABC}}) and an old-style TV newsroom in the scenes before Howard Beale finally snaps. It also comes into play with the various outlandish TV shows that UBS creates afterwards, in a rare case of this trope causing ValuesResonance rather than ValuesDissonance. At the time, screenwriter Paddy Chayefsky (a veteran TV writer) intended the film as a satire of his experiences working in television, with Beale's fiery op-ed program and ''The Mao Tse-Tung Hour'' (following the escapades of a group of [[DirtyCommunists far-left]] WesternTerrorists based on the Symbionese Liberation Army, complete with [[NoCelebritiesWereHarmed a parody of Patty Hearst]]) portrayed as the logical conclusion of the quest for {{ratings}} that he had witnessed. Modern viewers have often described the film as prophetic in its anticipation of both RealityTV and assorted PompousPoliticalPundit talk shows, and the effect that they had on the TV landscape.
** The movie's whole message of television and corporations as these amoral, unstoppable and dehumanizing things is kind of a 1970s thing. To be sure, private media conglomerates and ratings-chasing are still things, but nowadays it's more straightforward profiteering and yellow journalism. In other words, whereas Diane ruins media because she's a soulless automaton, Rupert Murdoch does it because he likes money.
* WhatCouldHaveBeen:
** Screenwriter Paddy Chayefsky envisioned Creator/HenryFonda, Creator/JamesStewart, Creator/PaulNewman, or Creator/CaryGrant filling the role of Howard Beale. Creator/GlennFord, Creator/GeorgeCScott and Creator/GeneHackman also passed on it.
** Creator/SidneyLumet claimed that he wanted to cast Creator/VanessaRedgrave in the film, but Paddy Chayefsky didn't want her. Lumet argued that he thought she was the greatest English-speaking actress in the world, while Chayefsky, a proud Jew and supporter of Israel, objected on the basis of her support of the PLO. Lumet, himself a Jew, said "Paddy, that's blacklisting!" to which Chayefsky replied, "Not when a Jew does it to a Gentile."
** Paddy Chayefsky wanted Creator/WalterMatthau or Creator/GeneHackman for Max Schumacher. Creator/FayeDunaway wanted Creator/RobertMitchum for the part.
** Paddy Chayefsky thought of Candice Bergen, Ellen Burstyn, and Creator/NatalieWood for Diana Christensen. The studio also suggested Creator/JaneFonda, Kay Lenz, Diane Keaton, Marsha Mason, and Jill Clayburgh for the role.
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