YMMV / Network

  • Acceptable Ethnic Targets: When Beale's show is a ratings champion, and UBS is on the way to its most successful period, Beale delivers a powerful rant about the Arabs buying up land and businesses in America, particularly CCA, the parent company of UBS. And, in a break from previous speeches, he urges viewers to send complaints about this to the White House.
  • Award Snub: A few critics considered it deserved Best Picture more than Rocky.
  • Common Knowledge: It's often claimed that a young Tim Robbins plays one of the assassins in the final scene. Robbins is on record denying this, but it's been propagated everywhere from IMDB to Turner Classic Movies.
  • Crazy Awesome: Howard Beale, crazy old man and anti-establishment champion; they didn't call him "the mad prophet of the airwaves" for nothing.
    Jensen: Good morning, Mr. Beale. They tell me you're a madman.
  • "Funny Aneurysm" Moment:
    • The entire film, given Peter Finch's death a few months after the film's release. His fainting at the end of his monologues and the ending are even more difficult to watch.
    • One specific example: A fourth major television network, built upon content that's trashier than its rivals and who quickly cancels any shows that don't keep up in the ratings? This may as well have been a documentary on the rise of Fox, if it hadn't been made in 1976.
    • A meta example. Peter Finch, an Australian previously Oscar-nominated for playing a homosexual man, died soon after playing the part of an anti-establishment nutcase and ended up winning a posthumous Oscar for the role. Who does that remind you of?
    • Beale's first remarks on the air after he learns he's fired is that he ran out of bullshit, which then turns his show into a rant program. Sounds much like You Know Whats Bullshit.
    • At the beginning of the film, they mention a journalist named "Snowden" in conjunction with a story about the CIA.
  • Magnificent Bastard: Arthur Jensen.
  • Memetic Mutation: Beale's "mad as Hell" speech, both in-universe and in Real Life as well.
  • Misaimed Fandom: It bears repeating that while the character of Howard Beale may appear to be a fiery crusader for the common man, he is also an individual undergoing a severe and prolonged mental breakdown, and the film makes clear his behavior is not to be emulated. This, however, doesn't seem to stop people (both fictional and non-fictional) from claiming him as an inspiration.
    • This is also a source of Fridge Horror both in the film and in real life. Beale, in the midst of a mental breakdown, is being exploited by those around him for the sake of ratings, and he is ultimately murdered because his ratings slip. While he hasnít explicitly stated this, Glenn Beck has obliquely hinted in recent years that he was suffering from psychological disorders during his tenure at HLN and Fox News, which leads to the inevitable question of whether he was also being exploited at the time.
  • One-Scene Wonder:
    • Ned Beatty as Arthur Jensen. He famously worked only one day for the scene, and was nominated for an Oscar.
    • Beatrice Straight as Louise Schumacher. If you're watching this for the first time and know she won an Oscar for her role, you might wonder why, since she doesn't seem to be doing very much... until you get to that scene.
  • Retroactive Recognition:
    • Amusingly, you can spot a young Perry White among UBS's news staff.
    • Man, in that scene where Diane Christansen meets with Laureen Hobbs, that one executive with the blue denim suit looks pretty swanky—Wait, is that Lance Henriksen?
  • Signature Scene: Beale's "mad as Hell" rant.
  • Unintentionally Sympathetic: Diana, for the reasons explained in Values Dissonance below.
  • Values Dissonance: Diana may be an enthusiastically amoral borderline sociopath, but Max's line to her, "I love you. And that painful, decaying love is the only thing between you and the shrieking nothingness you live the rest of the day." is still disturbing on several different levels: To a modern audience, a paraphrased version of "You're so damaged only I can love you," sounds more like emotional abuse than an (anti)heroic Shut Up, Hannibal!. This turns into Fridge Horror when you remember Diana said she'd been seeing a psychologist for years and thinks she's inept at everything but her job, suggesting that her Card-Carrying Villain persona covers a lot of insecurity and self-loathing. It gets even worse when you realize much of that self-loathing is because Diana "apparently [has] a masculine temperament," so her emotional detachment may be an example of living down to expectations in a sexist society. Ironically, Diana was written to be as unsympathetic as possible, and Sidney Lumet strongly discouraged Faye Dunaway from adding any human goodness to the character.
  • Values Resonance: This film's satirical take on news channels only grows more relevant with every passing year - still ringing every bit as true in the 21st century (if not moreso) as in 1976.
  • Villain Has a Point: Arthur Jensen's speech where he converts Beale to his point of view is actually a fairly decent defense of financial globalism as a force for good.