I Rewatched Network And It Scared Me For A Whole New Reason

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For approximately two decades, Network hasn’t been on my screen. Despite regarding it as one of my favorite films, I seldom re-engage with it beyond watching select scenes featuring Ned Beatty and Peter Finch’s iconic speeches online. However, for unexplained reasons, I haven’t given it another full viewing until recently. Upon rewatching, I was struck not only by the message remaining strikingly relevant – perhaps even more so than when it debuted in 1976 – but also by an additional aspect that caught my attention this time around.

In my perspective, the complicated, disorganized dynamic between Max (William Holden) and Diana (Faye Dunaway) often felt like a diversion from the core theme of the movie. While it aligns with the plot (to some extent), it didn’t resonate with me as deeply as it did upon my recent viewing.

The Movie Really Ties Together Diana’s Nihilism In Her Professional And Private Lives

Diana exhibits ruthless ambition and cunning, similar to certain film characters, and she possesses an icy, remorseless outlook on the television industry that has been frequently discussed in articles over the past half century. This chilly demeanor is evident in her relationship with her significantly older boss, Max. Originally a brief romance, their situation eventually evolved into cohabitation. Max eventually abandons his wife for Diana, and soon regrets his decisions.

The two are arguing in the kitchen of their apartment, and Max says to Diana,

I deeply regret the hurt I’ve inflicted on my wife and children. I carry a heavy burden of guilt and remorse, emotions that I believe are universally associated with compassion and good moral character in any era.

It’s what he says next that really resonates with me,

I’m starting to feel quite unsettled, as I realize that the end is approaching faster than I had imagined, and death seems more tangible and recognizable to me now.

In 2024, I experienced a serious health crisis which made me realize my advancing age. Although death isn’t imminent, it has become more tangible to me than ever before. It now possesses qualities that it never did before. A scene in the movie particularly resonated with me, causing me to momentarily halt playback and contemplate its profound impact for several minutes.

In this situation, Max appears regretful about certain decisions he’s made. Fortunately, I haven’t faced similar dilemmas like the aging TV executive portrayed in the film, and thankfully, I’m not as advanced in age as Max is depicted. There’s still a significant portion of my career ahead, and fingers crossed, there’s plenty of life left too. However, as I approach my next birthday and the clock ticks over to a new number, I can’t help but ponder about the true extent of time that remains.

I Noticed My Own Nihilism Creeping In

The first time I watched the exceptional ’70s movie, “Network,” in my youthful twenties, I was brimming with energy and enthusiasm. I felt compelled to conquer the world, with politics igniting both my fury and excitement. I had a long future ahead of me, and it filled me with concern. The rise of reality TV, the increasing political and daily life influence of corporations, were troubling developments for me. Over the years since then, things have only deteriorated further. This is what this article aimed to discuss.

The portrayal of that particular element within the realm of Network has been extensively analyzed and discussed over time, often referred to colloquially as being “over-analyzed”. The insightful writer Paddy Chayefsky foresaw this issue with uncanny accuracy in his masterpiece, which continues to inspire numerous interpretations and memorable quotations. As mass media has expanded and grown more dominant, social media now serves a role similar to what television once did, but amplified significantly. Regrettably, this evolution seems to have exacerbated the problems depicted in the movie. The relentless pursuit of followers and views, much like Diana’s desire for higher ratings in the film, has come to shape an alarming amount of online activity. In such a context, facts become secondary to being more sensational or shocking than the previous user.

Over time, I’ve grown less reactive to things, though something particularly distressing still sets me off. The movie made me contemplate whether the fate of the world holds less significance for me these days, and I fear that my growing apathy may intensify as I age. To be honest, I’m not filled with righteous indignation at the moment, instead, I find myself accepting the current state of affairs, despite my discontent.

Network Used To Scare Me For The World, Now It Scares Me For Myself

Perhaps this situation serves as a wake-up call for me. It’s time for me to rediscover my passion, the fire that once burned within me. I must heed the message delivered by Howard Beale (Finch), and truly get angry – “I’m as mad as hell, and I’m not going to take this anymore!” Just like the satire in Network was for me in the ’90s, it should be even more powerful now in the 2020s. I ought to confront the “primal forces of nature,” as Ned Beatty says in his brief appearance in the film.

The strength of “Network” lies in its adaptability to offer various lessons at different stages of a viewer’s life. Much like revisiting “The Catcher in the Rye” as an adult, I found myself disliking Holden Caulfield who I once admired as a teenager upon my initial reading. Just as remarkable stories can transform their meaning over time, “Network” is one such exceptional story that demonstrates this chameleon-like quality.

Reflecting on Howard Beale’s statement that “I am a living, breathing individual, and I matter! The worth of my life is significant!” Now seems like the right moment for me to rise up, fling open the window, and shout out, “Enough is enough!

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2025-06-29 18:08