The chairman effectively uses Howard's schtick against him, cleverly manipulating the setting of their conversation (which the film augments with its particular editing choices) to the point that Howard actually believes him to be a god. As the chairman represents the same amoral, capitalistic generation replacing Howard's generation's sense of moral superiority, Howard's complete acceptance of the chairman's speech is a powerful testament of the tendency of younger generations to replace their forebears, and frequently in a violent, vindictive fashion. It is no wonder, then, that Max is so disgusted with what he sees being done to Howard. Max decides to leave his wife because as he watches Howard turned into a kind of soulless, puppet version of what he once was, he realizes that the moralizing ideology represented by his generation no longer held any meaning. However, he is able to delude himself by the end of the film, blaming everything on television and Diana, "television incarnate," rather than recognizing his own role in the creation of this new, ruthlessly capitalist ideology. Thus, he returns to his wife and the sense of moral superiority it provides by rejecting his other child, the media landscape and corporate hegemony that he helped create.

Examining the inter-generational conflict portrayed in Network reveals some important details about the film's larger message. Firstly, it takes the focus off of television as such and demonstrates that the film's criticisms of television and the television audience are ultimately part of a large augment...

Secondly, it reveals how the younger generation, represented by the cutthroat capitalism of Diana and Frank, has completely taken power from the moralizing older generation of Max and Howard, using the visual cues of the latter's moral position while rejecting any of their moral dictates. The younger generation essentially hollows out the older, effectively forcing them to leave or die. In the end, the film does not seem to be criticizing television itself so much as the kind of moral failings that led to television's current state of existence. The corporate capitalism of Diana and Frank is inherently morally bankrupt, but Max and Howard's moral positions are no better, as Howard is willing to sell his voice to anyone while Max refuses to take responsibility for his actions. Recognizing this allows one to realize how Network's success depends upon the nuance with which it imbues his characters, never allowing any of them to retain any kind of moral high ground.
Works Cited

Canby, V. "Chayefskys Network Bites Hard as a Film Satire of TV Industry." New York Times

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Eder, Richard. "Hollywood is having an Affair with the Anti-Hero." New York Times (1923-

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Lumet, Sidney, dir. Network. Metro-Goldwyn-Mayer, 1976. Film.

Trier, James. "Network: Still "Mad as Hell" After 30 Years." Journal of Adolescent & Adult

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