Park Row 1952

In 1886, Phineas Mitchell is fired from The Star for openly criticizing its methods and philosophy. When his friends rally to defend him, they too lose their jobs, leaving the group adrift and searching for a new path. As they drown their sorrows in a bar, Steve Brodie bursts in with a dramatic claim: he survived a jump from the Brooklyn Bridge and wants Mitchell to write a story that will make him famous—yet Mitchell bluntly reminds him that he no longer has a newspaper job.

An old acquaintance, Charles A. Leach, reveals a long-held dream of journalism and lays out a daring plan: they should start a new paper together. Leach possesses a printing press, empty offices, and enough funds to get things moving. Mitchell agrees, and he immediately attracts his loyal crew, bringing on the seasoned reporter Josiah Davenport and the eager young talent Rusty. The plan quickly takes shape, and the team christens the venture “The Globe.” To kick things off, when a policeman comes hunting for Steve Brodie, Mitchell pulls the fugitive out from behind the bar, turning this confrontation into the first front-page scoop for the fledgling paper.

Meanwhile, Charity Hackett, the ambitious and ruthless publisher of The Star, initially shrugs off the new rival. But as The Globe’s fearless approach and its willingness to cover controversial topics wins readers, Hackett grows wary and begins to see the threat. Mitchell embraces bold, reformist ideas, and The Globe garners popularity despite its tight finances, even though it is printed on cheap materials such as butcher paper. Hackett makes a push to recruit Ottmar Mergenthaler to upgrade The Star’s capabilities, but her efforts fail to slow the momentum of the new paper.

The tension between the rivals increases when Hackett herself appears at The Globe and offers a merger. Mitchell meets her proposal with warmth and restraint, sharing a moment of affection, but ultimately rejects the deal. In response, she orders his suppliers to cut off ink and paper, and the retaliation spirals into violence: men are beaten, and Rusty is even run over by a heavy wagon. Mitchell confronts Hackett, insisting that Rusty’s injuries were not his fault and that she cannot simply wash her hands of the consequences, but she remains unrepentant as the conflict deepens.

A fresh crisis hits when Mitchell learns that France’s gift of the Statue of Liberty lacks a pedestal due to insufficient funds. He launches a public fundraising campaign, promising to publish the donors’ names, only to discover that con artists are collecting money in The Globe’s name. The government intervenes and orders the funds returned. In retaliation, Hackett orchestrates a smear, and Mitchell writes a scathing article debunking the fraud. Yet chaos erupts in his press room: type is spilled from the cases, glue is poured over equipment, and the situation seems bleak.

Then a breakthrough arrives: Ottmar Mergenthaler announces that the Linotype machine is complete, enabling faster, cleaner production. The Globe appears poised to print again, but tragedy strikes when a bomb destroys the newsroom’s printing press. Mitchell is devastated, succumbing to drink as he contemplates the loss of everything he built.

The next morning, a surprising twist clears the air. Mitchell discovers that his work has found an unlikely second wind: Mergenthaler’s machine has been used to typeset the paper anew, and Hackett has supplied the press and paper to keep The Globe alive while Mitchell’s team works late into the night. Hackett confesses her calculated plan to topple The Star so The Globe can flourish, revealing a complex, if morally gray, rivalry.

In the film’s final moment, rather than offering a traditional neat ending, the newsroom shifts to a new rhythm. The film ends with the word “THIRTY,” a signal from the reporters that marks the end of a story and the perpetual, restless pace of journalism. The Globe’s rise, Hackett’s ruthless strategies, and the invention that makes modern printing possible weave together into a portrait of ambition, innovation, and the costs of competing narratives.