Opinion: The Long Slow Death of TV's 'M*A*S*H' and How It Was Never the Same After the Second Season

Photo byFlynn Prejean

[Note: This article is a work of nonfiction based on the opinion of the author.]

The classic TV series M*A*S*H was based on the 1970 Korean War medical-military feature film of the same name. The small screen adaptation originally aired on CBS from 1972 to 1983.

However, it was never the same after its second season. It wasn’t funny anymore; and in some sectors, it was even considered unlikable. It was a good show beyond its sophomore year, but it did not have the same appeal as the first two years. Beginning with the third season, the show became like some kind of bizarro version of its original self (which see: Superman mythology); kind of like the less-than-worthy spin-off series, AfterM*A*S*H, that it spawned after it ended.

Why and How did the Show Change?

So, what happened? Why and how did the show change? Firstly, the cast switched from the second to the third semester. Star Alan Alda, as Captain/Dr. Hawkey Pierce remained throughout the program’s entire 11-year run, but the extremely likable McLean Stevenson (Col. Henry Blake) and the so-so Wayne Rogers (Trapper John) left. In their stead, Mike Ferrell and Harry Morgan arrived — as all-new characters: BJ Hunnicutt and Col. Potter (respectively).

After that, Gary Burgoff as Radar (the only carry-over actor/character from the original big-screen movie) exited, as did eventually Larry Linville — who played Major Frank Burns who horn-dogged opposite Loretta Swit’s Major “Hot Lips” Houlihan. Jamie Farr’s cross-dressing Corporal Klinger replaced Burgoff’s Radar as Blake-turned-Potter’s right-hand assistant; and as the stuffy Major Charles Winchester David Odgen Stiers became for Alda and Ferrell the arrogant butt of jokes (instead of the lusty Linville’s Burns, who was first berated by Alda and Rogers).

Certainly, the comings and goings of actors and characters have transpired on a hit-and-miss basis throughout television history; and shows that enjoy long runs usually have to mix things up a bit. But M*A*S*H took this all to the extreme — and to its detriment.

The Initial Years Were Pure Gold

The first McLean Stevenson/Wayne Rogers years were a pure joy; the pace was fast; the wit was prime; the clarity and focus were supreme. When the show started messing with its chemistry and cast and clarity, it became…well…a drag.

It’s not as though the series was bad…again — it just wasn’t the same show that the TV audience had fallen in love with in the fall of 1972. It’s like it was replaced by a “replicant” show (think Blade Runner); a “pod” series (think Invasion of the Body Snatchers, preferably, the original film); or as previously stated: a bizarro edition of the original show.

M*A*S*H was never a sitcom, really but, like the original film, it was a dramedy; a comedy with dramatic overtones, with characters like William Christopher’s gentle portrayal of Father Mulcahy mixed in for “good” measure. It was still appealing, and the show didn’t self-destruct (as made clear by its lengthy run). But it simply wasn’t nearly as well done. In fact, in perspective, it may be considered overcooked.

Alda, with his Marx Brothers-like line deliveries — and charismatic smile and style, and multiple talents (writing and directing many episodes), became a significant creative and guiding force for the series (which ultimately contributed to Rogers’ departure in the first place). But it was all too much for M*A*S*H.

The tone was still relatively funny at first, and serious second. But then it became serious first; funny second. Then it ultimately became not funny at all, minus any fake laugh track, which was silly to have been inserted from the get-go.

The missing laugh track was painfully obvious in the show’s later years, especially because not only had the audience at least become used to “hearing” the gimmickry device, but the actors and directors on the show seemed to still be delivering their lines with a stop-and-pause fashion as if the laugh-track was still there. The result: additional awkwardness; unevenness.

Moral of the Story (Analysis)

So, what's the moral of this story analysis of the M*A*S*H TV show?

The same as it is with the success of any television show should not be measured as a mere by-product of an investment of time and money. But its creative force (behind and in front of the camera) should be consistent.

In other words, don’t mess (or mesh!) with success, or the chemistry that’s leveled the playing field for a given show’s potential win-win scenario.

Certainly, that should have been the case with M*A*S*H. Unfortunately, the creative force behind and in front of the scenes did not follow through on that scenario.