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Alan Alda (left), Wayne Rogers (right), McLean Stevenson (in back) and Loretta Swit (in front) from the first season of M*A*S*H. M*A*S*H is an American television series developed by Larry Gelbart and adapted from the 1970 feature film MASH (which was itself based on the 1968 novel MASH: A Novel About Three Army Doctors by Richard Hooker). [1]
A M*A*S*H video game was produced by Fox Video Games in 1983. It was criticized for trivializing the war, lacking the nuance of the film and TV show. Finally, there was a trivia game published by Golden in 1984. It was available in two variations, one with a full complement of paraphernalia including game-tray, die, and point value cards and ...
An enemy prisoner who is being treated in the OR grabs a scalpel and attacks a nurse, Lt. Erika Johnson (Joan Van Ark), and inadvertently splashes foreign matter into the wound of a patient of Trapper's before being subdued by Hawkeye. When Trapper's patient subsequently dies, Trapper is furious at the enemy soldier and stands over his bed ...
The episode is dedicated to Connie Izay, RN, one of the show's medical advisors, who died before the episode aired. Although this was the penultimate episode of the series, it was the final episode produced, wrapping on January 14, 1983 at exactly 6:05 p.m. [ 1 ] The series finale, " Goodbye, Farewell and Amen ", had been filmed earlier in the ...
The episode was broadcast in black and white and was the final episode for series developer Larry Gelbart. Loretta Swit does not appear. Recently, a full-color version of this episode has appeared on Hulu.
Among the latest batch of wounded soldiers treated at the 4077th is a young soldier, Private George Weston (Richard Ely), who is also heavily bruised in addition to the leg wound he received in battle.
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A USO show is held at the 4077th, featuring stand-up comic Jackie Flash (Joey Forman) and female singing trio The Miller Sisters (Marilyn King, Jean Turrell and Joan Lucksinger), augmented by backup band Charlie Keller and His Claire-de-Lunatics. The performance is juxtaposed with scenes from everyday life in the camp.