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Mike Schilling

Alda was on your side; he liked being clean-shaven, and Hawkeye's perpetual three-day beard irritated the hell out of him.

Ken Levine

Lance,

You make some excellent points about the show my partner and I wrote, GOODYBE RADAR. My only issue is that Gary seemed to play Radar differently throughout the episode than we've ever seen him. Many times he's had to play mad and frustrated and he always did it wonderfully because underneath the anger was a young man afraid to really let it out, to be disrespectful. And the one previous time he did let it out, it was in the FALLEN IDOL episode in which he tells Hawkeye off and it was really powerful. In GOODBYE RADAR he seemed to make that choice right from the get-go. I always felt there was more humor and humanity to be mined from Radar being soooo conflicted over what he should do and how he should feel about it. On the screen it just seemed very one note and as an audience member I'm thinking "Okay, I get it."

My concern about taking off the hat was that Gary looked so much older than Radar that it would take you out of the moment. I didn't want any viewer going, "Wow, I didn't realize how old that guy is." I also believe we did enough things in the writing to sell his growth into manhood without needing that.

But the bottom line is the show turned out fine. Gary was a delight to work with and I'd work with him again in a minute.

merciless

The show really wasn't about Korea, after all; it was about Vietnam, and the writers (who I think included Alda during the later seasons) were trying to portray the uselessness and despair of THAT war.

That all the young doctors had received student deferrments is never mentioned, and in fact the writers occasionally used WWII for nostalgia, which I always found odd; that war had ended just a few years earler, during their adulthood, and surely it would have affected them more than was portrayed.

Hmmm...rich kids getting student deferrments, and then being forced to get in the middle of the blood. Exploring that would have made a good episode.

Maybe that subject was still a little too sensitive to tackle back in the seventies.

sfmike

Interesting essay, and it just reminded me that I can watch "Cheers" reruns with infinite pleasure but have never been able to watch "MASH." Robert Altman was being interviewed at the San Francisco Film Festival a couple of years back and when asked what he thought of the television show "MASH," he replied that he'd never watched it because he thought it was an obscenity. "How can you have a sitcom about Americans in an Asian War while a real war is going on in Vietnam?"

I felt the same about "West Wing," actually, wondering how people could watch a sitcom/drama about a wise, functioning United States federal government while the current Bush/Cheney lunatics were in charge.

Thanks, by the way, for the photo "swipe" from Palm Springs and the link to "Civic Center." It totally made my day.

merciless

I felt the same about "West Wing," actually, wondering how people could watch a sitcom/drama about a wise, functioning United States federal government while the current Bush/Cheney lunatics were in charge.

TWW was a fantasy, and I enjoyed it as such. Just for an hour I could lose myself in a world where brilliant, committed, idealistic, sensible people ran the country.

And Bradley Whitford is teh hot.

Susie from Philly

I've never been a fan of the TV show but to this day, I hold Altman's movie in the highest esteem.

KC45s

Quite good, Lance. You should never feel guilty about watching TV, the way some people do. As long as you write about it afterwards, that is.

Like you, I bailed out of MASH long before it ended. Even when watching late-night reruns, I punt on an episode unless Henry Blake is in it, though I'll watch the first Potter-B.J. season if nothing else is on. Not to put down what came after. I just prefer my comedies to be a little ridiculous, i.e. men in drag and one-liners at poker games and Stuart Margolin rhapsodizing about jowls.

My major complaint about the last couple seasons is that, well, all the characters became the same character. Every actor responded to every obstacle by screaming! And that's just one example. I know humans get grouchier as they age--I am one of them--but really. Probably the people making the show just got tired. It certainly seems that way to me.

An unromantic, uncreative analysis, I know. Fortunately, we have you for the other kind.

blue girl

Great post, Mannion. And interesting to see Mr. Levine here talking about it, too. Aren't the Internets great?

But, Mr. Levine, you said you'd love to work with Gary Burgoff again. But, are you sure he can still work? Mannion says he and Burgoff are close to the same age, and I think, from what Mannions says, he's like 180 years old. But, he can still write well, so maybe there's hope for Gary. Maybe it'll happen!

Switching subjects...

I agree with SFMike about The West Wing. Once Bush got into office, my mind could not take the leap to be proud and hopeful anymore.

Stefan Straub

I love MASH.
It used to run in Germany back in my university days, but they dubbed it in german. Most people hate subtitles over here, so they translate pretty much everything from other countries. Back then I prefered the late seasons, but after I saw most of the episodes in english I realized that it was easier to translate the sad ones. Comedy doesn't travel well and neither Frank Burns nor hotlips were very funny in german. Sometimes I spend an evening watching five different episodes from different seasons. Now I can appreciate the whole series. When I feel like laughing, I watch stuff from the first four years. But I don't mind WAR playing a bigger role later on; we stayed out of Iraq, but we joined in the follies on the Balcans before. People forget, and there is at least one TV series that shows the dying, the blood, the desperation. Over here that doesn't happen very often.
As the war drags on, even humor can't shield the characters forever.
My wife is korean and she hates MASH.
She thinks it is demeaning to koreans and makes fun of the korean war. In the first seasons they let any asian actor play koreans and there were lots of racist stereotypes. They even let some japanese actors play koreans, which is a slat in the face and never should have happened. Korea was a japanese colony for 35 years during which people were enslaved, women were forced into prositution for the japanese army and cultural artifacts were destroyed to destroy the korean cultural heritage. I know a lot of korean people and they all hate MASH. In the later years they tried to show a little bit of korean culture and hawkeye falls in love with a korean woman in one episode (forgot the name or the season, too lazy to look it up). But that was too little to late. They know that it is about Vietnam, but that doesn't make it any better. It just means that their history and their suffering were used as an allegory for the benefit of some american soul searching.
My wife leaves the room when I watch MASH.
Different cultures, different point of view.

lavaman

Fine post. One thing: Richard Hooker was the pen name for an H. Richard Hornberger and W.C. Heinz, the latter being, if not quite a serious novelist, at least a very good writer, maybe the best sportswriter of his generation. The man could write rings -- http://gangrey.com/66 -- around Red Smith.

DaveMB

Thanks for that reference, lavaman. It explains the football game in the book (and the Altman movie) -- Hornberger was a doctor and a golfer, but I don't know that he played college football as did the book's Hawkeye and Trapper. (Alda's Hawkeye was not plausibly a college football player, even at "Androscoggin College" where the book's Hawkeye played against Trapper's Dartmouth.)

Another change in the series to match Alda -- book-Hawkeye's father was a lobsterman, TV-Hawkeye's was a prominent doctor, played by Alda's famous-actor father Robert.

The second book, "MASH Goes to Maine", was actually very amusing (with a memorable golf match and plausible local color). My understanding is that the books after the first two were complete dreck.

Mike Schilling

TV-Hawkeye's was a prominent doctor, played by Alda's famous-actor father Robert.

Actually, Robert Alda played another character who was also a doctor.

Another change is that book-Hawkeye was married (to his high school's valedictorian), while book-Trapper was single.

Tom W.

Great post - loved the series but like you guys, i drifted off at the end. All the characters did become the same, and it was too preachy, not enough yucks.

I always though Radar was pissed 'cos he'd been in Korea for more than eight years!

John M\

M.A.S.H. was a touchstone for my TV experiences, such as they were, To see how they were for musicians, listen to these renditions of the classic-
Suicide is Painless.

mark

Didn't like the show (not because of the excellent writing) but because of the seeing the movie and loving it and then to see the casting of Alda as Hawkeye and the Frank Burns character changed from a dangerous, backstabbing lifer who Hawkeye and Trapper justifiably ruined without any regrets to a harmless blowhard. Being an Army vet, I completely identified with the way they treated Burns in the movie and always hated seeing a wuss (hey, I like Alda, but as a badass ladies man? yeah, sure) like Alda cast as Hawkeye doing boring Groucho impressions.

It went from an anti-authoritarian movie to a we-might-as-well-get-along sell out "obscenity". It went from taking joy in offending the offensive pricks to being a safe inoffensive show that seem to take great pains in making sure that no man had any testosterone. Like they were casting a bunch of tv weathermen.

blue girl

(hey, I like Alda, but as a badass ladies man? yeah, sure)

I beg to differ with that! I'm not sure "badass" is quite the right word, though.

FW

I recall watching it in my youth. Why was it really about any Korea or Vietnam per say? I think it was about American society then, which was ready for an ensemble voice, to stand in and represent a society that is stuck where it is due to circumstances, but despite differences, tries to rise above that, to perform their duty, perhaps be even "virtuos" to the degree it can - and still have a life in the end. It was a reaffirmation of certain humanitarian, or liberal values, in a way different than Norman Lear had mapped out already. It had a new liberal spirit of the times that aligned MASH as if a kindred spirit with Phil Donahue.

Watching a sitcom felt good. The writing actually had a level to it, that made it worth listening, rather than getting the plot points as an excuse for the gags.

What destroys its memory for me, is:

-- the casting trying to get us to believe "hot lips" was anything more than a fish face, caricature of the original movie's Kellerman. That single casting decision showed how simplistic TV was/is, and despite all the later attempts to make her redeemable, even a love interest for Hawkeye, it just hammered the nails into the series coffin.

-- anything Klinger. Stereotypes are ok if a person is in drag. In cinema it is a one-off, quirky aspect, but in tv it is repeating, a character trait. Jamie Faar is actually considered as an important example for Arab-Americans, truly incredible.

-- the "nice" relations toned out the promise of some realism after a while. Between army doctors, smiling english-speaking Koreans, or even just the niceness of the doctors to everyone who ever stepped foot in Korea. Doctors? Please.

-- Alan Alda doesnt act really, he is always Alan Alda. Which isn't fine if you start to see him on talk shows and guest spots, then back on MASH in the same week. The character shouldnt become him to the point he takes it from show to show and speaks as if Hawkeye somehow.

-- The idea of a post-MASH sitcom.

I was young when I watched, but I still recall it being interesting to have a few different emotions available together in one sitcom, which while shaded in a certain way weren't all Norman Lear audience-kneejerk (cue: aaaaawwwwwhhhh on kissing scene).

I recall being really moved when Mclean Stevenson's character is killed off! It was quick, not overplayed, and yes, sure playing to melodrama to some degree, but economical (see Norman Lear again). Stevenson represented the drier, absurdist side of the cinema version that was allowed in but only for a while.

I recall that Radar episode too. But honestly, Radar was always a second, never a first interest. When shows start to focus too much on second-interest characters, its a credit to scriptwriters that they can manage something, but usually it takes exactly the "exit" script, death, or wedding...

I think one discovered with his leaving what we already knew but didnt want to see, an absence that had already been prevalent. Like the absurdity of the original movie that was soon dropped out, or the voice over the loudspeaker that disappeared, Radar, too, wasn't necessary anymore to forewarn of any incoming.

I really doubt audiences noticed his hairline issue, because the whole MASH environment by that timeperiod was analogous with that "hairline" issue. So why should it suddenly stand out? People wanted to believe, and did. When did American TV audiences suddenly need logical continuity of character, in a series that lasts longer than the actual war it is set in?

At that point anyway, it seemed as if the series was a well-oiled machine, and like American wars, most of what was left were anticipated exit strategies to provide some distinction - how does this one leave, how does that one leave.

But oddly I don't recall any laugh track. Then I realized, I have spent some years living in Germany, which is where I caught my MASH reruns later in life, and sure enough, it was without a laugh track, as is common practice on German TV.

(As an aside, German speaking soldiers on comedy sounds odd, right? You should consider "Hogans Heroes" is shown in Germany, in German....bizarre.)

Jennifer

I never had a problem with seeing Alda as a "badass ladies' man" either.

Exiled in New Jersey

Everything about the show was more nicey-nice than the film, which in so many places was an equal opportunity hater....e.g., let's see what color Hot Lips hair really is....or let's get the lifers. Such vitriol could not hold a television series together for more than 13 episodes so Sutherland and Gould were replaced by Alda and Rogers and later the even more pleasant Mike Farrell. Stevenson left on his own, but already he was out of place.

By the time it came on TV, Nixon was Vietnamizing the war, the draft was leaving or gone and it had become almost irrelevant, instant nostalgia, letting us all feel good. The real shots against the war on television were fired by the Smothers Brothers circa 1967-68. We would gather around our television on Sunday nights in the barracks at Ft. Jackson and scream 'right on' whenever Tommy or Dick or that weather girl [Leigh French?] or Paulson would launch a shot over LBJ's bow.

Kevin Wolf

My family always watched MASH because my parents had enjoyed the movie and had no trouble transferring their affection to the TV show, as different as it was. My memories are pretty fond, and while I do prefer the earlier episodes when I catch reruns I also like that those making the show realized they couldn't just stand still. I like that they kept pushing and even that they moved into drama.

But I end up agreeing with you, Lance, that there's a point at which the show simply became untenable and watching it was no longer an option.

I remember in particular two "stunt" shows (you might say) that were, I think, effective on their own terms but which seemed to negate the need for having a MASH sitcom anymore. I have no idea what season(s) they were in. One episode was about the race to save a patient's life while a clock in the corner of the screen ticked off precious seconds. In the other episode, filmed in black and white, a newsreel team profiles the 4077th.

Somehow, as expertly done as those programs were, it spelled the end of MASH for me.

Rose

Hey. In the first seasons Radar wasn't the wide-eyed manchild he became later. He was a greasy little con-artist with no scruples about deceiving either Henry or the Army at large for creature comforts on the staff's behalf.

http://en.wikipedia.org/wiki/Radar_O'Reilly :

"On television, Radar's character started off worldly and sneaky, a clerk who carried with him at all times a pocketful of passes for any potential scam that might arise. He was known for his tremendous appetite for heaping portions of meat. He was also not averse to drinking Col. Blake's brandy and smoking his cigars when the colonel was off-duty. This character was apparently not wholly to the writers' liking and he became a naïve and trusting farm boy, a vegetarian, and cigars and strong liquor made him ill or dizzy. His favorite beverage was a grape Nehi (non-alcohlic)."

Screw NewRadar, I prefer the one who sent that jeep home piece by piece.

mark

FW, good point about HotLips in the TV series. I always called her Loretta Sweat.

mac macgillicuddy

Whatever happened to the interview with Wallace Shawn? I've been waiting for it.

Andrew

Assorted MASH ramblings:

One reason MASH changed after four seasons -- series co-creator Larry Gelbart left. The b/w newsreel episode, in fact, was the last one he wrote.

I remain a huge fan of the first seven seasons or so of MASH; after that I think the show got very uneven (There were frequent anachronisms -- one episode from the final season with Potter, BJ and Winchester encapsulated the year 1951, even though when Henry Blake left it was explicitly 1952). And it seemed that by the end of the show every character went through a nervous breakdown or two a season. One ephiphany to a customer, please. One TV critic wrote something to the effect of "I didn't mind that MASH tackled serious problems; it's that it started to think it had answers. And that's dangerous for a sitcom."

And the conceit of a 2 1/2 hour series finale pretty much assured that EVERY major sitcom following MASH -- CHEERS, SEINFELD, FRIENDS -- would demand a grandiose last episode. The only truly great sitcom finales I can think of were MARY TYLER MOORE and NEWHART, and those were each 30 minutes long.

The original novel and Altman's movie were basically anti-MILITARY. The sitcom was basically anti-WAR. There is a distinction.

That being said... My father wept when Radar left the 4077th. And I totally understand why.

M.R. Moore

Funny thing, I thought Farrell's mustache was a ridiculous anachronism, until I read James Brady's "The Coldest War" and was informed that many soldiers in Korea (including future Senator John Chafee) cultivated outrageous handlebars.

RavenT
In the later years they tried to show a little bit of korean culture and hawkeye falls in love with a korean woman in one episode (forgot the name or the season, too lazy to look it up).

I don't remember the season, and IMDB doesn't have it listed, but that role was played by France Nuyen, a French actress of French and Vietnamese ancestry.

Mynamehere

Ha- all this about the tv characters of MASH vs the film reminds me of the job of then-contemporary tv series such as "Love Boat", they seemed to thrive on giving all those second-interest characters somewhere else to go! One step before b-string cameos. So you would see a contemporary hot-lips, of course not as hot-lips, but whats the difference, or a contemporary Radar, and so on.

Going over all this, it's funny to recall how Gould and Sutherland tried to sue to get RID of Altman from the film. They were actually not believing in him being able to pull something off...

Lance

Lots of excellent commentary here. One thing, though, Radar was not a secondary character like Klinger and Father Mulchahy. Almost right from the beginning the producers and writers built whole shows and many important subplots around him. I'll bet if you go back and count he has more lines and more scenes on his own in the first three seasons than Trapper, which may help explain why Wayne Rogers left the series.

grimes

And let's not forget Margaret "Hot Lips" Houlihan's transformation into a blonde-dyed, permed, bra-less woman who looked remarkably like a '70s Loretta Swit. . . .

FW

TV ensemble-cast sitcoms end up like bands, only so many members fit the stage - Hawkeye, Trapper John(or substitutes),Frank Burns(or substitutes) Hotlips (i.e.the one and only Loretta Swit). They were always two opposing couples, which is precisely how bands also function.

The analogy would be, you may have liked George Harrison, but the plot of the Beatles story was expressed via Lennon-McCartney material.

That's all I thought with second-interest. You would be off course if you got rid of any of the band, you must include the band first, and then others are allowed in. Even if one is the quiet "Harrison", he's still a "Beatle" before anyone else stands in for a solo moment or two.

Sure Trapper ended up being just a foil for Hawkeye as happens in TV - and quit the band to be replaced. And yes, I would agree Radar was important, in the way your text suggests, in that he not only grew up but we as viewers watched him develop to the point it seemed we got the chance for him to really take up a position "in the band" - almost.

But Radar was going to have to remain in orbit around McClean Stevenson/Harry Morgan. I think what you describe is the good work of an ensemble program, in that Radar got his lines and so on because he could really develop - but there was no place on stage and so he remains as not the "band", but the "extra keyboardist",etc..(ok enough with the analogy).

And as for solo careers....

The Heretik

Some might say MASH re-runs are the purgatory you have to sit through before god realizes he made a mistake and sends you to the eternity of hell where you have to sit through all the Law and Order re-runs and ones not even made yet.

In tonight's two episode season finale, Mariska Hargitay walks through one door in an office at Law and Order SVU and finds herself suddenly behind the wheel of a well placed Cadillac Escalade with some ADA they haven't killed yet on Law and Order SUV. . . . Oy.

FW

..and then, below the second-interest, for me, were Klinger - the equivalent of "tambourine player" really, maybe part time emcee duties, and Father Mulchahey, "friend of the band", maybe a spiritual roadie for god (I mean he couldnt work in the o.r...couldnt get drunk, couldnt...well, you know..)

Andrew

One of the great things about MASH the sitcom was that McLean Stevenson could've easily been replaced by a carbon copy character (i.e., when the actor who played Mr. Wilson on the '60s DENNIS THE MENACE sitcom died, Mr. Wilson's equally irascible brother suddenly showed up). But Sherman Potter was totally different from Henry Blake; he was someone who forced Hawkeye, Hot Lips, etc. to respond differently. BJ was just different enough from Trapper to bring out different sides to Hawkeye. Frank Burns was a pompous major and lousy surgeon, but the equally pompous Winchester was a brilliant surgeon who was more than willing to reply in kind to Hawkeye and BJ's shenanigans.

ATS

When Jamie Farr--whose "Klinger" never made me laugh even once--got his own golf tournament I thought that George W. Bush could also serve as President.

Of course I have since been proven wrong.

ALast1

With the first round of characters being replaced, you also see how a sitcom that starts off with one atitude, changes to another, and that had some odd moments towards the last phase.

The married Burns was cheating with Hot Lips, but replacement Winchester had no intention to do so, or apparently have urges.

Hawkeye starts off with Trapper (married I think) as skirt-chasers and brewing alcohol for "martinis" no less, but in the end, had "issues" with drink and depression, and was shown caring, considerate, and to fall "in love" rather than wanting to just get laid.

Hot Lips apparently never had urges after Frank left, except for the special episode or two.

Radar, just as he could think away from caring about his pets, to act on such things, was banished, had to go home to mother essentially.

Henry Blake was included in the married but skirtchaser side, he left and Potter came in, who loved his wife of 100years and his horse, and so on...

It's like for the series to "grow up" meant some ideal nuclear family of father (Potter) son (Radar) brothers and sisters (the docs) and assorted distant relatives (nurses, extras), crazy uncle (klinger) and of course, the priest nobody wants to visit really.

Which could have been different. It did make for something odd when Hawkeye and Hot Lips,now more brother and sister really, got close and "comfy" in one episode..

Noam Sane

All I can say is, talk like this really tightens my colon.

GW

Gone unmentioned in all the discussion is the interesting fact that Burghoff was the sole player that carried over from the film to the series as Radar.

And speaking of tambourine players, how badly had the bottom been scraped when recurrings like Rizzo, Kelly, and Igor (Igor!) started getting their own subplots?!?

Andrew

Face it: The Korean War lasted three years. MASH the sitcom lasted 11 years. There's no way to have a series last four times longer than the event being depicted and NOT run out of plausible storylines. Even when you're depicting a war.

Cedric Hohnstadt

Wow, there's some really insightful stuff here. But I'm a little disappointed with all the MASH-bashing. For its time, MASH was one of the best-written shows on television, and overall it holds up amazingly well. (I personally prefer the later seasons to the earliest ones.) Sure, the show evolved over time. But its either that or become stale. I give the writers great credit for trying new things, for exploring, for being creative and fresh, and for refusing to let the show get moldy and tired.

Examples:
What if they tried to condense an entire year into one episode? Yup, they did that.
What if they wrote an episode where all the dialogue is spoken by only one character? Did that too (Hawkeye gets a concusion and has to talk to keep himself awake).
What if they wrote an epsiode that takes place entirely from the point of view of an outside observer? (the camera is from the POV of a patient.)
Or an episode that took place in real time? (the one with the clock on the screen). Or an episode made up of character's dreams? Or an episode shot in black and white? (The Interview). Or one where the charcters switch roles (Boxing Day).

MASH was, and still is, one of the most creative and innovative shows ever to be aired on TV.

Andrew

MASH was, and still is, one of the most creative and innovative shows ever to be aired on TV.

I completely agree -- as much as I might've quibbled about certain directions MASH veered into, it's one of the top programs ever presented on American TV.

There's a great new book out called THEY'LL NEVER PUT THAT ON THE AIR by Allan Neuwirth, an oral history of controversial TV comedies. The creative team behind MASH is quoted at length about how they were able to get their vision of MASH on network TV in the early 1970s. I highly recommend it.

Damian Teran

On The Season 5 When Radar Tells Haweye That Trapper John Got His Papers To Go State Side I Would Like To See Hawkeye Saying To Goodye To Trapper John

Rick

M*A*S*H became painful to watch due to Alda and friends' moralizing. M*A*S*H was, for me, designed to show humans coping with horror. If Hawkeye had been killed, that point would have poignantly been made. After Season 7, I wanted to scream at the box, "I get it already, war is hell." The fact that the show featured a hospital setting, rather than actual combat, was another reason I felt the constant harping ruined the show. This setting allowed time for "zany" antics, and allowed for effective dramatic events. The later years reversed that trend, which is when I lost interest.

And the total focus on Hawkeye? I enjoyed M*A*S*H for its ensemble cast. The alternate story lines kept my interest. But when it became the Hawkeye and friends show, it was too much. Due to his alcohol abuse and authority issues, I never accepted him as a ladies man or moral agent. He became the anti-Frank Burns, and not near as funny.

In response to the length of the series, "24" has shown that a series can believably live longer than depicted events, so the 150 hours of the show is dwarfed by the actual number of hours the war lasted.

M*A*S*H characters should have become TV icons, but the only charcters to escape relatively unscathed were Radar, Trapper, and Father Mulcahy. Which says a lot for Mulcahy since he is the only one to survive the shrill of seasons 7+.

Christie K

M*A*S*H has always been one of my favorite shows even though the last season was aired 2 years before I was even born in 1985. I can't remember a time in my life with out it. I wasn't even old enough to understand half of what was going on and still loved it. I was, and in a way still am, in love with Alan Alda. As most people who know me will tell you that my sense of humor, or at least the basis of it. came from Hawkeye.

I have recently aquired the whole collection and have been going through watching them all again. I have seen each episode, probably at a minimum of 3-4 times over, at this point but this is the first time I have watched them from start to finish. Unlike what I have read from others recently I have always liked the later episodes just as much as the earlier ones. However one thing stands out above all. Not seeing the episodes in random order has shown me the hole that was left when Gary Burghoff left the show.

Radar was my favorite character. Though not as humorous in a lot of cases as Hawkeye, he added something to the show that no one else on the earth could have. Gary was the one that kept it all together just as Radar was the one that kept the 4077th together.

So here I sit, depressed, some 32 years later . . .

I still wonder why it is he left the show to begin with. Nothing I can find gives a straight forward answer as to why. Also I think I would have liked to see him in some other things . . . at least then I wouldn't be as depressed now.

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