#mash media

[mashbrainrot]

— Transcript below the cut —

Nobody ever calls him Dave

The role of the lovably unlovable doctor in 'M*A*S*H' fits courtly David Ogden Stiers like a surgical glove.

by Arnold Hano

When David Ogden Stiers mentioned that his birthday was coming up, the M*A*S*H crew decided to throw a party – birthday cake, 35 candles, the works.

But David Ogden Stiers called it off, probably because he still considers himself the new boy on the block, something of an outsider. Stiers (it's pronounced STYers), who plays the stuffy Boston doctor uncomfortably assigned to the MASH unit, is a shy man who prizes his privacy.

And this shyness isn't helped by Stiers' feeling that he still doesn't belong on a show that features so talented an ensemble cast as Alan Alda, Mike Farrell, Loretta Swit, Harry Morgan, Gary Burghoff and Jamie Farr. Stiers replaced five-year veteran Larry Linville at the start of the 1977 season. But others have gone through the same problem. Mike Farrell, who came on as Capt. B.J. Hunnicutt after Wayne Rogers left, says he's ''simpatico with David. I was in his shoes. He's grabbed me as an anchor.'" But not tightly. ''We haven't socialized,'' Farrell says. "But that's only because he hasn't accepted the invitations we've offered."

If Stiers hasn't fitted in socially, everyone agrees he has adapted to the role swiftly. Alan Alda raves about Stiers. "I'm very fond of him. He's extremely skilled. It's such a pleasure to work with him. He comes up withterrific ideas." In an early script, Stiers presents Alda with a can of gourmet food to take on a date. Alda studies the label. "Wild boar goulash?" he says. And Stiers makes the OK circle with his index finger and thumb. Except instead of raising his hand, Stiers improvised a stiff horizontal sign, held tight to his belt. "'It was perfect," Alda says. "Exactly the way his character would make it."

Stiers enjoys the freedom of the M*A*S*H set, where he is encouraged to do whatever he thinks will work. His first episode has him chewing out Radar, the cherubic corporal. "At first I tried to be nice to him. Then I realized, I am not a nice man. So I shouted at Radar. Imagine! I shouted at Radar, possibly the most sympathetic character in the history of this tube."

Everybody was pleased. Burt Metcalfe, producer of the series and the man who hired Stiers, says, "David has this unique quality. He can be lovably unlovable."

Stiers glows. "There is an extraordinary working relationship on the set. If it gets any more positive, we'll all have goony smiles." It's so idyllic that Stiers, always a night man before, now rises at 5:30, not only to make sure he's on hand for the first call, but because he likes to stand on the deck of his one-room Hollywood apartment and watch the sun come up. "It's the most beautiful time of day." says Stiers. And he's totally alone.

David Ogden Stiers – he likes using all three names; nobody ever calls him Dave – is an only child. A tall, courtly man whose shiny dome makes him look older than his 35 years, Stiers was born in Peoria, Ill., in 1942 and moved to Eugene, Ore., when he was 15. As a kid, he played baseball on Peoria sandlots. "| would hit the ball and I'd stand, appreciating the loft. I was out before I took a step. My teammates weren't thrilled."

Soon they stopped asking him to play. What he did was read, play the French horn and the piano, sing in church, and gravitate toward the theater. "The only child is left a lot to his imagination,"' he says.

He was never much of a student, because he didn't care. "My folks sent me to a psychologist after I finished high school. I had been enrolled in the University of Oregon, but I flunked out. My folks sent me to night school. Again I flunked out. I didn't want to be there." The psychologist found nothing haywire; all David wanted was to give acting a chance.

He spent a year with community theater in Eugene, and in 1962 joined the California Shakespeare Festival in Santa Clara, Cal. For seven years he did only classical roles and somehow managed to support himself. Then he joined San Francisco's improvisational company The Committee, but left in 1970 to go to The Juilliard School in New York, to do something about a voice that was "Illinois flatness compounded by California flatness, that horrible back-in-the-throat speech.'' Juilliard, though, cured him nicely, and today his voice is rich and resonant.

But San Francisco had not prepared him for New York. "All the orchestras of the world converged every winter on Carnegie Hall, all the dance companies. And the theater knocked me out. I was almost convinced," Stiers says, "that was the best of all possible worlds. That is, until I'd get out of the theater and feel that abject hostility on the street, see people talking to themselves and other people with open, running sores." It was a contrast Stiers found hard to adjust to, with "the filth on one hand and the cultural life rich as whipped cream on the other."

In 1974 he appeared with Zero Mostel in 'Ulysses in Nighttown,' and two months later opened in the musical 'The Magic Show,' playing an aged alcoholic magician. After nine months he'd had enough.

"I ran screaming from New York and settled down in the Oregon woods." His agent, Susan Smith, asked him to come to Hollywood to meet producers. He made a couple of films, in also-ran parts, appeared in the brief series Doc, did the pilot for Charlie's Angels and was offered a regular Angels role, which he turned down because he would have had to sign for seven years. He played three episodes on The Mary Tyler Moore Show as the station manager who hassled with Mary and Lou Grant over pay raises. M*A*S*H producer Burt Metcalfe saw one episode.

"Larry Linville had annouced he was leaving M*A*S*H," Metcalfe recalls. "We had to fill the hole. Larry was a brilliant actor, but we had allowed the Major Burns character to become somewhat childish. I thought we should go in another direction. Find a character who'd be a far more formidable opponent for Hawkeye and B.J. I had an image of William Buckley in mind. Then I saw David."

Nobody else was ever interviewed.

In January of 1977 Stiers signed a two year contract. He sees his character, Maj. Charles Emerson Winchester, as a man who has studied in Europe and summers in Maine. "I keep trying to lay in traces of very Down East expressions. 'Thank you' has become 'Th'k yo.' He is a petty man. The more threatened he gets, the richer his language becomes. In one speech I call Hawkeye and B.J. 'cretins and Visigoths.' That's got to be a television first." Especially pronounced 'cretins', British style.

That's his life these days. During one extended break he went back to Peoria for a family reunion, and though he enjoyed the reunion, he did not relish playing the role of star. "I'm happy not to be recognized. When I go to a restaurant I like to eat, undisturbed. I hear horror stories about Burt Reynolds and other stars, who never expect to get more than three forkfuls to their mouths consecutively before being interrupted for autographs. I am definitely a 33-fork man so far."

So he eats, usually alone, in a French restaurant on Vine, below Hollywood Boulevard, and then he walks home, to his barely furnished bachelor apartment where he lives alone.

Marriage remains in the abstract. "I expect it to happen, but I do not expect to work to bring it about. I look forward to a rewarding, loving relationship. But it is nowhere on the horizon." He has one special woman friend, but she lives in San Francisco nearly 400 miles away.

He'd like to make a movie in something other than a minor part, he'd like to do more Broadway theater and he'd like to go to Europe, which he has never visited. But that, too, is later.

"What I want to do eventually is settle down in Oregon,'' he says. "Go home and shut up and listen to the wind and the pine trees. Hollywood furthers your career. But you don't make friends."

Meanwhile, he remains in his Hollywood apartment, where he listens to classical music. Recently he bought a Richard Strauss autograph. "I walked into a place in Beverly Hills. Somebody had left the autograph on consignment for $225. I said, "I'll take that." Now I listen to 'Rosenkavalier' and nearby is a photograph of Strauss with a letter to a friend, signed by him. It connects. It puts him into the same room with me."

Otherwise, of course, he's alone.

[hearteyespierce]

[driftbit]

"What will you do without new shows" I haven't watched a mainstream television show as it released in years. I'm catching up on shows my parents liked in the 90s. I'm listening to fiction podcasts with 5 fans. I'm playing a video game the creators want you to pirate. I'm watching a minecraft roleplay. I may not know what I'm gonna do but I'm sure as hell not gonna be a fuckin scab babygirl.

[tma-thoughts]

Im on season 2 of mash and ive determined that if this show came out today the same people who watched it religiously in the 70s would call it woke propaganda

[mashbrainrot]

Article under the cut to avoid giving Fox News any clicks or whatever.

'M*A*S*H' star Loretta Swit says costar Jamie Farr 'still makes me laugh' 41 years after show’s wrap

Swit played Major Margaret 'Hot Lips' Houlihan on the hit series from 1972 to 1983

___

By Christina Dugan Ramirez | Fox News

Published May 10, 2024 | 12:40pm EDT

___

Loretta Swit still has a soft spot for her "M*A*S*H" costar Jamie Farr. 

The actress, who played Major Margaret "Hot Lips" Houlihan on the hit series from 1972 to 1983, opened up about her deep connection with Farr, who portrayed Corporal Maxwell Q. Klinger, 41 years after the show's wrap.

"[Jamie] still makes me laugh and keeps me connected to that piece of my heart that brought so much joy to millions of viewers," she said in a new interview with First for Women. The two friends still often participate in autograph signings throughout the country. 

Reflecting on the show's major success, Swit credits it to the cast's on- and off-screen chemistry. 

"Everyone liked coming to work," she said. "The camaraderie was unlike anything I ever experienced because we were all connected deeply. The chemistry was real, and the energy everyone brought to the set was off the charts, which was a part of the reason the show developed a huge/loyal fan base."

Laughter was also important for the show.

"Laughter and humor were our defense against standing in blood and working on bodies that were young enough to be in school," she said. "You needed the funniest people in the world to make this believable, and this cast exceeded that and more."

"M*A*S*H," which followed a team of doctors stationed in Korea during the Korean War, won 14 Emmy Awards throughout its 11-season run. 

"Initially, when we started out, everyone wondered how we were going to be able to pull off a comedy about the war, but we did," Swit said. 

In 2023, Swit opened up to Fox News Digital about how her character's nickname, "Hot Lips," has since stuck with her all these years. 

"I understand nicknames come with great love and admiration for a character," the star explained. "But it was an insult as far as I was concerned. She wasn’t just a piece of anatomy. She was a major in the United States Army, and she should not be disrespected."

"This was a woman who had rank, who worked hard and wanted to be good at her job," Swit shared. "She was an inspiration. I was proud of her. I was proud to represent all the service women out there. I wanted to make a change."

Swit said she was also proud of being part of the celebrated show, so much so that she was worried the nickname would overshadow the heroic efforts of real-life service women, belittling them to a punchline.

"I didn’t want those women to be disrespected," the actress reflected. "Obviously, people are going to see it differently. Margaret did not see [the nickname] as a compliment. She saw it as disrespect. So, yes, I would say it was never a comfort zone."

These days, Swit continues her activism through her charity, SwitHeart Animal Alliance, and creating art. 

In 2017, she published "SwitHeart: The Watercolor Artistry & Animal Activism of Loretta Swit," a book made up of 65 watercolor paintings and 22 photographs that also include personal stories. 

[high-voltage-rat]

I think it's fascinating that the quotes:

"Have you forgotten sir, we were at war? A fight with an alien race for the very survival of our species. I feel I must remind you that it is an undeniable, and may I say fundamental quality of man, that when faced with extinction, every alternative is preferable."

"When you spend every day fighting a war, you to demonize your attackers. To you, they're evil, they're subhuman. Because if they weren't, what would that make you? What I'm trying to say... is I've been afraid to see you for what you really are. You're our brothers. Our sisters. And the things we've done to one another are unforgivable."

"These guys want to use us, take us away from our families, and send us all over the dad-gum galaxy just to test if their agents are ready for the big fight? Well... guess I'm interested in showin' em exactly what a big fight is all about! So I'm not ordering you to go. I ain't even asking. You do what you gotta do, Private."

came from the same series whose standard fare is lines like:

"What in the hell are you two doing?" / "We're being executed by our own men, sir." / "Cut it out."

"I only drink the blood of my enemies, and the occasional strawberry yoohoo."

"You always said I could sleep when I’m dead, Sarge, and guess what? I am dead. This purgatory is about to become purga-snore-y, yawn!"

...and both categories manage to be a poignant statement about the nature of war and what it does to the people in it.

[foxsnails]

Collage Atlantic Salmon!

Finally putting my scrap collection to good use, I'm unable to draw much atm due to a cyst in my wrist so trying out different mediums recently is super refreshing :)

Prints and stickers of this guy will be on my shop soon!

[mashbrainrot]

---- full transcript below ----

Sometimes Mike Farrell is so noble... even his wife can't stand it.

by John M Wilson, TV GUIDE MARCH 17, 1979

Call him the Jane Fonda of M*A*S*H.

Mike Farrell's got more causes than a nervous congressman running for re-election. Don't look for him, though, at a Republican convention. Arch conservatives would boo, and Anita Bryant would probably pray for his soul. He's 6-feet-3, a former Marine, happily married, and a staunch advocate of gay rights. So who ever said Hollywood actors were predictable? The only thing predictable about Mike Farrell is that he'll be back next season on M*A*S*H playing BJ. Hunnicutt, sidekick to Alan Alda's Hawkeye — two doctors coping humorously with the Korean War on the Monday-night CBS series.

That, and the probability that he'll have added a new political or social cause to his collection. The list began with the anti-war movement in the '60s and has included civil rights, the Fred Harris Presidential campaign, the Cesar Chavez farm-workers' drive, women's liberation and the ERA, prison reform, the Special Olympics for retarded children, and here and there an endangered species.

"Mike's just about caused-out," said his lovely wife Judy one evening in their three-story hillside home. She's also an actress, playing Nurse Able on M*A*S*H and turning up in commercials and TV-movies. "Because he's so outspoken politically, he gets every call in the world to come down and speak for this candidate and that cause. He used to say yes to everything. Now he tries to be more selective."

The latest call has come from New Age (New Alliance for Gay Equality), a Southern California group that last November helped defeat Proposition 6. a controversial initiative on the California ballot that would have required the firing of gay public-school teachers. Farrell wasn't one of the Johnny-come-latelys to the fray — he started speaking against Anita Bryant two years ago in Florida while there promoting M*A*S*H.

"Every chance I got, I tried to pick a fight with her. I slipped the subject into as many interviews as I could. What she was saying was so patently hurtful to certain human beings that I just didn't see any other side. It seemed very clear that it was a question of choice, freedom, privacy and human rights"

----

Few prominent actors have risked the potential stigma of speaking out for gay rights, and Farrell joked, "Sometimes when I speak to groups, I feel like holding up a big photo of my wife and family.'

Said Judy: "That doesn't really bother me, if somebody's going to say he's gay, or whatever. Who cares?"

What really worried Farrell was the threat of physical danger: a family friend had been jumped and badly beaten for taking the same stand. Some wives might have decided to throw in the towel at that point; Judy didn't.

"She's amazing, the support she gives me.' said Farrell.

Farrell, friendly and easygoing, seemed faintly embarrassed about discussing his endless political activism.

"I'm always leery of sounding like a Pollyanna. But I really believe people are essentially good and valuable, and I feel that all of us have a responsibility to other people. And when you have the nonsense of this celebrity status well, it's just too good an opportunity to pass up."

Which isn't to say he's ready for canonization as Saint Michael. He and the family had just finished dinner — fish for Judy and the kids, strictly vegetables and brown rice for Farrell — and he was clucking like a mother hen on the subject of organic food and the dangers of chemical additives.

Judy rankles at what she calls her husband's "reverse snobbery." They have a spiffy Volvo, for example, but Farrell likes to show up at fancy CBS social functions in his well-traveled Volkswagen bus

"There's no doubt about it," he admitted with a grin, "I can sometimes rub people's noses in it."

----

Farrell, who attended Los Angeles City College and reads dozens of books each year, hasn't come to his current consciousness easily. He's been through "a heavy period of therapy" and has participated in "sensitivity training.'' He also works conscientiously at "stroking" his two children, Erin, 5, and Josh, 8 who climbed all over him, whispering in his ear, getting hugged. In an aside Judy suggested that her husband's devotion as a father is partly a reaction against his own childhood and a painful relationship with an emotionally distant father who provided a role model of blustery machismo.

"Judy and I made a conscious decision with the kids,'' said Farrell, '"that they would always know they were loved."

Later, his close friend Alan Alda would add: "Mike's a wonderful father. It's hard work being a good parent. It takes a lot of thought and a lot of concentration, and when you're in his home, you can see that."

Farrell, born Feb. 6, 1939, in St. Paul, Minn., came to Los Angeles at 2, when his father found work as a carpenter in the movie studios. "They were magic," Farrell recalled of the old movie lots. "You passed into another world."

Captivated by the movies, he was in high school and set on being an actor when his father died. Acting was abandoned for the Marine Corps. "The influence of John Wayne did it. 'The Sands of Iwo Jima,' and all that." Out of the Marines at 19, he kept telling people he was determined to be an actor, but his fear of audiences kept him delivering groceries.

A friend finally persuaded him to enroll in Jeff Corey's acting workshop in Hollywood. That broke the ice. Then in 1961, while auditing a musical-comedy class at UCLA, he met a tiny slim blonde named Judy Hayden. She wanted to play a scene as Annie Oakley, but needed a Frank Butler. The instructor pointed to the tall Farrell. who was "cowering in the back of the room, terrified."

Judy Hayden became Judy Farrell in 1963, and later interrupted her acting career to teach school and support the family while Mike began acquiring TV and movie credits.

"She was really the anchor for our family. She made it possible for me to pursue my goals. It was a tough decision to make, but she did it. Now it's sort of her turn."

He was asked if his success has caused any strain.

"'Definitely,'' he said.

"Mike's always saying how jealous I am of him,'' Judy said. "I'm not really jealous. Frustrated is a better word."

His career gained its first real impetus in 1968, when he was cast as architect Scott Banning on Days of Our Lives. Two years later, he left the soap opera for a regular role on The Interns.

That lasted one season and he became "Anthony Quinn's spear-carrier" on the even briefer The Man and the City.

Farrell was under contract to Universal, miserable and turning down parts, when M*A*S*H called him in 1975 to replace the departing Wayne Rogers, who had played Trapper John. Mercifully, Universal's executives Iet Farrell go.

----

Farrell wasn't altogether unprepared for the big step to M*A*S*H, despite its success and prestige (it is now in its seventh season and has won nine Emmys). He had been approached once before about stepping in and he liked the enduring touch of humanity that has become a trademark of M*A*S*H scripts.

"I've always identified strongly with the show, with the kind of humor it does, with the message. In the back of my mind, I always felt I belonged there. I think what we do is special... the show essentially has a message that says people are valuable."

Not surprisingly, Farrell is a harsh critic of TV. "What it does to people's minds — the sexism, the violence, the stereotyping — is frightening.' He tries to select projects that reflect his social consciousness, such as his role as a violent husband in NBC's 'Battered,' a TV-movie about wife-beating, that was telecast last September.

Farrell's entry to M*A*S*H, though, was not without butterflies. The departure of Rogers was only one of several key losses over the years: McLean Stevenson (Lt. Col. Henry Blake), Larry Linville (Maj. Frank Burns) and producers Larry Gelbart and Gene Reynolds have also gone.

"After the elation of getting the job, I was beset by all the insecurity of having to prove myself, to measure up."

But he credits a warm welcome from Gary Burghoff (Radar) the first day and "remarkable" support from the cast with easing him in. (Burghoff is the latest M*A*S*H defector; he has decided not to return next season.)

Farrell and Alda, who share similar political views, were instant friends, and quickly became a well-meshed acting pair. "I think we work so well together, said Farrell, "because we love each other. Alan is just an incredibly willing human being, and he lets me share with him.

"It's a tough spot to fill, I'll tell you that. I've tried to create a character that doesn't compete with Hawkeye, but complements. When I say the character doesn't compete, we compete constantly. We throw down the gauntlet daily on something. If he does push-ups, I have to do more push-ups."

----

He didn't have time for push-ups a few mornings later on the M*A*S*H set. He was standing in the cold studio in his Army fatigues and size-14 combat boots, trying to get changes made in the script. "They try to make B.J a little too straight-arrow. I want him to be well-rounded, to be a little wacky like Hawkeye, and I have to constantly work at it."

Farrell, who directed his first show this season, also feels a certain frustration as an actor. "I know that my job is to be a supporting player to Alan. He's the star. But sometimes I want B.J. to have a chance to do more — and sometimes I'd like the same for myself."

That week, it happened that Farrell had plenty to do as B.J. The story being filmed concerned a war-torn Korean family that an exhausted B.J., stalwart humanitarian that he is, was trying to save single-handedly.

In the script, Hawkeye asks B.J. gently, "Beej. when are you going to learn you can't help everybody in the world?"

It sounded like a case of art imitating life.

"Farrell, who directed his first show this season, also feels a certain frustration as an actor. 'I know that my job is to be a supporting player to Alan. He's the star. But sometimes I want BJ to have a chance to do more - and sometimes I'd like the same for myself.'

That week, it happened that Farrell had plenty to do as BJ. The story being filmed concerned a war-torn Korean family that an exhausted BJ stalwart humanitarian that he is, was trying to save single-handedly.

In the script, Hawkeye asks BJ gently, 'Beej, when are you going to learn you can't help everybody in the world?'

It sounded like a case of art imitating life."

[leonardcohenofficial]

it never fails to amaze me how sixties and seventies media (especially television) often made genuine strides in terms of examining race and adding nuance to the ways in which it's explored on screen, and then IMMEDIATELY fucked it up thirty five seconds later in the literal same episode

[tiredandoptimistic]

As someone who likes a lot of "bad" media, or media that starts out kinda slow but builds into a bigger plot over time, I see so many different opinions on what bits are "okay" to skip in order to get to the good part, and it's just wild to me. Bouncing around between the highlights doesn't actually give you the experience, and filler is so important when it comes to just...creating a vibe and building up the relationships between characters and with the audience.

For instance, Red vs Blue is probably my favorite show (ever, of all time), and while I will admit that the first five seasons are not my favorite, I still think they're essential to the show, because those five years of relatively low stakes adventures set the tone so that it can be upset by the bigger plot points. The impact of a big twist is reduced if you haven't spent the time to get invested in these characters when they're just hanging out and being silly. Most importantly though, even once the plot really gets going in season six and we get into the more serious Freelancer and Chorus arcs, Red vs Blue is still fundamentally about a bunch of idiots standing around and talking. If you have to force yourself to put up with the majority of the show, then you might just not like this show.

I was talking about this with my friend, and they said it's kinda the same thing with Homestuck. Yes, it does get "better" as time goes on, but it's still the same thing it's always been, and if that's not something you enjoy then skipping to the bits you do like won't change what it is.

Or like, I freaking love The Order of the Stick, and last year I reread it from the beginning for the first time in a while, and I half convinced myself that I'd just made up how good it is (because volume one is funny enough but nothing to write home about). However, I hit a certain point where I realized that I wasn't just reading out of a sense of obligation but because I adore these characters and am unspeakably invested in this plot. You can really tell that it's been a story happening over the course of 20+ years, you can see the writing and art improve dramatically as time goes on. I could just recommend that someone start with volume two or three, and summarize the plot up till then so they don't feel lost. However! That would rob them of the experience you get from watching these characters grow. You can't fully appreciate Belkar's arc in volume six if you didn't see what he was like on day one, y'know?

On another note, I love the Shadowhunters Chronicles, and I know that a lot of people will give The Mortal Instruments shit and call it the worst series or whatever, but those people just hate fun. Yeah, there are other series that might have stronger plots and better writing, but there's a reason that TMI's main characters have been iconic for years. Sometimes, things are just silly, and if you don't like that then you're not gonna have a good time here.

I could go on! I also like a lot of episodic shows like MASH, Community, Tangled: the Series, the whole DC animated universe, Supernatural, etc. I could come up with lists of my favorite episodes to try to hook somebody, but all of those episodes lose a lot of their impact when taken out of context. Skipping the filler doesn't give you the ultimate experience of Only The Best, it takes away your chance to fully spend time with these characters in a variety of settings. And sure, lots of shows with multiple writers do have some episodes that are just bad, but that's not what I'm talking about. There's a difference between something being bad and something being low-stakes. Maybe you personally don't enjoy things that are low-stakes, but that might just mean you shouldn't be watching a sitcom.

So yeah, this has been an excuse for me to rant about things I enjoy for a while but I'm sorta out of time and need to eat lunch, so I suppose this post has reached its conclusion. All my favorite media are my favorite for reasons I couldn't articulate in an elevator pitch, and putting together a highlight reel will never substitute for truly being in the trenches. If you're truly having a good time with something then you won't need to skip to the good part, because the whole thing is enjoyable.

[eponymous-rose]

[Fic] Une fleur entre deux abîmes [MASH/Baldur's Gate 3 | 8,000 words]

Written for @loquaciousquark on the occasion of her birthday! Since your in-person gifts will be a little late, I figured this one should be a little early. Apologies for the sparse Astarion content - this one got away from me a bit!

Title: Une fleur entre deux abîmes

Fandom: MASH/Baldur's Gate 3 (yes, really)

Characters: Charles Emerson Winchester III, ensembles of both casts

Rating: T

Summary: The pod disgorges him as though he were something dreamt up by the sadists at the mess tent, and Charles Emerson Winchester III falls to his knees onto the floor of what is inarguably some manner of alien spacecraft.

Read on AO3: here

[kitweewoos]

MASH + Text posts

[hearteyespierce]

[driftbit]

"What will you do without new shows" I haven't watched a mainstream television show as it released in years. I'm catching up on shows my parents liked in the 90s. I'm listening to fiction podcasts with 5 fans. I'm playing a video game the creators want you to pirate. I'm watching a minecraft roleplay. I may not know what I'm gonna do but I'm sure as hell not gonna be a fuckin scab babygirl.

[tofuingho]

The one main failing of physical media is storage capacity.

For example, (depending on compression and such) a DVD can hold up to 133 minutes, which is just over 2 hours.

The tv show M.A.S.H. is (according to Bingeclock) 7,530 minutes long. That's 5 days, 5 hours, and 30 minutes, but if you're watching a DVD, then there's no commercials and you can skip the intro and outros, so it's more like 4 days 2 hours and 15 minutes.

Which is why, depending on which one you get, a M.A.S.H. DVD box set has 34-36 DVDs.

[shysheeperz]