M*A*S*H, season 10

FOUR STAR - none
NOTEWORTHY
-That's Show Biz ***
This two-part season opener is long on heart and an innocence reminiscent of early seasons. A USO troupe is forced to lay over in camp. Legendary stripper Brandy Doyle (played by legendary hoofer Gwen Verdon) falls for Potter. Klinger endlessly emulates hack comic Fast Freddie. Winchester poo-poos an accordion player (Amanda McBroom), and is chagrined when she reveals herself to be a concert pianist payin' the bills (TREK fans might become moist when they recognize her from the TNG episode "Measure of a Man"). One plot line that looks retro but has the whiff of late-series maudlinity, involves a singer falling for Hawkeye, who rebuffs her because he doesn't want to "take advantage". You won't know whether to reach for the barf bag or tissue.
-Identity Crisis ***
One of two episodes David Ogden Stiers would direct. Joey Pantoliano (RISKY BUSINESS, THE MATRIX) is a soldier who has switched dog tags with a dying comrade who was due to be shipped home. He is counseled by Father Mulcahy. The presence of a priest on the greatest television half-hour of all time has never heretofore been irksome. But as the soldier tells Mulcahy he just doesn't want to kill any more, Mulcahy pushes him to resume his "duty". The offensive hypocrisy of anyone who wears that collar along with soldier garb has never felt more noxious. M*A*S*H dropped the ball by never devoting an episode to the obvious conflict of interest inherent in the phrase "army priest".
-Wheelers and Dealers ***
Potter must take a remedial driving course. His instructor is Sgt. Rizzo (G.W. Bailey, in the 8th of 13 episodes over five seasons). This is the first time G.W.'s appearance is seamless and spot-on. BJ is miserable that his wife had to take a job, and takes it out on everyone with undue aggression at the camp poker game, and then at the pinball table.
-Communication Breakdown ***
If getting to your tent from the shower naked be a rite of M*A*S*H passage, Charles finally belongs.
-Follies of the Living, Concerns of the Dead *
Ehhhhhhhhhhhhhunh.. Before i get to the vomit-inducing part, let me say that there was some merit and perhaps even bravery in exploring the idea that people in a state of fever may be perceptive to realities that "normal" folk are not. Fair enough. Now...the only sane reaction to this episode is dragging yourself to the IMDB page to find out who was RESPONSIBLE. Not only who created it, but who gave it permission to breathe. There ain't a woodshed big enough. In a nutshell...Klinger has a high fever, and is able to talk to the "ghost" of a deceased soldier. Horribly, the creative footprints lead right to Alan's size 13s. Not just as director, but writer too. This isn't just mawkish prostrating to superstitious ignorance, either. At the end, the soldier joins a parade of the "deceased" heading off into the mist, they know not where. All the "dead" are soldiers...never mind the fact that the majority of war deaths are civilian. Alan should have known better. Somebody, anybody should have known better.
-Blood and Guts ***
Rita "Odin-be-praised-she-didn't-change-her-name-to-Hanks" Wilson!
-The Tooth Shall Set You Free **
Baby-faced Laurence Fishburne, anyone?
-Heroes ***
The camp is at the center of a press storm when a famous ex-boxing champ dies while on a morale tour. The man had been Mulcahy's boyhood hero, and William shines, particularly in the speech he gives at the comatose man's bedside.
-Sons and Bowlers ***
One rewrite shy of greatness. A serviceable plot about bowling is paired with a plot about Hawkeye finding out his father is being operated on for cancer. We are allowed to see more nakedly than ever how genuinely insufferable he could be. Charles accidentally becomes his confidant, and the two of them, alone and together, have some profoundly touching moments.