While many television classics pioneered a cinematic genre or format or a particular ethos, “M*A*S*H” succeeded all three and then some. The show constantly pushes the boundaries of what television can do. First, with filmmaking that clearly takes place outside of the set, then the intriguing plots that push the boundaries of what TV comedies can look like, and finally, with episodes film breaks familiar structure in creative ways. For example, one episode takes place entirely from the perspective of a bedridden wounded soldier. Another season, a season finale, takes the form of a somber black-and-white documentary about the M*A*S*H unit. The original TV footage of the final chapter, a two-hour series that carries gives each character a poignant and authentic goodbye, still the most watched TV episode of all time.
“M*A*S*H” also possesses an astonishing moral clarity that seems almost extinct in today’s television. While it readily engages in polarizing themes continuously and throughout the seasons, it has always stood by a progressive stance: one that maintains that war is hell, America is imperfect. goodness, and compassion and cultural understanding are key. The first three seasons of the series aired during the Vietnam War, and while Hollywood at times seemed scared to touch the subject, “M * A * S * H” used the Korean War as a clear alternative to the more contentious conflict. Its mission, above all, is to constantly remind the viewer – vivid detail and example after heartbreaking example – of the inanimateness of it all.
https://www.slashfilm.com/985690/the-daily-stream-mash-is-an-endlessly-groundbreaking-anti-war-sitcom/ M * A * S * H is an endless breakthrough anti-war sitcom