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Franz Josef Dies

Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 258th installment in the series.

November 21, 1916: Franz Josef Dies 

Already 84 years old when he made the critical decision that ignited the First World War, Austria-Hungary’s iconic dynast Franz Josef lived long enough to witness the nightmare unleashed by his desperate gamble – but not the final collapse of his empire, nor the strange new world that arose from the ashes. 

On November 21, 1916, several days after contracting pneumonia on a walk around the palace grounds, the Emperor of Austria and King of Hungary died at the age of 86, having ruled his subjects for a remarkable 68 years, making him one of the longest reigning monarchs in history. His successor, his young, liberal-leaning nephew Karl, until recently the commander of an army on the Eastern Front, inherited a system in collapse (below, the royal family at Franz Josef's funeral on November 30, 1916):

Indeed, Franz Josef’s entire life could be viewed as a chronicle of the long, gradual decay of Europe’s old aristocratic order, punctuated by disasters and sudden bursts of frenetic activity – brief and only partially successful attempts at reform. 

Franz Josef ascended to the throne unexpectedly as liberal revolutions swept Europe in 1848, threatening the very existence of the monarchy and its multiethnic dynastic holdings. After his uncle and predecessor Ferdinand I abdicated to appease the revolutionaries, Franz Josef’s father Franz Karl also renounced the throne, leaving the task of reuniting the divided and rebellious empire to his 18-year-old son. 

This the new emperor did with typical caution, reflecting both his youth and generally moderate character – but as a profoundly conservative aristocrat he also showed a steely determination to uphold the old feudal order, as well as a willingness to use force if he judged it necessary. 

After agreeing to the constitution demanded by liberal revolutionaries in 1849, restoring his power base in Austria, Franz Josef crushed a nationalist rising in Hungary by inviting Tsar Nicholas I to send 200,000 Russian troops into the rebellious kingdom – one of the high watermarks of the Concert of Europe, the reactionary diplomatic system created by Metternich to prop up the continent’s old dynasties following the upheavals of the French Revolution and Napoleon. 

Following the defeat of the Hungarian revolution, however, Franz Josef was willing (as he would show himself many times in the decades to come) to compromise in order to preserve the core institution of the monarchy amid the earth-shaking developments resulting from the spread of nationalism across Europe. 

In 1859 Austria lost the kingdom of Lombardy-Venetia to the new-forming nation of Italy, causing a long-standing grudge, which their membership in the Triple Alliance did nothing to allay (ironically Franz Josef’s ill-fated heir, the Archduke Franz Ferdinand, though the empire would go to war with Italy before Serbia). 

But no event was more fateful for Austria-Hungary, or Europe, than the creation of a new German state by Prussia led by chancellor Otto von Bismarck, who united the independent German kingdoms by force under Prussian rule with a series of short wars, successfully overcoming opposition by Austria and the German Confederation in 1866, and France in 1870-1. Austria’s stinging defeat damaged Vienna’s prestige and stirred up a new Hungarian national movement by the aristocratic Magyars; with the compromise of 1867, Franz Josef conceded the Hungarians their own constitution, giving rise to the unusual Dual Monarchy that would unite the “kaiserlich und königlich” (Imperial and royal) realms of Austria-Hungary somewhat awkwardly for the rest of its existence.

With the rise of Germany as a leading industrial power in the remaining years of the century, Austria transitioned from defeated foe to junior partner in central Europe – a diplomatic demotion which Franz Josef accepted graciously enough, although he found Germany’s Kaiser Wilhelm II rude and overbearing. Personal tragedy struck in 1889 with the suicide of Franz Josef’s son and heir Rudolf, who killed himself in a suicide pact with his mistress Mary Vetsera, leaving the crown (unexpectedly, again) to the emperor’s nephew Franz Ferdinand. 

But the emperor never deviated from the basic, aristocratic views that he inherited along with his feudal realm – among them the principle of “hausmacht,” or the power of the noble house. This expressed itself in opportunistic attempts to aggrandize the power of the Habsburgs by acquiring new territorial holdings, just as an ambitious medieval monarch might in the days of the Holy Roman Empire. 

This ancient impulse was ill suited to the modern era, and became dangerous with the surging power of national ideologies requiring resistance to “foreign” rule, even by a well-intended dynasty. This was the bitter fruit of Franz Josef’s ill-advised decision to formally annex Bosnia-Herzegovina, formerly a province of the declining Ottoman Empire, in 1908.

In addition to sparking a general diplomatic crisis, the annexation of Bosnia embroiled Austria-Hungary in a messy, unwanted confrontation with the neighboring small Slavic kingdom of Serbia, and with it its great Slavic patron, Russia. The confrontation between the Dual Monarchy and Serbia escalated with Serbia’s success in the First and Second Balkan Wars, threatening to cause a general European war. The situation was temporarily defused by the Conference of London, which agreed on the creation of a new nation, Albania, to prevent further Serbian expansion in 1912.   

However Franz Josef’s advisors, including chief of the general staff Conrad von Hotzendorf and foreign minister Count Berchtold, were convinced that Serbia remained committed to undermining the empire in its nationalist quest to free the Serbs of Bosnia (some Serbs, led by the intelligence officer Apis, certainly were). The assassination of the Archduke Franz Ferdinand provided a convenient excuse to finally crush Serbia and dispense with the threat of Slavic nationalism once and for all – but they were unable to avoid war with Russia, resulting in disaster

In the two years following the outbreak of war, Franz Josef found himself largely an onlooker to the empire’s repeated military defeats (and later successes under German control). His refusal to give up traditional Habsburg territories in the Trentino and Trieste provoked Italy to join the war against the empire in 1915. By the same token, there was little he could do to stave off German moves to dominate Eastern Europe economically and diplomatically, giving Austria-Hungary’s inferior position. Chaos was also clearly beginning to rend the old society: on October 21, 1916 the Austrian premier Karl von Stürgkh was assassinated by the socialist revolutionary Friedrich Adler. But at least he lived to see Romania, another erstwhile ally, brought to book.

German victories were hardly much consolation for the people of the fragmenting empire he left behind. On one hand there was still the popular image of a familiar, avuncular figure, who had endured the heartbreaking loss of his child, and could until recently still be seen taking stately walks with his companion Katharina Schratt. On the other was the knowledge that this elderly man had set in motion events that caused the conflagration consuming Europe – and then stood back, a passive bystander to what followed. 

In Karl Kraus’ satirical play “The Last Days of Mankind”, when told that the emperor has died, the character “the Grumbler” responds: “How do you know?” Later the same character opines: “Just for reasons of prestige, this monarchy should have committed suicide long ago.” Asked to evaluate the emperor’s 70-year-reign, he unleashes a tirade against the years in question: 

They are a nightmare of an evil spirit which, in return for extracting all our life juices, and then our life and property also, let us have as a happy gift the opportunity to become completely idiotic by worshiping an emperor’s beard as an idol. Never before in world history has a stronger non-personality impressed his stamp on all things and forms. A demon of mediocrity has determined our fate. Only he insisted on Austria’s right to trouble the world with our murderous nationality brawls, a right grounded in the God-ordained bureaucratic muddle under the Hapsburg scepter, the mission of which, it appears, has been to hover above world peace like Damocles’ sword. 

Later the Grumbler adds: 

I would also like to believe that it is more pleasing to God to show veneration for the majesty of death at the graves of ten millions youths and men, and hundreds of thousands of women and infants who had to die of hunger, than to bow down before that one casket in the Capuchins’ Crypt, that very casket that entombs the old man who considered everything carefully and, with a single scratch of the pen, brought it all about. 

Unsurprisingly, news of Franz Josef’s death didn’t elicit a great outpouring of sympathy from Austria-Hungary’s enemies in the great struggle now unfolding. Mildred Aldrich, an American woman living in the countryside near Paris, wrote in a letter home on November 25, 1916, touching on Franz Josef’s death briefly: 

In the meantime I am sorry that Franz Josef did not live to see this war of his out and take his punishment. I used to be so sorry for him in the old days, when it seemed as if Fate showered disasters on the heads of the Hapsburgs. I wasted my pity. The blows killed everyone in the family but father. The way he stood it and never learned to be kind or wise proved how little he needed pity. 

See the previous installment or all entries.

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11 Surprising Facts About Fatal Attraction
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Written by James Dearden and directed by Adrian Lyne, 1987’s Fatal Attraction showed audiences just how dangerous sex could be. Michael Douglas plays Dan Gallagher, a married man who has a weekend-long affair with single career woman Alex Forrest, played by Glenn Close. When he breaks off their affair, Alex goes a little nuts. Despite drawing the ire of feminists and frightening men everywhere, the film grossed an impressive $320 million worldwide, earned six Oscar nominations (including one for Close), and ranks number one in the “Psycho/Stalker/Blank from Hell” genre. Here are 11 scintillating facts about the movie, which was released 30 years ago today.

1. THE MOVIE IS BASED ON THE SCREENWRITER’S SHORT FILM.

In 1980, Fatal Attraction screenwriter James Dearden wrote and directed a short film called Diversion. “I was sitting at home thinking, ‘What is a minimalist story that I can do?’ My wife was out of town for the weekend, and I thought what would happen if a man who has just dropped his wife at the railroad station rings this girl who he's met at a party and says, ‘Would you like to have dinner?’” he told The New York Times. “It’s a little fable about the perils of adultery. It is something that men and women get away with 99 percent of the time, and I just thought, ‘Why not explore the one time out of 100 when it goes wrong?’”

Fatal Attraction producers Sherry Lansing and Stanley Jaffe saw the short and asked Dearden to elaborate on the story. “To turn it into a mass-audience film, I knew there would have to be an escalation of the psychological violence, which in the end becomes physical,” Dearden explained. He says he wasn’t trying to make a social statement about AIDS, but he was trying to say “we can have the most intimate sexual relationships with somebody we know nothing about.”

2. GLENN CLOSE WANTED TO PLAY AGAINST TYPE.

By the time Fatal Attraction came around, Glenn Close was a three-time Oscar nominee who had never been asked to play a sexy role. “When Glenn made it known she was prepared to test, I became fascinated with the idea of using her,” Adrian Lyne told People. “She’s a person you’d least expect to have this passion and irrational obsession. When she and Michael tested, an extraordinary erotic transformation took place. She was this tragic, bewildering mix of sexuality and rage—I watched Alex come to life.” 

Close recalled her nerve-racking audition to Entertainment Weekly: “My hair was long and crazy. I’m very bad at doing my hair. I got so nervous, I took a little bit of a Valium. I walked in and the first thing I saw was a video camera, which is terrifying, and behind the video camera in the corner was Michael Douglas. I just said, ‘Well, just let it all go wild.”’

A year after Fatal Attraction’s release, Close kept the sexiness going in Dangerous Liaisons, which garnered her yet another Oscar nod.

3. ADRIAN LYNE WANTED TO DO A DIFFERENT TYPE OF SEX SCENE.

According to Lyne, the only thing audiences remember about the movie is the spontaneous and somewhat goofy kitchen sink sex scene. “But what people take away from the movie is not Glenn Close putting acid on the car or even the last 10 minutes when they are flailing around in the bathroom,” he told MovieMaker Magazine. “What they remember is Michael f*cking her over the sink early on—which was like 30 seconds—and another 30 seconds of them making out in the elevator … but there’s another two hours and five minutes! And I guess it worked or they wouldn’t have gone to the movie.”

In John Andrew Gallagher’s book Film Directors on Directing, Lyne said he didn’t want the love scene to take place in a bed “because it’s so dreary, and I thought about the sink because I remembered I had once had sex with a girl over a sink, way back. The plates clank around and you’ll have a laugh. You always need to have a laugh in a sex scene.” During filming he yelled at the couple, praising them. “If they know that they’re turning you on, it builds their confidence.” He used a handheld camera to film it “so there was no problem with the heat going out of the scene.”

4. CLOSE HAD A HUGE PROBLEM WITH THE NEW ENDING.

Paramount Pictures

Two endings of the film were shot: The first had Alex planting Dan’s fingerprints on a knife and then killing herself while Madama Butterfly played in the background. Test audiences felt unsatisfied, so Paramount decided to re-shoot the ending and make it more violent. They had Dan’s wife, Beth (Anne Archer)—the only untainted character—shockingly shoot and kill Alex as a statement on preserving the American family.

“When I heard that they wanted to make me into basically a psychopath, where I go after someone with a knife rather than somebody who was self-destructive and basically tragic, it was a profound problem for me because I did a lot of research about the character,” Close told Oprah. “So to be brought back six months later and told, ‘You’re going to totally change that character,’ it was very hard. I think I fought against it for three weeks. I remember we had meetings. I was so mad.”

In Entertainment Weekly, Close said she thought Alex was a deeply disturbed woman, but not a psychopath. “Once you put a knife in somebody’s hand, I thought that was a betrayal of the character,” she explained. The main reason the ending was changed was because moviegoers wanted revenge. “The audience wanted somebody to kill her,” Michael Douglas told Entertainment Weekly. “Otherwise the picture was left—for lack of a better expression—with blue balls.” Though audiences wanted Alex dead, Douglas saw that as a compliment. “You were so good in the part that everybody wanted you to be killed,” he told Close on Oprah.

In hindsight, Close thinks they did the right thing in changing the ending. “Bloodshed in a dramatic sense brings catharsis,” she told Entertainment Weekly. “Shakespeare did it. The Greeks did it. That’s what we did. We gave the audience my blood. It worked.”

5. THE MOVIE CAUSED THE PHRASE “BUNNY BOILER” TO BECOME A PART OF THE LEXICON.

In probably the most disturbing scene in the movie, Alex boils Dan’s kid’s pet bunny. The phrase is listed in Urban Dictionary and on the U.K. site Phrases.org. Urban defines it as “after a relationship break-up, the person who wants some kind of revenge, like stalking, or harassment,” and Phrases says, “an obsessive and dangerous female, in pursuit of a lover who has spurned her.” Close herself was uneasy about the scene. “The only thing that bothered me was the rabbit,” she said on Oprah. “I thought it was over the top.”

6. CLOSE HAD THE KNIFE SHE TRIED TO KILL MICHAEL DOUGLAS WITH FRAMED.

In the theatrical ending of the movie, Alex comes after Dan with a knife but doesn’t succeed in getting away with murder. Close told Vanity Fair that she framed the fake knife, and that it’s hanging in her kitchen. “It’s all an illusion. It’s a cardboard prop!” she said. It’s also a rather creepy reminder of the film.

7. THE MOVIE SAVED MORE THAN A FEW MARRIAGES.

The film shows what happens when a married man lets his guard down and embarks on an affair, only to have it destroy his life. “That movie struck a very, very raw nerve,” Close told Daily Mail. “Feminists hated the movie and that was shocking to me. They felt they'd been betrayed because it was a single, working woman who was supposed to be the source of all evil. But now Alex is considered a heroine. Men still come up to me and say, ‘You scared the s**t outta me.’ Sometimes they say, ‘You saved my marriage.’”

8. CLOSE WOULD PLAY ALEX DIFFERENTLY TODAY.

One of the reasons the film was so controversial is the negative way it depicted mental illness. Psychiatrists have said Alex suffered from erotomania, a condition in which a person wrongly believes a person is in love with them. Close spoke to two psychiatrists in preparation for her role, and neither said Alex’s behavior—especially the bunny-boiling—was because of mental illness. “Never did a mental disorder come up. Never did the possibility of that come up,” Close told CBS News. “That, of course, would be the first thing I would think of now.” She also said, “I would have a different outlook on that character. I would read that script totally differently.”

9. DEARDEN ADAPTED FATAL ATTRACTION INTO A PLAY, WITH THE ORIGINAL ENDING INTACT.

In 2014 a stage version of the movie went up in London, starring Natascha McElhone as Alex and Kristin Davis as the long-suffering wife, Beth. Dearden reimagined the script in making Alex more sympathetic, Dan more blameworthy, and returning to the original ending.

“[I] wanted to return to my original conception of the characters in a sense to set the record straight,” Dearden told The Atlantic. “Because while Alex is undeniably borderline psychotic, she is also a tragic figure, worn down by a series of disappointments in love and the sheer brutality of living in New York as a single woman in a demanding career. So whilst remaining faithful to the storyline, I have introduced the ambivalence of my earlier drafts … nobody is entirely right and nobody entirely wrong.”

10. DEARDEN AND CLOSE DON’T BELIEVE ALEX IS A MONSTER.

“Alex is emphatically not a monster,” Dearden wrote in The Guardian. “She is a sad, tragic, lonely woman, holding down a tough job in an unforgiving city. Alex is not a study in madness. She is a study in loneliness and desperation.” He goes on to write that he regrets “that audiences shouted ‘Kill the bitch!’ at the screen … Did Fatal Attraction really set back feminism and career women? I honestly don’t believe so. I think that, arguably, it encouraged a vigorous debate from which feminism emerged, if anything, far stronger.”

Close doesn’t see Alex as monstrous either. “I never thought of her as the villain, ever,” she said on Oprah.

11. A TV VERSION OF FATAL ATTRACTION WAS KILLED.

In 2015 it was reported that Paramount would be bringing the film to the small screen in what was described as “a one-hour event TV series.” Mad Men producers Maria and André Jacquemetton were set to write and executive produce the show, with Deadline writing that the TV version would show how “a married man’s indiscretion comes back to haunt him,” just like in the movie. The show was set to air on Fox. But in early 2017, it was announced that the project was being killed—at least by Fox—after the producers encountered troubles with both the title and casting (The Hollywood Reporter wrote that both Megan Fox and Jenna Dewan Tatum were both said to have passed on the project.)

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17 Painless Facts About M*A*S*H
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In 1968, surgeon H. Richard Hornberger—using the nom de plume of Richard Hooker—collaborated with writer W.C. Heinz to create the book MASH: A Novel About Three Army Doctors, based on his experiences with the 8055th Mobile Army Surgical Hospital during the Korean War. Two years later, Robert Altman used the book as the basis for a movie about the fictional 4077th unit (he cut the number 8055 in half.) Two years after that—on this day 45 years ago—M*A*S*H came to life again in the form of an 11-season television series that culminated in the most-watched series finale in television history. Here are some facts about the show that won't get you a Section 8.

1. ALAN ALDA AND JAMIE FARR SERVED IN THE U.S. ARMY.

Alda (Hawkeye Pierce) was in the Army Reserve for six months in Korea. Farr enlisted, and was stationed in Japan when Red Skelton requested his services on his USO Tour through Korea. Wayne Rogers (Trapper John McIntyre) joined the U.S. Navy for a time as a ship navigator. Mike Farrell (B.J. Hunnicut) served in the U.S. Marine Corps.

2. MCLEAN STEVENSON AUDITIONED FOR HAWKEYE, AND COMEDIAN ROBERT KLEIN TURNED DOWN THE ROLE OF TRAPPER JOHN.

Stevenson was convinced to take the role of Lt. Colonel Henry Blake instead. As for Klein, he denied a claim that he lived to regret the decision.

3. LARRY GELBART WROTE THE PILOT IN TWO DAYS FOR $25,000.

The veteran screenwriter had been living in London after growing tired of Hollywood, but he couldn’t pass up the opportunity to try to adapt Robert Altman’s movie for television audiences.

4. KLINGER WAS ONLY SUPPOSED TO BE IN ONE EPISODE.

The cast of MASH
Twentieth Century Fox Home Entertainment

He was also supposed to be gay. Jamie Farr’s character was changed to a heterosexual who cross-dressed to try to get himself kicked out of Korea. Allegedly, the Klinger character was influenced by comedian Lenny Bruce’s claim that he got discharged from the Navy for claiming to have “homosexual tendencies.”

5. ONLY THE NETWORK WANTED THE LAUGH TRACK.

Gelbart and executive producer Gene Reynolds were against the canned laughter; unfortunately CBS knew of no other way to present a 30-minute “comedy.” Gelbart and Reynolds did manage to get the network to agree to take out the laughing during the scenes in the operating room, and as the seasons progressed, the track got quieter and quieter. In the U.K., the BBC omitted the laugh track entirely.

6. CBS DIDN’T WANT ONE "UNPATRIOTIC" EPISODE.

An episode where soldiers stand outside in the freezing cold so that they can make themselves sick enough to be sent home was rejected by CBS. That soldier tactic was apparently actually used during the Korean War.

7. THE WRITERS CAME UP WITH AN INGENIOUS WAY OF DEALING WITH SCRIPT COMPLAINTS.

After growing tired of having to listen to cast members’ notes about their scripts, M*A*S*H writer Ken Levine and his fellow scribes changed their script on two occasions so that the actors were forced to pretend it was parka weather on 90- to 100-degree days on their Malibu ranch set. They took the hint and the “ticky tack” notes stopped.

8. WAYNE ROGERS WAS ABLE TO LEAVE THE SHOW BECAUSE HE NEVER SIGNED A CONTRACT.

Rogers was threatened with a breach of contract lawsuit. The problem was that he had never signed a deal, objecting to the standard contract given to TV actors when he had started playing Trapper John, particularly the “morals clause,” which he considered antiquated. Rogers said that aside from missing the cast—and his friendship with Alda in particular—he had no regrets about leaving the show after season three.

9. ALDA WAS THE ONLY ACTOR WHO WAS AWARE OF HENRY BLAKE’S FATE UNTIL MOMENTS BEFORE SHOOTING THE FINAL SCENE IN “ABYSSINIA, HENRY.”

Alan Alda in MASH
Twentieth Century Fox Home Entertainment

Gelbart and Reynolds used the opportunity for McLean Stevenson wanting to leave after the third season to “make a point” about the “wastefulness” of war, and decided to kill off Henry Blake. After distributing the script without the last page and shooting all of the scenes written therein, Gelbart asked the cast to wait a few minutes before the start of the end-of-season wrap party and gave them each one copy of the final page, where Radar enters the O.R. and announces that Henry didn’t make it.

Larry Linville (Frank Burns) immediately remarked that it was “f***ing brilliant.” Gary Burghoff (Radar) turned to Stevenson and called him a son of a bitch, because he was going to get an acting Emmy for the episode. (He didn’t.) They then shot the scene in two takes. Gelbart and Reynolds claimed they received over 1000 letters from people upset over the ending. Reynolds also claimed that CBS was so unhappy with the decision that in at least one repeat airing, they cut out the final scene.

10. THE WRITERS RAN OUT OF NAMES.

During season six, there's an episode that features four Marine patients named after the 1977 California Angels infield. Throughout season seven, the patients were named after the 1978 Los Angeles Dodgers. Ken Levine didn’t just use baseball player's names though; in “Goodbye Radar,” Radar’s new girlfriend was named after one of Levine’s former lady friends, Patty Haven.

11. THE SERIES LASTED MUCH LONGER THAN THE ACTUAL KOREAN WAR.

The series spent 11 years telling the story of Army doctors and nurses dealing with a three year, one month, and two day war.

12. ALDA CO-WROTE 13 AND DIRECTED 31 EPISODES OF THE SERIES.

That 31 count includes the series finale. Alda was the first person to ever win an Emmy for acting, directing, and writing on the same program.

13. A METRIC TON OF FUTURE STARS MADE GUEST APPEARANCES.

Ron Howard played an underage Marine. Leslie Nielsen played a Colonel. Patrick Swayze portrayed an injured soldier with leukemia. John Ritter, Laurence Fishburne, Pat Morita, Rita Wilson, George Wendt, Shelley Long, Ed Begley Jr., Blythe Danner, Teri Garr, and even Andrew Dice Clay also all visited the 4077th.

14. THE SERIES FINALE IS STILL THE MOST WATCHED EPISODE OF TELEVISION IN AMERICAN HISTORY.

Seventy-seven percent of the people watching television in the United States on the night of Monday, February 28, 1983 were watching the two-and-a-half-hour series finale, “Goodbye, Farewell and Amen.” That was 121.6 million people. A company only had to pay $30,000 to run a 30-second commercial when M*A*S*H got started in 1972. For the series finale, a 30-second spot cost $450,000.

15. THERE WERE THREE SPINOFFS.

Trapper John, M.D., aired from 1979 to 1986 and was about Trapper John McIntyre’s present-day tenure as chief of surgery back in San Francisco (it didn’t star Wayne Rogers.) AfterMASH featured Col. Potter (Harry Morgan), Father Mulcahy (William Christopher), and Klinger (Jamie Farr) working at a veterans' hospital in Missouri right after the events of M*A*S*H; it was cancelled in its second season as it was unable to compete with The A-Team. W*A*L*T*E*R followed the new adventures of Walter “Radar” O'Reilly (Burghoff again), who became a St. Louis cop after losing the family farm and his wife (not Patty Haven) and attempting suicide. The pilot wasn’t picked up, and only aired once, and only in the eastern and central time zones, on CBS on July 17, 1984.

16. RADAR’S TEDDY BEAR WAS SOLD AND RETURNED TO BURGHOFF.

Gary Burghoff as Radar in MASH
Fox Home Video

Burghoff said Radar’s teddy bear had been lost for 30 years until it suddenly turned up at an auction in 2005. A medical student bought it for $11,500, and promptly sold it back to Burghoff.

17. A CONSTRUCTION WORKER FOUND THE SHOW’S TIME CAPSULE ALMOST IMMEDIATELY.

In the series' penultimate episode, “As Time Goes By,” the characters bury a time capsule under the Fox Ranch. Two months later, the land was sold. Soon after, a construction worker found the capsule and got in contact with Alan Alda to ask what he should do with it. After he was told to keep it, Alda claimed the construction worker “didn’t seem very impressed.”

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