Of course, the Korean War itself lasted just a few weeks more than 3 years, or about 160 weeks. The fact that the show lasted longer, in real time, than the war in which it was set, is self-evident and not in itself all that interesting. What does interest me though is how time within the show, fictional-time, might possibly be mapped to real time.
So, 256 episodes for 160 weeks would be a simple average of 1.6 episodes per week; 7 days divided by 1.6 episodes is roughly 4.4 days per episode, meaning that most episodes would take a setting-duration of 4.4 days.
There’s a way to figure out approximately how many days each episode requires: watch all 256 episodes and map out how many days are depicted in each show. I’m not interested in doing this data-collection myself, but it might look like this:
In the fourth season episode “Dear Mildred,” Col. Potter writes his wife a letter. Judging by how the scenes flow together, whether time-jumps are indicated by dialogue, action, or day/night lighting, most of the episode occurs during what seems like one day. Potter starts writing his letter and is interrupted, and the camera follows Radar to Hawkeye and B.J. as they meet a helicopter pilot who mentions a wounded horse. A later scene has Potter writing in the mess tent, and he explains that he left his office to go get a cup of coffee. While he’s there, he has a flashback of Father Mulcahy singing, at some earlier movie evening. Later, Hawkeye, B.J., and Radar capture the horse, which seems to be the same day they learned of its existence (since the horse is still alive and near where the pilot indicated). The next scene shows Potter writing in bed, having returned from Rosie’s bar, and when he looks out the window, there is a light (hite, like moonlight or an artificial lamp) that seems to indicate the night of the first day. There’s a cut to Burns and Houlihan hiring a sculptor to make a bust of Potter, and then a cut to the two doctors and Radar removing shrapnel from the horse. When they go outside to avoid the horse’s kicks, it’s night-dark over their heads. I surmise that all this happened within one fictional-day.
The following day begins with a daylight scene with Hawkeye, B.J., and Radar talking about what to do with the horse. More difficult to ascertain in time is the next scene, a cut to Burns and Houlihan where Burns says the sculptor promised to deliver the bust that morning, and it’s night moments later when the sculptor arrives. I’m guessing here that this scene takes place at least a couple days after the sculpture was commissioned, to allow for sculpting time. That same night, Potter is presented the bust and he is also presented Radar’s horse, and the last scene of the episode shows the Colonel riding the horse during daylight, so at the earliest, the following day.
So, the time-within-the-story for this episode depends on how long the sculptor took to make the bust, which in theory could be as little as two or three days (he was, after all, paid $7.50, above his initial asking price). If so, then the episode could fit within the episode average 4.4 days.
However, some M*A*S*H episodes take much less than this average amount of fictional-time. A famous episode is set in real-time, with a clock in the frame indicating the time that has passed since a soldier’s circulation was cut off. Other episodes, including “Your Hit Parade” (season six, episode 18), “Hawkeye” (season four, episode 18), and “The Army-Navy Game” (season one, episode 20), take place within hours.
The season two episode “Radar’s Report” takes place very specifically during “17 October — 22 October inclusive 1951,” Radar says in voice-over as he fills in the report that structures the sub-stories of the episode. At the end of the episode, as Col. Henry Blake signs the weekly report, he says, “Well, every week can’t be exciting,” which seems to suggest that the episode contains the only notable events of the week.
But at least one episode, “A War for All Seasons,” showed scenes from the camp across the whole year of fictional-1951. If this episode contained all the interesting story moments from that year, it would leave only about 2 years in which the other 255 episodes take place. But it can’t be the case — using the story’s logic — that nothing else of note happened in 1951, because the episode “Radar’s Report” also is set in 1951. So these two episodes are set, as it were, concurrently, suggesting that M*A*S*H episodes are organized thematically, with particular stories followed across days, as in “Sometimes You Hear the Bullet,” days in which other episodes’ stories are also occurring, but off-screen. “Radar’s Report” wouldn’t likely have taken place during the same time as “Sometimes You Hear the Bullet” (because of the all-inclusive nature of the report), but maybe an episode like “The Incubator” was put together from events that were happening on the same fictional days as in “Sometimes ..” The editing of one scene to another allows gaps (what was edited out) into which the events of concurrent episodes could be seen as having happened.
It’s kinda fun to think about which episodes may be concurrent — and if someone wanted to take the time to do this, perhaps it could be figured out which episodes take place on the same days, and this could add information to help explain, say, why a character does things in one episode that may seem puzzling — maybe that character’s behavior is influenced by something that happened earlier that same day in the character’s life but which appears in a different episode. (Of course, to be satisfying, each episode should contain all of its own causes and effects — unless we take the whole series as an interlocking story.)
Clearly, this entire post is looking at the fictional world of the art work (the series as a whole) from within the story (and setting) logic of the work itself. It may be that the story’s whole fictional timeline, were it mapped out as each episode having happened on separate days from every other episode, or whether episodes happened concurrently, doesn’t perfectly fit an actual calendar, and if so, that does not diminish the series itself. We don’t need to demand that every narrative artwork be completely realistic and fill in its “plot holes.” For instance, this page points out a few time issues the series has, such as how the war lasted only during three Christmases, but the show depicts four (unless, again, these could be seen to be overlapping, with four episodes containing stories that happened only during three holiday days).
But what interests me about thinking of M*A*S*H episodes as having taken place concurrently is that it provides a metaphor for understanding how we organize our own life stories. When I write every day in my journal, I write chronologically (as in “Radar’s Report”), including everything I did the day before, even if those events were unrelated to each other. But when I write thematically about my life, say, when I write about teaching a particular unit in my classes, I’m talking about experiences and ideas that occurred to me at moments across several days. Chronological and thematic organizations could be seen as two different dimensions along which experiences could be graphed/grouped. I’m wondering what other dimensions of experience there could be — and what these different groupings would show us about our own lives.
Of course, there’s the larger issue of how we decide what makes up one unitary experience, where to begin and end those experiences, those stories, out of the continuity of one’s life’s duration, and what do we decide to edit out of our life stories, and why. The choices we make about which memories to include or exclude are probably not based in logic either but in something more personal, less conscious, even (see here and here). We probably shouldn’t be too hard then on fictional works with “plot holes” when we may have our own “plot holes” in our own life stories!