The minute I cut that rope they made me a soldier. MASH Season 11, Episode 6 — Bombshells
I used to post practically every week about s11e06 Bombshells because it's my favourite BJ episode and the one I find most fascinating, because BJ seems to frequently think that it's BJ against the world, and Bombshells is a rare example where I think this is narratively true. At last, here are my lengthy but decently articulated thoughts about this Very Special Episode (to me!).
BJ has this "lone wolf" view of himself because he either imagines he has nothing in common with the people around him and therefore it's hard for him to relate to them, or he actually has a hard time relating.
Aside from Potter, who is hardly his peer, and Frank who is The Worst and also leaves two seasons into BJ's run, BJ is the only main cast member who has a wife and/or child waiting for him at home. He's in a different stage of his life than anyone else, and he lashes out at Hawkeye and Margaret at different points claiming specifically that they can't possibly understand what he's going through by being in Korea, away from his family. But for a few differences in their personalities, their world views, and I suspect their class backgrounds (though the latter two are open to interpretation), Trapper might be the character whose civilian life and role on the home front most closely resembled BJ's, and they should kiss about that tbh.
Relatability is important to BJ. We see that through the tension created when he feels his friends 'can't relate' to what he's going through to the point that he gets upset if they try to tell him they understand how he feels. We also see this through how he bonds to people from similar walks of life, for example, the patient in Death Takes a Holiday. Some of this is just normal human behaviour. It makes sense that BJ would relate better to people who share the same values as him, and a wife and children are symbols of those values. Of course, that doesn't mean we can't or shouldn't connect with people who have different lifestyles with us. BJ obviously does do that, although he doesn't stop wanting relatability and that can make things rocky for everyone involved. What I'm trying to say is, BJ isn't as alone as he seems to feel he is. In fact, it's kind of funny how not-alone he is, sharing a tiny tent with Charles and Hawkeye, which naturally causes tension between the three of them. And the fact that he relies very heavily on Hawkeye's support throughout the show.
But in Bombshells, he's really, properly alone. Early in the episode, he'd been giddy to get away from the camp and everyone in it to spend a day by himself, fishing peacefully. Then the most harrowing thing to ever happen to him onscreen happens, and Hawkeye isn't there, as he so often is, to shoulder it with him. All BJ has is a total stranger who gives him an impossible task that goes against pretty well everything BJ believes in, to a fault. A doctor forced to cause someone's death - imo, I think this moment is equally as traumatizing for BJ as Hawkeye's moment on the bus in Goodbye, Farewell and Amen. BJ, who couldn't get on board with Hawkeye's plan to do a medically unnecessarily surgery in Preventative Medicine — even if it meant they had a chance to prevent the further injury or deaths of dozens of patients — is forced to cut a man's life line. It's a devastating moment and I have a lot of sympathy for him.
I know BJ well enough at this point that I don't expect him to voluntarily reach out to anyone for help, but interestingly, his isolation is even mirrored by the B-plot. We get an unusual Hawkeye-Charles team-up, where they run a scam reminiscent of the ones Hawkeye and Trapper used to pull, duping the whole camp for funsies. It's not just that normally HawkBeej are the unit to Charles' lone-wolf, it's that Charles and BJ's roles are reversed here even in the tone the plots take: CharlesHawk are doing something frivolous together, while BJ pursues a serious plot - now it's possible my memory may be failing me, but I can't think of another episode that replicates this formula. One specific example of these plots playing off one another as the A/B plots regularly do on MASH: BJ makes a phone call to try to figure out if the man whose line he cut might've survived, while Hawkeye and Charles make a phone call to see if they can contact Marilyn Monroe, the star of their scam.
In typical BJ fashion, when Potter tries to ask if everything's okay, BJ pulls away and acts like everything is fine, but this time it's because he has a plan and he wants to see it through on his own, rather than just sit by himself feeling powerless. He even tells Potter he'd like to try another fishing trip — trying to catch the one he'd cut loose the day before. He does all of this on his own checking beds, asks around, flings open the doors of the ambulance trying to see who's inside — but the fact that these scenes are interspersed with the B-plot, this would make an interesting montage, which is the thought that inspired the gifset I made. It matters less to me why he's doing it and more that it's a rare instance of him doing it on his own.
If he thinks that's because no one can help him, the episode doesn't really argue with his assumption. Hawkeye can tell that something is off, but despite his efforts, BJ keeps himself out of reach. I do not like the position the narrative takes at the end, when BJ tells Hawkeye that they, as surgeons think they're "self-righteous" and better for thumbing their noses at the estabilshment - I think that's a pretty dishonest way to characterize everyone at the 4077th including BJ and an straight example of MASH's unfortunately centrist leanings in the later years.
But despite my problems with that messaging, I still like this episode for it being about BJ and his resolve, detached from those around him and detached from the other big part of the BJ character - his family. All the other big BJ episodes - Period of Adjustment, War Correspondent, Death Takes a Holiday - feature his personal relationships in a big way that drives the plot. Bombshells is an episode that promotes BJ to protagonist, demoting other characters who might otherwise play a role in the drama.
This is most striking to me when even Hawkeye is unable to reach BJ and plays no role in the resolution of the A-plot. He sympathizes with BJ and tries to comfort him with "Well you didn't have a lot of options" - that may be compassion from Hawkeye, but I think it probably sounds dismissive to BJ, and that puts them in an odd role-reversal: BJ in crisis, and everything Hawkeye says is cold comfort to him. Finally, Hawkeye resigns himself to the feeling that he can't help BJ with this and so he leaves when Margaret comes to get him.
I'm not especially fond of the way BJ resolves the plot by giving away his medal and is then shown to be somewhat at peace with that, not because I fault BJ for it, but because I take issue with the broader practice and so does the show on many an occasion. What's important to me is that BJ also does that completely on his own — tie-up the plot.
I could probably go on about how much I disagree with the messaging of this episode, how much I detest the show taking a shot at it's own formerly anti-establishment beat and how that actually does the BJ character a disservice, but I'm not going to here because it's not as important to me as the unique format of this episode.
Bomshells is no s04e19 Hawkeye, but I really appreciate having so much textual stuff to chew on for BJ, rather than having me sit here and try to interpret the inconsistent writing that the writers admitted to for BJ, or Mike Farrell's acting directions. You could say this about a lot of characters, but BJ really deserved to be given the opportunity to stand on his own two feet more often.
