Judy Farrell, best known for playing Nurse Able in M*A*S*H, has died at the aged of 84.

Many actresses played Nurse Able and Nurse Baker throughout the show
 
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The 1973/74 season had been a triumph for CBS, which posted nine of the ten-most-watched shows in America, according to the final Nielsen ratings.1 And Saturday night was the jewel in CBS’s crown. For the third consecutive season, All in the Family topped the Nielsen ratings as the nation’s most highly watched show. M*A*S*H finished fourth; Mary Tyler Moore, ninth; Bob Newhart (at 12th) and Carol Burnett (at 27th) came in a few steps behind. This was the only season those five shows, all produced within a few miles of one another on the Westside of Los Angeles, ever appeared together on the same night. Some critics would later call it the greatest night in television history. It was an eminently justifiable verdict.
 
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M*A*S*H, created by producer Gene Reynolds and writer Larry Gelbart, crackled to life behind brilliant performances from Alan Alda (as “Hawkeye” Pierce), Loretta Swit (as nurse Margaret “Hot Lips” Houlihan), Wayne Rogers (as Hawkeye’s irreverent buddy “Trapper” John McIntyre), Gary Burghoff (as the innocent but seemingly omniscient clerk, Radar O’Reilly), and later Mike Farrell (as B. J. Hunnicutt) and Harry Morgan (as camp commander Sherman Potter).

These programs were commercial and also critical successes. From 1971, when Mary Tyler Moore and All in the Family first appeared, through 1975, those two shows and M*A*S*H dominated the annual Emmy Awards to a remarkable extent. Over those five years, All in the Family won the Emmy as Best Comedy three times, with Mary Tyler Moore and M*A*S*H capturing the other two awards, in addition to the raft of Emmys awarded to the shows’ actors, writers, and directors. But All in the Family, Mary Tyler Moore, and M*A*S*H became landmarks not only because of their excellence but also because of their relevance. After years in which the television networks had deliberately, even defiantly, ignored the fissures in American life opening around them, these three shows, more than any predecessor, finally connected the medium to the moment.

Though M*A*S*H was set in Korea, viewers could not miss the parallels to Vietnam in its brilliant satire of war’s futility
 

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