Gene Reynolds, Co-Creator of ‘MASH,’ Dies at 96

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Gene Reynolds, Co-Creator of ‘MASH,’ Dies at 96
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Six-time Emmy winner Gene Reynolds, known for his writing, directing and producing for the lauded socially conscious 1970s TV shows “MASH” and “Lou Grant,” died Monday in Burbank, Calif. He was 96.…

Starting in 1993, Reynolds served four years as president of the Directors Guild of America, which confirmed his death.,” about a team of surgeons in the Korean War, Reynolds sought out the creative like-mind of writer Larry Gelbart.

Nowhere was this approach more apparent than in his work on the acclaimed, innovative series “MASH” and “Lou Grant.” “MASH” used this flow of collaboration and improvisation to create innovative episodes, including “The Interview,” which aired in 1976. Shot in black and white, styled as an Edward R. Murrow documentary about Korea and written by Gelbart, the episode incorporated scripted questions for the characters’ “interviews,” as well as unscripted ones that forced the actors to improvise in character.

After “MASH,” Reynolds teamed with James L. Brooks, along with Alan Burns, to create “Lou Grant.” A spinoff of the “Mary Tyler Moore Show,” “Lou Grant” reimagined the crusty character as a Los Angeles newspaper editor and explored the behind-the-scenes drama of news coverage. Born in Cleveland as Eugene Reynolds Blumenthal, Reynolds began as a child actor, making his bigscreen debut in a 1934 “Our Gang” short. As a kid, however, Reynolds aspired to be a director, and he followed early roles in films such as “Love Finds Andy Hardy” and “Andy Hardy’s Private Secretary” and TV series including “The Lone Ranger,” “Dragnet” and “I Love Lucy” with work behind the scenes.

His creative approach met its first match when he worked with show creator Brooks as a producer and director for the TV series “Room 222,” which debuted in 1969. The show explored contemporary social issues from the perspective of high school students, teachers and administrators, addressing weighty issues such as racial tolerance and drugs, but in what would become Reynolds’ hallmark, the approach to these themes was tempered by humor.

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