The Scarecrow and his Mrs. King | Bruce Boxleitner, Part 1

Weirdy weird media. Eighties So Pretty through the City. D the Money World. Welcome to eighties TV Ladies, where we look back in order to leap forward. Here are your hosts, Susan Lambert had Him and Sharon Johnson.

Hello. I'm Susan and I'm Sharon. I'm so excited for today's episode. Sharon. You know, I first became aware of our next guest when I was like a young child watching the late seventies television western very loosely based on the nineteen sixty two cent around a film of the same name, a little show called How the West Was one.

He played a young Luke mcahan, and I thought he was cute, cute, little cowboy. I never saw that mini series. Oh it was good. Well, it was like a two hour pilot. Oh okay, then it was a mini series, and then it was a show, and then it was canceled.

Yeah, I never saw any of it. I wasn't watching a lot of TV. Then I was in school. You're talking about Bruce box Lightner, of course, and I first remember him from Scarecrome Missus King. Really, yeah, I don't.

I don't remember seeing anything that he was in before that. So Gambler, I didn't apparently didn't watch that, but what a great way to start learning, you know, seeing I. Mean scare Crow Missus King is a pretty pretty good start. Yeah. You and Melissa got to meet him in person, told him that we'd love to get him on the show and he said yes, and he's he's been working and traveling, but we were finally able to get Bruce box Lightner on the line.

Bruce Boxleightner is a prolific actor, most known for his hit television shows How the West Was Won, Scarecromis Is King, Babylon Five, and The Gambler TV movies. He was also the title star of Disney's eighty sci fi movie Tron, which has spawned a franchise of movies, TV animation, and a Disney park ride. A Disney park ride that's crazy, A great Disney park ride. If I must say, I have not ridden on it yet because it's not out here in California, all right. Mister Bucks.

Lightler has been in over one hundred and forty two movies and shows, more recently playing presidents in Supergirl and The Orville and voicing John Sheridan in the animated film Babylon five, The Road Home John Sheridan being the role he played in Babylon five TV show. He just guest starred on Blue Ridge the series, and what a treat it is to have him on the show with us. Welcome to eighties TV ladies, mister Bruce Boxleitner. Thank you, Sharon, Thank you, Susan. We are so thrilled to have you.

Thank you. We finally made it. Yeah, I. Appreciate you taking the time. So, Bruce, you were on a hit show.

Yeah, playing Lee Stetson on Scare Chromis is King the eighties hit show. What are some of your favorite memories or moments at the time when you were making it that you remember like, oh, this is great compared to now looking back at. It, Oh my gosh. And how many years has that been? Noff forty one, nineteen eighty three, Yes, right through eighty seven.

I personally think ed Katie not got nil. I think we would have still had a couple at least a few more seasons in that they tended to stay with you, and I think we never left the top twenty five or thirty somewhere in between there. That was very good for network television back in those days, believe me. But some of my favorite memories is getting the job that I haven't talked about too much. I had done this show called Bring Them Back Alive the year before Frank Fuck Yeah, Free Fuck, and we were trying to ride on the coach.

The television wanted to write the coattails of Raiders and Velost Dark Fame, those type of shows because it used to be the movies, the big movies, and then television would try to do some kind of TV version of that. And always with whatever the trend was, whether it was James Bond, you had the Man from Uncle, and you had what was the great one with Diana Rigg, a British one, the Avengers. Anyway, so I struggled mightily, had a wonderful Cassa And when Cindy and I did more Tron together, the original Tronto was the only of a year earlier. They were looking for this an actress that it could play that kind of nineteen thirties kind of gal could fit that kind of look, you know, the dresses, the order of the makeup, all of that sort of thing, and I thought of Cindy, and so we had Cindy aboard.

We got her and Clyde kazatsu Ron who played hh his highness, Yes, he was great. It was silber Fly, you know. Yeah, yes, that show was so impressive. It was very and we never went on location. We only went out of a place called Indian Dunes out here, which was near where Magic Mountain theme Park hits now.

But it's We're Movies shot for Jungle Sequences, and and then we also had. The back lot of Columbia there. They had a pond, we had New York Street, we turned Intoto Old Singapore, and we had the Raffles Hotel and all those things. So anyway, long story short, we struggled mightily for the ratings and I only came in number two every Tuesday night. I was up against another eighties great early eighties and late seventies, which was the tenth season of Happy Days.

It would be hard to beat. It was very hard to beat. You know. That was a family show that I've been well entrenched in the American psyche, you know, and doing habits. So anyway, I was on the phone to but Grant, the head of CBS, at least once a week, going, I know we can get better, ebody, I know, just give us one more, gives what.

He stuck it out as long as you could, and eventually I just realized we went off in like eighteen episodes or something like that, and that was a blow to me. That was my first stepping out on my own as a lead of a TV series. But Bud did say this, He said, you know, since we did this on a handshake, and that's how we did the contract back then, how we did the deal in an office with a handshake. Did people do that anymore? I would always be careful if I have my hand after I chok it anyway, but say we'll find you something better.

And I went, well, that's wonderful, thank you so much, and he said, no, we'll find something five that works. Don't worry about it. So I don't know the real time frame here, but I did get two scripts. One was called The Yellow Rose and the other one was this quirky title called Scarecrow and Missus King the first time, and I found out that former Charlie's Angel Kate Jackson was going to be starring in it and the role was for her leading man. And this other one was a contemporary sort of what Yellowstone has turned into.

Wasn't not as violent, but and it had Sybil Shepherd as the lead, Sam Elliott blah blah blah, big ensemble piece. And of course I was living on a horse ranch at the time. I was very into that sort of thing, that lifestyle, and I thought, oh, this is wonderful. And I kept looking at this pink script, pink pages and blue and I kept going, and it is something here to change it up. I've been already been on How the West was one for three four years, and so I looked at this script and I started laughing from the first moment I started reading, and it just captured me.

And this is the magic that Brad and Jeannie brought to it. The writings. It was very quoky, I thought, you know, just funny, and it was adventure to it, mystery, and this wonderful relationship between a guy that wanted nothing to do with this woman. He just he had used her in this paper and then never thought he'd ever see her again, and there she was anyway, and their slow the relationship, you know, was always It was a thirty screwball comedy with some James Bond and some whatever in there, and a great ensemble, you know, I thought, you know, Martha, No, Stuart was the best. I mean I miss him so much, you know, I wish he could be at these conventions.

He would be loving every minute of this, I want to tell you. But he made me laugh more than anybody I've ever worked with since. And that was a daily basis. And of course Uberly Garland, oh my god, she was the screen queen of the fifties man, I mean she and she did everything, and she had this great settling effect on the cast. So when everybody got a little hypertension, come all right, calm down, everybody, and they were just Mom just talked right, Mom just chewed us all up.

Anyway, I met with Kate and I forget the guy's name that oh gosh, that directed the pilot, but he was renowned for selling a lot of pilots. So we were in an a team year. She and I had to work on these scenes together and we were to go before the all the network heads, all the chiefs, all the big mucket MUCKs. Was this first screen test? No, this was a live performance.

Nice. Yes, Now you have to understand our audience, where television executives will have no imagination, no sense of humor, and we brought in three scenes and I just immediately knew with Kate that this was, oh, this was something else, because Kate had that quality of the great eating ladies of those golden age of Hollywood movies. Hepburn and and uh, you know all of them that were just boom boom boom. She could just motor off. Called her motor mouths.

Anyway. Did you call Martha Smith chatty? That's true too, Yes, So she was chatty and she was caddy. Okay, I mean it wasn't It wasn't brand scene always. Yes, it had an attitude.

I mean, did she not? Anyway? So we did those three scenes and we had these hardened television executives laughing openly, wow, grudgingly too. You know, they don't want to. We're very serious people.

We're professionals here. You can't make us. You can't make us laugh, you know, I mean, and we did it all and we had such a joyous time. I was so high off the experience. They said, very nice to see, thank you so much, blah blah blah.

But then they don't want to give away and say you're the guy, right. You got to go through all the rasmetask but this was a television city. See me has downed Beverly and I literally walked out the wrong door onto the roof of the building. I was in a daze. It was an overwhelming experience because I was like, I failed, and then I come in and we get this big win with the same network that canceled me.

And I literally walked out on this roof and there's Beverly Boulevard and there's Fairfax and I went whatt that? And the guy down in the in the in the guard shack there goes, wait, what are you doing up there? Said, I don't know. It was right out of it. It was right out of a leased stets and Adventure right there.

So they had to come in because the doors didn't open from the outside. It was one of those you know, the top of the building. Anyway, I got back home and we waited and waited, and then the word came uh. The pilot was a go a green linen and kay, and I just clicked right from there on. I think it shows right in the pilot at some of my favorite stuff, the stuff that did that.

Brad and Eugenie, they wrote such great humor. It was quirky. I don't think this was nineteen eighties television, yet we stood like right, Happy Days was not quirky, right, it was straight on sitcom, but ours had you know. And then we shot on location in the first in the pilot, and so some of my fondest memories, to go back to your earliest question, was from that very first time. Because it was so new.

We would later even I think we even got better as an ensemble. That's natural. We were given time to really bond and really find each other and find each other's rhythms. I always knew, and I have never had this experience before. My theater experience was the only thing I had.

It was slightly close with Kate was able to go off script and oftentimes she fires her passed the material okay, which was wonderful. But then I found out I could go with her. She'd start the lead and off I'd go with her. And then pretty soon we're doing stuff that is not on the written page. Not a lot.

I don't want to emphasize that that was a lot, but it was just enough to make those two I think what you all loved about those characters is those little bit in between moments I called them the reach over to touch and then reluctant. This was also the time of the couples. You know, we already had heart to heart and then Remington Steele was on I think on already. I think it was either a season before us, I'm not sure. And then we had My worst day is when Moonlighting prepared.

Big difference, big difference that Kate saw that. Kate saw Cheryl or what's her name, Sybell and this new guy, Bruce Willis, and she wanted our show to be that way. I did too. Yeah, we loved that, but it was a nine or ten o'clock hour. We were an eight o'clock hour, you know.

Well, to be fair, I think Remington Steel had the same problem. So yes he did, Yes he did. Oh. I think we all saw this and that was the brilliance of their writer and Carolyn. Our show had a very solid audience.

I'm sure. I can't tell you how many times people have come up to me, and you know, it was like one of those shows that because it was the eight o'clock hour, younger people sat with mom, my, mom and dad. It was family television at its best, I think, and we provided a delightful, funny hour and we brought some adventure and we wrapped it up at the end, you know. But we would have these conferences about how long are we going to sustain this sexual tension? And the fans were split and they were still going, we didn't have you know, email at our x or anything like that.

Now, are you happy about that or sad about that? I'm actually happy about that. I don't know how they do it now. Yeah, And they liked the opening numbers, the Nielsen ratings. What leads you in is important and then after your show your numbers to lead into the next one, right, or do people just all of a sudden turn the channel.

Right. That's what you have sleepless nights about. But I think what we worried about THEMSA is that we wanted the fans to continue to Lovely and Amanda, and we would say that. I mean, I got vividly in my mind, sy Kate and I sitting in our chairs going no, I don't think they should. I think we need to sustain this lart.

No, No, they want us to kiss. And I was always the one going no, no, I think we need to sustain I'm with you I'm with you on that, Bruce. I was. It was a tough one. Yeah, I hold on, I lost my ears.

Hold on. This is so scarecrow, isn't it. I think you should show me fuddling around with technology. I think it's anyway it is. I think it's very scarecrow.

Imagine you know, the spin off we could have done years later was now we do have cell phones and internets and everything, and how would they have adapted to this world when the boys are grown up and going, oh my god, dad, let's take a quick break. We'll be right back. We're back. Let's jump right in the good memories of this. In Washington, d C.

We're driving around. I had a sixty three or speedster that died every other take in the middle of Washington, d C traffic. Oh no, that's why, I'll reveal to you. That's why when we got a new stunt team in after the second sea I think it was the second season, I still had that When did I kill that car? Yeah, you killed the car, I believe in the second season.

Yes, just like the old cowboy movies, the star cowboy has to have a fantastic horse and have a name, you know, So in this Gary Davis, my stunt double who auditioned for me, right in front of everybody. He took a motorcycle at top speed and laid it down across the Columbia Studios parking lot and got up and was, okay. He did all my motorcycle driving, you know, all that stuff we had to do, like over in Europe and stuff. I mean he could literally go on camera and did a number of times as me and you all probably didn't realize it that it was him doing it. They didn't want to have me, you know, go and get cap I killed.

So anyway, he said, you need a car. This was the eighties. Cars are very important. Eighties ladies was. Car chases were very vague.

Come on every show had we had the eighteen, We had all these things. Magnum had up Ferrari, all those guys. So Gary Davis says, we got the perfect thing. It's all engine and fiberglass. It'll go.

And it's just that the fact was that I'm six foot two and a half trying to fit that on like a pair of pants. You think that poor spinster was something. God, I'd have to drive up and jump out right like I'm coming out of a pair of fiberglass pants of some sort, trying to get one leg out of the car. I had to master that. I actually rehearsed that more than I did some scenes sometimes.

But anyway, I got that Corvette eighty four Corvette. My brother had one of those. My brother had an a Corvette, and like you said, it was all engine. And I mean we always had, you know, a lot of retired police as our security when we did stuff out on the streets, like chase scenes and stuff like that. And I delighted in doing eighty down a thirty mile an hour thing with Cake So and I just put the I love it because I went right by the cops go to bat.

You know, I'm stunned how many stunts they let you guys do. Yeah, we did it a lot. I did always the medium and the close ups of all my fight scenes. That means I had to hit the ground too. That's why I'm a physical wreck today in my seventies.

I'm paying for all that youthful vigor like James Garner did. Yes, James Garner, all those guys. Also, I had two great guys, Gary Davis and a guy named Tom Morgum and Tom and I had this thing. We called it the old switcher root. So Lee jumps down on a roof and then he jumps down behind a pile of packing crates, and then I come around the other side.

Now it has to be time, just perfect, so that your mind links. He goes falling down through me. Beat beat beat. I would come around right. You have to have enough time.

You can't just instantly come jumping out. And we would do that with the high walls, so they didn't let me go over all the little tricks of the trade, you know, with the fight scenes which I had every week, we had the choreograph. They were always done at the end of the day, unless Katie had to be right in the middle of it. She usually came in with the frying pan and hit the bad guy in the head, just as I've just had the crap kicked out of me for you know, fifteen to fight. But we also had a gag meal of Scarecrow losing his gun.

It was a highly trained, yes, operative United States government right I was in the agency. I was trained. I was a marksman. I could hit anything, I couldn't shoot. I could do everything, but somehow I would have to lose the gun and the last thing, so we could sort of do the bad guys or bad guy girl whatever without shooting them.

Without shooting them. Yes, and Kate had used her house wipe fleet. Yes, I'll just pull this and the hole the barrels will come down on top. So he But it was so very clever, it was choreographed. We did lovely.

Yeah, and to think we made a movie every seven days, right, eight days. Actually, I'm going to reveal something on Warner Brothers books. Scarecrow came in at a seven day shoot once once in four years. Yeah, a little scoopy, know, very scoopy. I don't work there anymore.

Nobody I know works there anymore. You mentioned a few minutes ago briefly about shooting in Europe that one season. What was that like for you? Oh, Sharon, that was that. That's one of the great adventures of my life.

Nineteen eighty four, the Olympics came to Los Angeles. They're about to come again. Since we shot in the La Area, in specifically the Valley, for the most part, we would go to Europe. It was amazing because that was my first time ever going to Europe. We went specifically to Munich, Germany.

I think we shot four episode five episodes over there in the time. Yeah, we also had a writer strike stop us, so we were stuck in Munick, Germany because we were supposed to move on to Saulsburg, Austria. Munich was so much fun and there we were and when you get let the children, we have nothing to do but play. Yes, I know Munich very well. So apparently does Martha.

Yes, Martha does she does? Is she talk? Yes? We had a few parties, so I never know Martha was going to bring next. But anyway, that's another story.

It was fun. If we were you, we're in our thirties and you were on a hit show. We're on a hit show. We were in Europe with per diem money to spend because they had to keep us there because this strike. I think it went two weeks or something.

Oh my god, we needed to go back to work. We were going to be in a real bad shape. Other way, I was out all nights. We were out all night. There were places we went to, these nightclubs and Martha and I will we went well swimming with us help me the guest stars.

We were in a place in Munich that wasn't. We walked into the bad place. Not a bad place, but the punk rock scene in there was very scary back in those days, very scary, and Martha and I had I had to grab Martha's hand and get her out of there, and we ran for a cab. I remember that. It was right out of Scarecrow.

I swear to god. Yeah, we had to. There were some nasty characters in there. I mean, it was crazy, and of course they were. They well, they thought Martha was great, but they all wanted to have Martha there.

And anyway, she was loving it until she wasn't. And we got out of there. You had to rescue, like Scarecrow, I'll admit something. I had to hit a guy to get him off of her. Oh wow, that was like Scarecrow.

Wow. And we ran like hell and got out of there. And uh, there were people that helped us get out of there. Yeah, she doesn't remember that. We were laughing so hard too, how we had walked into this and got ourselves in there.

Everybody wanted to dance, though, and it was like banging where you're banging into each other and that kind of Oh my god, it wasn't my style and it was just deafening noise, and it was but she wanted to go so but I know we had some other people there, but we all scattered. I think Martha went to London or something like that. She was dating a guy. I think she had boyfriends all. Yeah, she had quite a wild time.

She told us a little bit wonderful and you worked with Jeene Stapleton and Jeane Stapleton there we were in the Alps. Gosh. I wish she could have stayed for more episodes. I think she would have been I don't know what her deal was professionally with with it. She had reoccurring but I think every time she was on it was such a fun episode.

I remember the one where we turned the house into a KGB. I love that. You guys were, Yes, that was a very quintessential Scarecrow episode and she was fantastic because she got to play the Russian agent and it was wonderful, you guys used. She used going to Austria as well, I'm going to you know what, what, how many days do I have off? But we don't need to see we don't need it for four days and so we were tourists.

I mean we were in the car driving and going all over all over that part of Europe. You know, while we had the time off on the weekends, we always hit the road. Of course, on when you're on location, you work six days a week, so Sunday raised hell. You were working with Juanita Bartlett by this. Point, loved wa Can you talk tell us more about working with her.

I'm a huge fani as much as as much as I loved Brad and Eugenie. They left the show very early on, okay, and I want to always say they laughed all the way to the bank afterwards. So whatever that, I didn't get myself into the whatever was going on politically within the studio and everything, and anyway, he departed and we had this wonderful woman and her great writing staff, Steve Hadman, greatest story guy. They all came from the Rocherd files, you know. Yes, And she used to tell me, she used to say to me, you're very much like Jim Oh really, yes, yeah, I don't ever have to go along dialogue beings, whatever you handed me.

It's always been my thing, and it's sort of she said that Jim Garner told her this. He said, my job is to do the dialogue that you sat up all night doing, started with a little germ of an idea, and then you went on and created this. It's my job to do every word, every word. I just suddenly start talking off script, which I'll refer to what I earlier said. I was very much of that school eighty not so much.

I mean that she and this is not a bad thing. I'm just saying that she had that great improvisational skill to be able to end character leap right off the written word, and I'd have to leap with her because otherwise it wouldn't be any sense. But I always try to get us right back to But Jim Garner said it that my job. And if I just and if I can't do it, if I just can't make it real, then I'm going to ask, how can we make this real for me? How does it work?

Coming out of my mouth? I mean, you know, those characters become you, ladies, they become the character, the character becomes you. This is my personal view, but I've said it before. I think the European episodes probably some of the best because it just fit in Europe. It just fit trying to get her.

How do we logically get her over to Europe to have all these misfitgrim I mean there we were, you know, Buckingham Palace in England, in London. We were in the real New Scotland yard building. We use that when I had to do this interrogation of the mongoosee never in he was an expat American actor over there. The legend Blaus Sgeyster's That's probably one of my favorite episodes. That's a great episode.

I had to try to put Scarecrow in all my magnificent suits. That Jimmy Lapitez. I want to give him credit too. I did not like my wardrobe in the first seasons. Second season, we got a brand new guy because they were having to do hers Martha's and it just got overwhelming.

And I was, and I forget his name, wonderful older gentleman. I had been in the studio since you know, yeah, I'll be World War two. I had these clunky sweaters and punky I looked too ivy leaguish. If you want to make that guy who was running around Europe realistic, he was going to be in nice European suits. I had every suite when we went to Europe.

The first three days I was there. I was in Seville Row in London. I was getting outfitted for everything with suits made for me. Now least Jutson would have had that. Yeah, for sure.

He was always a faker, you know that. He always tried to silk continental and he was not. He was an army brat, you know, raised in a Midwest base anyway, you know that stuff, that story. But that's when my wardrobe they went, no, no, that's one of these weird shorts with you know, kaki pants and an Ivy League sweater. And I looked like and with the way I looked then, I looked like I was a college boy.

I mean, yeah, you had to have the James Bond suits, right, yes, I did, and the shoes. And then when we got to Oustros, same thing. It was. You know, I was at the tailor. Everything was made for me.

And so if you notice, I'm in better suits in the whole thing, very continental looking, and that sway Lee would have dressed over there. But yeah, those were those were my favorite episodes because of the adventure of going over there. My wife and son oldest boy was now forty four years old. I showed you how long ago that was Gary Davis had a daughter, Jennifer, and I had my son Sam, who was only I think he wasn't even wasn't even five or six years old, I'm not sure at the time. Anyway, Kitty and he came over to visit as we got started, and then they came to Munich.

I enjoyed us, and my mother in law came with him to help, and that was wonderful, a great little incident to him. They were coming in Gary and I and little Jennifer, Jennifer was with him, came to the airport and Munich, We're gonna pick my family up. And this time in Germany, there were a lot of extremist groups blowing up things. In reality, our show was so timely because they had the Red Brigade was running around Europe blowing up people and robbing banks and carry on. And they looked a lot like Martha Smith.

Anyway, it was and these two little ones, Jennifer had been with her daddy now for a few weeks, and you know, there were no little kids, and they had a babysitter with her, and so they looked at each other and here was my old wife and Sam, little Sammy, and he's walking hold in her hand, and they just stared across this big space. There's all these guys with machine guns standing around, you know, the politic eye over there. They were serious dudes. Then they had antematic weapons. And in between that, these two little ones run in to each other, never ever having that, and grabble hold each other and are hugging.

It was great. The whole airport and that they all stopped going. Oh, you know, we had peace in Germany right at that moment, so it was it was fun. I don't know why I'd tell that story, that lovely memory. Oh my gosh, I were with me.

Yeah, they were with me throughout the rest of the trip, you know, so we we It became such a family affair, you know. So Europe was cool, and then we came back and it was kind of back to Burbank again. Can I ask about one otherisode in particular. One of my favorite episodes from season two is Burnout. I think you do a fabulous job, as does Miss Jackson, and it's sort of a little you know, spy comes in form the cold like it's just got all the all the best elements of Scarecromass King and it also sort of Still.

Under, that's Still Under. One time, I think it was she was. I think it was because it was season two and I think she was on one and two. And but I'd love to ask you about a moment in the bar. I don't know if you remember it where you owned it the Amanda you're you're you're you're tapping up Amanda's face, You're trying to get her to leave, and you actually slap her.

Do you remember this? Yeah? I wish we had a film to go to. I could, I can. I can go find it real quick and I can show you because I would love to get Okay, I'll go do that.

You guys keep talking. Okay, Sharon, you did, But you like the the European episodes, Oh, the European like you. I thought the European episodes were really terrific. And it clearly you were shooting in Europe at the time, and it. Lent itself to It was nineteen eighty four, Cold War was still going.

We were only miles and sometimes we were only miles away from the Iron Curtain, right, yeah, seriously, and we had all these wonderful German and English I realized there were a lot of actors living in Europe doing you know, European films and television. It just expanded my mind so much. Again me I felt I was a better lease Stetson when I by the time I got home, I actually was talking. I actually was living some of the stuff that Lee would refer to. No, I didn't know how to speak Urdu, but I certainly could fake an Austria German accent and those type of things because it was around it all the time.

And you got to understand that the show did not play over there, so the crew had no idea Europe. It hadn't been on European television. Yet it still happened that way. Yeah, it wasn't like it is now where you know things, Yeah, it's immediate. It takes a while for things to make it the way around the world.

Yeah, we have satellite too, you know we're getting it immediately. I think we did a dog on a good job. I certainly knew how to come up in a kitchen window and just as Beverly was about to turn around and be down into the flower bed. Right from the get go. That made me laugh.

That was one of the first things that made me laugh out loud. When I read the pilot script, was just imagining that scene. Had you done a lot of comedy before you didn't scale them? No, no, no no. I did all those cop shows.

I was a punk and all those cop shows. Bretta, I did two Hawaii FIBs. I did those kind of shows, you know, the third Guy and something you know and so. No, in television, I never got to do comedy. Now on Broadway, I did, and I did a show for a couple of years in Chicago, was in Washington, d c.

And also very briefly in Broadway, New York, and then back to Chicago, and then a one way ticket to Los Angeles, where I said, I'm going. To try LA and now did you have to decide like New York, La? Did you have that actor moment? I was in New York. I was there for about a year.

You know, my my youngest son, Michael, lives there, and my wife and I just went to a couple months back, went to New York just for the weekend to see him in his off Broadway debut show, show is Still Well. No No. It was one of these small yeah on black box theaters or about ninety nine hundred seed at that I know it well, I've been there. Yes, okay, it was just he had a wonderful young actress. It was called Constellations.

I think he could probably find it, but he was wonderful. I've got another actor I'm very proud of. But he loves New York and he was older. He's older, he's twenty eight. He mean I was twenty.

I turned twenty one in New York City. Our oldest, our oldest owen is in New York and they're having a great tikes loves it. You know, this is I get it. It was that was, you know, leaving home. Chicago broke me in and then New York.

I thought, oh my god, this is like Chicago and steroids. This was you know, Jack made it even more gigantic. But it was a wonderful place and you got to be young there. Sorry, no you didn't. I couldn't do it now.

Just too many people, that's just me, too many people on All right, I found the scene. That's a hustle book. Yes, okay, all right, let me share, share my screen. Let's see if I can pull this off. We have faith.

I know you, I knew it. Okay, here, oh my god. Okay, let me see you make sure the sounds up. Oh yes, it's a cliffhanger. Clearly, We've got quite a lot more to talk about with Bruce box Lightner, so we're gonna leave you here for this episode and pick up next time with Part two, where we will show mister box Lightner the scene I'm talking about.

If you're so inclined, this also gives you time to seek out the scene for yourself. The episode is from season two, episode twenty one, entitled Burnout, written by Lisa Sideman, directed by Sigmund Nufield Junior. Takes place about eighteen minutes into the episode. So don't miss Part two with Bruce box Lightner, where we will talk about that scene with the scarecrow himself and then so much more. Join us for today's audiography.

Find out more about Bruce box Lightner at Facebook, dot com, slash box Lightner Bruce and Instagram also at box Lightner Bruce. And he's on Cameo, So Cameo dot com, slash box Lightner Bruce. Okay, I guess that's it for this episode. So as always, we hope eighties TV Ladies brings you joy and laughter and lots of fabulous new and old shows to watch, all of which will lead us forward toward being amazing ladies of the twenty first century's. Sands, pretty through the city, and.

Good things The world.