RERUN: Bruce Boxleitner | The Scarecrow And Mrs. King Years, Part 2 - 80s TV Ladies

Episode Transcript
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Speaker 1 (00:01):
Listeners. As you may know, Sharon and I are both moving.
She across the country and made just a few miles away.
So we were taking a little break before we lose
our minds and sharing some of our favorite episodes with y'all.

Speaker 2 (00:13):
Please enjoy the second part of our interview with the
Scarecrow himself, Bruce box Lightner, The Scarecrow and Missus King Years,
Part two.

Speaker 1 (00:22):
He's so cute, He's so awesome. We're so excited even thinking.

Speaker 3 (00:29):
Back at it, I'm excited. Yeah, let's go.

Speaker 4 (00:32):
Weirdy we.

Speaker 5 (00:38):
Eight so pretty through the city god Man World.

Speaker 6 (00:55):
Welcome to eighties TV ladies, where we look back in
order to leap forward.

Speaker 2 (01:00):
Here are your hosts, Susan Lambert had Him and Sharon Johnson.

Speaker 3 (01:05):
Hello, I'm Susan and I'm Sharon.

Speaker 2 (01:08):
Welcome back to part two of our marvelous interview with
Bruce box Lightner, star of Scarecrown, Missus King, How the
West Was Won, Babylon five, Tron and so much more.
This episode is loaded with insights into his time on Scarecrown,
Missus King, as well as stories from Bruce's early days

(01:28):
on gun Smoke, Policewoman and Beretta. Now, we left part
one on a little cliffhanger where we were just about
to show Bruce a noteworthy scene from Scarecrown Missus King
season two, episode twenty one, entitled burnout Enjoy, let me.

Speaker 3 (01:50):
Share my screen. Let's see if I can pull this off.
We have faith, Susan. I know you. I know it.

Speaker 6 (01:55):
O my god, Okay, let me see you make sure
the sounds up.

Speaker 4 (02:00):
What was I doing again? I was going, I was
faking as though I was doing an agent burnout. Yes,
but it was all to trap somebody. Is that this guy?

Speaker 3 (02:09):
Yeah, you're trying.

Speaker 6 (02:10):
This guy is sort of trying to recruit you for
the big bad and but but nobody knows. And Amanda
has come in, going you have to come back to
the agency, and you know.

Speaker 3 (02:21):
Melose wants you, and well let's see how this goes.
See how this goes?

Speaker 4 (02:25):
This is Amanda.

Speaker 3 (02:27):
Hello, I came to talk to you about that report
from mister Melrow. No, you really need to do it now.
It has to be turned in on time.

Speaker 4 (02:33):
You know, time, time, Amanda, I have got nothing but time.

Speaker 3 (02:45):
I'm sorry, it's okay, I'm sorry. You can move your hand, Amanda.
Oh Amna, Amanda, no check, I'll talk to you about
your friend later. It's all right.

Speaker 4 (03:02):
I hit you just gotta stay away from me.

Speaker 7 (03:08):
You see what I've been doing, lady, You see what.

Speaker 4 (03:11):
I've been going through.

Speaker 6 (03:11):
I am.

Speaker 3 (03:13):
Then let me make it easier for you. Just don't help.

Speaker 4 (03:28):
The ugly side of least. That's yeah. So what did
what did you want to know?

Speaker 6 (03:34):
I want to know how you guys managed that last slap, right?
Do you remember what your discussion was or what you
guys worked on to do that moment?

Speaker 3 (03:44):
Because it's so.

Speaker 6 (03:47):
What's so great about Scarecrow is it's funny and goofy,
and then every once in a while it comes across
as very real.

Speaker 4 (03:54):
Yeah, it can turn on a dime right there, as
the old thing is. I think what we discussed was
Kate said hit me. It's written in you know, he
slapped her, and that stops it. Man. Anyway, everybody just
praises uh, and he realizes he's just in by the way,

(04:17):
I just just saw that I blew my cover for
a moment there, yeah, that and the other guy's watching
and momentarily he blew his cover and he was stunned
by what he had just done in a bluek Hunter, right, So, yeah,

(04:38):
it was if you'll remember, tap tap down, that's how
she had to gear herself up for it. I didn't
hit her. It sounded more like it did than the
actual concussion of it. Yeah, it was no fun. I
didn't enjoy doing that at all. I would never really

(04:58):
do that. You're always trained to make it look like
it's say hit and you're missing, you know, when you're
doing fight scenes and stuff like that, no matter with whom,
you don't want to hit somebody or get it, and
but that there was no way to avoid them. So
she she's you know, she was. It was an absolute

(05:19):
marvel those type of things. She was willing to do
things physical like that. I don't think we did it.
We didn't do it more than what's that angle everything
else we can do with the trigger of the camera.
Because always and when when making contact with somebody and
when you're doing a fight or even that she's looking
me right squar in the eye, I'm looking at her

(05:41):
square in the eye. I have to let her know
it's coming. I have to telegraph it in my eyes
that I'm going to be hitting her. So it was
we notice with don't don't Bam. She knows on number
three it's coming, and she would also sell it. But
that was a real stunning look. It was you and

(06:04):
and her, When are you calling that one? Yeah? And
then he's you know, begging her not to. Then he asked.
You know, Lee had a very short temper oftentimes, especially
with Amanda. It was only because he had deep feelings
for it and wanted to He was a protector, you know,
he wanted to always protect her well everything, and uh,

(06:30):
but then he was yeah in her voices fighting him
doing that too. So it's a complex character, you know.
I always I always thought I came off as such
an act in the first couple of seasons because I
was why are you so mean to her? All the time? Well,
I wanted to get the hell out of here. I mean,
this was an accident, never meant to happen. But it

(06:52):
was a Desmond move on least part at the train there,
you know, and on some.

Speaker 2 (06:56):
La he wanted he wanted to protect her, as you
were saying, because you didn't think that she this was
something she should get her involved in.

Speaker 4 (07:04):
Yes, absolutely, right from the get go, and Billy's going, Oh,
I think I found you a new partner, and oh gosh,
you know, at the best time was Mel Stewart over
in Europe, because Mel was a hell.

Speaker 6 (07:21):
Of a he's a saxophonist, saxophone jazz musician.

Speaker 4 (07:28):
And during our break there, when we were stuck there
and that blame me, it's a wonderful place to be stuck,
he was sitting in and local club, jazz club. Wow,
jazz was all over me. They really loved it there.
And he fell in with a bunch of guys that
were standing in the lobby of the Munich Hildren and

(07:48):
they were all like all had British accents and everything,
and you always say, the strangest bunch of brothers I've
ever met, anyway, but he fell in right away. Mel
was all about me. It's all they ever talked about
I was. And he was really good, very very very good.
And he sat in on a bunch of and a

(08:09):
bunch of jazz clubs around town.

Speaker 3 (08:12):
So that's amazing, that's amazing.

Speaker 4 (08:14):
Funny guy and Martha, I teased incessantly. Martha was like
one of my sisters. I was the oldest of four
kids and all of them were female after me, so
I was I could be litting hell for them or
I could you know, I was a big brother. They
could go and fight their battles for them too if

(08:35):
they needed it. And I was the one standing there
at the door when a boy came to pick them
up for a date. You know, my dad didn't even
have to do that. So but with Martha, that's the
kind of thing we still have the same. We haven't
changed a bit. We still banter with each other like that,
you know. Yeah, but every Friday night, the last scenes

(08:56):
before the weekend for the that when we were back
in l A. I was always in Billy Melos's office
and mel always had these you know, these scenes where
he had dialogue as long as your arm on the
script and he was always graded. But he well you

(09:17):
know that he was like a Korean War hero. Bell
was the Korean War. Yes, yes, he he never talked
about it much. Well, veterans don't. But I've been in
some really bad stuff and he was in and tell
me about that once in a while, and we had
some long time to sit and talk. But in another way,

(09:40):
then it would go back to jazz and uh so
they were always in Billy's office. Yeah, Bell used to
slaughter the dialogue sometimes, you know, he would have the
and he would have all the spy jargon to do
all the you know, or the government agency, and they're

(10:02):
always in acronyms and things like that. I'm another kid going,
I'm glad I don't have these lines, and you know,
and then you've got the crew sitting around going are
we going to get out of here? Oh my god?
How many takes is this? You never knew that when
you saw the finished product. I mean, he just was

(10:22):
always great, and but you know, Friday night, it's been
a long week, right, he has to come in and
he had to what we call what we call it
laying the pipe or something. He had to he had
to tell us everything, we're going to do all the
exposition in that epithod, all the he's carrying all the exposition,
and that is not an easy thing to do. So

(10:43):
and I would stand off the camera, right next to
the camera and make faces at him and things like that.
I mean, we were just crazy. We would do anything
because we were tired. They had long hours on this
buddy thing. You know, back then, I always say episodic
television maybe not so much today, but when the schedules
we had to keep were so that we would work

(11:04):
fourteen fifteen hours. You know, Kate would have to get
in an hour and a half to two into hair
and makeup three morning and finally, and I don't blame her.
She was only our headlining star and she got to
leave if she was in at five thirty. She always

(11:26):
left by six thirty. So I have a fight scene
to do at seven point thirty at night, when you've
just after a long week or something like that. They
always save the action of poor stunt pops. They would
all sit around playing cards or whatever, sitting around waiting,
and oftentimes it happens because then they want to rush

(11:49):
the action, the very stuff you don't want to rush.
Somebody's going to get locked, somebody's going to fall down,
something's going to happen. We were luckily throughout all of that.
I don't think one time an actor leaned into my
stunt doubles punch. He leaned in a little too far,
broke his nose, And that is the stuntman's credo. I

(12:14):
shall do no harm to these green actors. And but
we had little things like that, you know, tying me
on an airplane a biplane going up.

Speaker 3 (12:27):
That was me hanging out that What about you on
the helicopter?

Speaker 4 (12:31):
That was Gary? That was nice they had. They had
a helicopter up and I hung from it. Its flying
stationary okay, And then they jumped me and let me
jumped out. Gary got a stunt, a stunt.

Speaker 3 (12:47):
Award from that.

Speaker 4 (12:49):
It was a marvelous thing.

Speaker 3 (12:50):
It took him to a river, They took him to
the trees.

Speaker 4 (12:52):
They took him from a fence, and it was not safe.
And just to tell you what kind of a a
madman he was. He was not cabled to that thing. No,
oh my no, here's the reason why. Here's the thinking.
This is insane. What if something happens to the chopper.

(13:13):
I'm stuck to it, I'm hanging by it, cable to it.
What if something the chopper goes awry, something hit and something,
and then I go down with it? I much sayer
jumping free and I'm going, what was what's the third choice?

Speaker 3 (13:30):
I mean, you know, I mean.

Speaker 4 (13:34):
You're falling either way.

Speaker 3 (13:36):
It could be half a mile up or something. Who knows?

Speaker 4 (13:39):
You said, well, I at least picked my own where
I was going to be found, you know.

Speaker 3 (13:44):
But that's how crazy that was. That was nne because
he ran.

Speaker 4 (13:47):
If you'll look at that thing again, he ran and
jumped on it and he took off.

Speaker 3 (13:52):
There was no way to clip him on to a
thing up his sleeve.

Speaker 4 (14:00):
Oh I don't believe.

Speaker 3 (14:00):
There is a cut in there of him actually taking off.

Speaker 4 (14:04):
And they shot all of that with another chopper by
following them handhild.

Speaker 3 (14:10):
It's a pretty incredible stunt and it is a wonderful stunt.

Speaker 4 (14:13):
And our scenes think of her car. Yeah, the action
in that little station wagon went through, Oh my god,
stops every day. Oh yeah, we did. We did. And
you know what would about a fun day for you
all to be standing out on the street and to

(14:36):
Luka Lake, California, which is right there in Burbank Bank,
and we use that main street so many times always,
I might add, trying to avoid a palm tree in
the picture. We're supposed to be in Virginia, not Florida,
and not California, Okay or Tahiti no there, you know,

(14:59):
we have palm trees everywhere, so they would have to
avoid that. But we would do those scenes in Missus
King's car over my corvette hoeing in back of a
camera truck. Okay, and the whole camera cove's on there,
director's sitting there. You got fifty people hanging off this truck.

(15:20):
It's got all kinds of pipe railings and stuff, you know,
for equipment to hang on and be secured too, and
you're shooting this way. That was a long day and
it was all that fun dialogue. We were just bantering
back and forth, back and forth. We did those scenes
fifty times.

Speaker 3 (15:37):
You know, I'm going up and down.

Speaker 4 (15:39):
Yeah, just changing out the angle depending on how elaborate
the director wanted to get. Some didn't really care someone
to get really artsy and fun and complicated. But yeah,
those I think they had one or two of those
cars or station wagon and we had two. I know
one of the sound producer he bought the last crew corvette.

Speaker 3 (16:04):
Well and then David, Yes, I'm.

Speaker 4 (16:09):
Amazed at this guy.

Speaker 3 (16:10):
And that's a great book, by the way, it is
a great book.

Speaker 4 (16:12):
Give it a nice little you know, everything you want
to know about the Scarecrow and missus king it there.
It's a good doorstop as well.

Speaker 6 (16:22):
But that is a book, you know, and sometimes the
fan books are made you know quickly or you know.

Speaker 4 (16:29):
This well, it is ridiculously detailed and it's accurate in
every way. He's an amazing fan and I think he's
been a great asset to the fan club, you know,
I know Jeannette, Yeah, uh yes, he restored what was that?
An old what was it?

Speaker 3 (16:50):
He would know and it's in the book The Ultimate
Fan Cud.

Speaker 4 (16:54):
Oh my god, that was so much fun. Scarecrow was
there that at that point. That was the real big
time so far as being on network television. You're one
of two stars and the rest of the cast. A
lot of people's paycheck was riding on you two showing

(17:14):
up and delivering the goods, and the audience enjoined those goods.
Everybody had to contribute. But in the end of the day,
Katie and I had to. There were days I didn't
want to do it. There were days that she was
tired too. I think if we fought anything in that's
episodic TV. Like I said before, you're always tired, always,
you're always working against the clock. Time is is not

(17:39):
your friend. Because then we had to make a movie
every seven days. Yeah, because they already had they already
had a time slot, you know. Yeah, they're picked up
once it was started on the air. We already we
had the way ahead, so U and then in those days,
I'm always amazed now because I'm I'm doing this series.

Speaker 7 (17:59):
It's it's episodes. They called that a series. I call
that a two parter and maybe some maybe a three part.
Is this the Blue Ridge?

Speaker 4 (18:10):
Blue Ridge? Yeah? And then they shoot that in North Carolina,
in Charlotte and in the Blue Mountains there.

Speaker 3 (18:17):
I've only got one more episode my character returns.

Speaker 4 (18:21):
But what I'm saying is is that all they're all young.
Sarah La Gaster's been around and so is Jonathan Sheik.
But and they're going, wow. I said, we used to
do twenty two of these, yes, even, And this is
where I come off something I could grumpy old man,
you know, oh back in my day, kid, you know,

(18:42):
but that is I'm right there now. It's so different
today it's almost unrecognizable. And how we shoot now, I
have to say I loved it the way we did it.
We had fun. Nobody's having fun anymore. I lament this,
by the way, because we have cell phones on the set.

(19:04):
Everybody's on their cell phone, no one's talking, and I
come in and they go, who is this old geezer?
Laughing and joking and telling stories. But that's what we did,
and that's what maybe the Scarecrow and Missus King set
so much fun. We didn't all hide in our trailers
or dressing rooms. We were on the set the whole time,

(19:26):
sitting around a circle of chairs, telling hysterical things and
telling jokes. And Mel was always one of the ringleaders.
He and I were the real ring leaders. All the
mayhem that went on that set. If he picked it
up on me, or I picked it off of him
and went with it, it was. It was fun stuff.
We played practical jokes too. Martha was always outraged by them,

(19:50):
and Katy did go, oh, I don't have time to
this anyway, but well we we had fun. I'm seventy
four years old now, maybe I'm just getting a little tired.
I've been doing this fifty some years. I loved the job,
but as a younger actor, you've got more zip, you know,

(20:11):
And I'm not done by any means. I've just done
with Seth McFarlane the Orville.

Speaker 3 (20:17):
Yeah, what's that part in the Rival?

Speaker 2 (20:20):
The first time you had to go through that kind
of full transformation that they put you, the mask and
everything that they put you in.

Speaker 4 (20:31):
Yes, yes, sure it was. And the only reason I
did this is having done all these years of Babylon five,
I so respected the actors that had to be there
at four thirty in the morning to get in all
that glue and and I had a cowld that initial

(20:53):
head I had to squeeze through. It's scared the crap
out of me because I'm a little bit claustrophobic around
the head take. I couldn't do scuba diving and stuff
like that, and to be inside that at first was
a little daunting. But it was because of Andreas, Consulis
and Mira, all of them that had to Billy Moone.

(21:16):
All of them had to do that every day. I said,
I want to challenge myself. And when Seth cast me
in that, I went down and I had a meeting,
and so I dressed as wasn't it well, I dressed
as a president. I dressed in a suit, tie and shirt,
you know, And I walked into an office down on

(21:38):
Sunset and where's everybody? And there was a little camera
in the corner, and I didn't know that Seth was
on the other end of that over wherever he was,
he could have been in his living room. I never
saw him, but this voice comes out. That was really great.
Groups that was really great. I'm thinking, and I want
to know your opinion now, thinking he is an alien character,

(22:04):
the last of his race, because by the way, on
that set, there were no other Smurfs like me. I mean,
I think I nicknamed myself Papa Smurf so that they
know it was, you know, because Ted Danson was on that,
or Garber and all kinds of people. That The reason

(22:27):
I bring up Seth's too, is that he was he
He's not a He's a the genius of a guy.
And there were a lot of times sitting there because
of the head was so big, I couldn't read a
book or anything. Seth was a huge scarecrow and Missus
King fan because he loves eighties, so the eighties ladies

(22:50):
will get this. He loves the theme music of all
those shows back then, Mike Post and Arthur. So Arthur
Rubinstein did that son. Seth played it right there. You

(23:11):
had like this little piano type thing. We could play
that thing. And I talked about Arthur and how we
had done at the Greek Theater. We had done The
Telltale Heart a gar Alan posed a Telltale Heart with
a sixty piece orchestra. I did it with that one
Halloween night or the night weekend of Halloween, and it

(23:33):
was packed and it was beautiful. But Arthur introduces me
with the you know, to walk out on stage with
the thief from scare Combness. It is the joy, wonderful joy.
But it was fun that way sitting there because I
had I probably talked about scare Comins is being more
than anything here I had done Bebylon five and everything. Yeah, yeah,
I like that. But he wanted to talk about interesting

(23:57):
like that.

Speaker 3 (23:58):
We might have to come on the show. You should.

Speaker 4 (24:01):
You should, because he knew it immediately and he was
one of these people said I sat there with my
mother and we watched every episode. So my mom, his
mother brought him to that show. That was a big
bonding experience for it. And he wanted to know all
about that, just like I'm talking to you now all
the how did we do this and how do we

(24:22):
do that? And I said, it's very different than today.
You would have your whole cast would be sitting down
here with us now instead of separating all real place
off doing their own thing. You know, we'd all be
down there. And you know, the whole reason I bring
that up is actors are sponges. We're these creative, little

(24:46):
crazy people and we feed off of each other and
the closer you can get. And this is what this
and I wouldn't say this is what I'm saying to
my younger generation. Here it seemed to fine TikTok and
everything else. More fascinating than the persons sitting across from
you is that. And there's a place for all that

(25:07):
I'm not saying, but I'm saying. There's something that I
saw lacking, and I've seen it at every show that
I've been doing, is that everyone's all wrapped up in
their own little thing and instead of exchanging with each
other and having and you know what, you stand up
and you walk all of that right into the set

(25:28):
with your material. You know what I'm saying. That's how
that cast worked, and Scarecrow, we all know each other,
and I'm always longing for that. I think I'm always
an actor in search of a new family, and I
love that because that became family. Though we were only
on four seasons, we spent so many hours. I spent

(25:50):
more time with Kate probably did my own wife two
months of it. There. We would shoot thirteen episodes and
then we would anxiously wait from the network the back
nine so that we would have it twenty two. That
was everything. It was called the back nine? Are we
going to get the back nine? And I've been on

(26:11):
too many shows where we didn't even get the first
thirteen times. You only have sold pilots I have. I
have an MTM pilot made Maritella More Productions called Sporting Chance,
which I thought had a I wished he had a
Sporting Chance. I had many pilots after Scarecrow, and none

(26:35):
of them landed. I think George Clooney claims he's the
king of the unsold pilots. Well, Buster, I'm a runner up.
And I have to tell you, because I had a
number of Scarecrow could have easily gone in an unsold
by pilot, but Kate Jackson had still such heat from

(26:57):
from the Charlie's Angels. It shows you what a cultural
impact that show had that you know, we were a
shoe in. Yeah. Oh that the Yellow Rose didn't last,
but I think if it lasted one season, it was
but Sybil found her own schacter shed. They got to

(27:18):
be a little more adult than we did. We could
shoot people, but they had to be wounded. I don't
think did I actually ever really kill anybody. I can't
really remember.

Speaker 3 (27:28):
At eight o'clock, yeah.

Speaker 4 (27:30):
Even if there was a car wreck, we had to
see somebody struggling to get out of the wreckage.

Speaker 3 (27:35):
That was favorite.

Speaker 4 (27:39):
Do these elaborate suns that they get up and stagger around.

Speaker 3 (27:43):
Okay, he's alive, that's okay.

Speaker 4 (27:46):
It's just a bloody mess, but he's okay.

Speaker 3 (27:49):
Get him a band aid. He'll be fine.

Speaker 6 (27:51):
We need to take a break and we're all gonna
turn on our air conditioning and drink a drink a thing.

Speaker 3 (27:56):
Absolutely, we'll be right back.

Speaker 6 (28:02):
We're about to move to a new house, and we've
decided to gift ourselves in this move all new sheets
and towels.

Speaker 3 (28:09):
But the sheets.

Speaker 6 (28:10):
I'm going to use our twenty one percent off discount
at Cozy Earth to get some amazing soft bamboo sheets
for our new house. You can go to Eighties tv
Ladies My Deals link in the show notes to see
all our Eighties tv Ladies deals. Use promo code eighty
tv Ladies and get twenty one percent off Cozy Earth.

Speaker 2 (28:32):
We're back. Let's jump right in.

Speaker 3 (28:36):
So your first television show was Mary Tyler Moore. Very true.

Speaker 4 (28:40):
That's how I got my screen Actor's go card. My
entire paycheck went to getting my union card. But that
meant that was gold to me. I never had to
go through those hoodles. The producer Ed Weinberger of Mary
Tyler Moore, he owed my agent of favor and he

(29:01):
read me. He said, bring the kid in, I'll read him.
I'm going that's very highly unusual. Producers don't do that.
I mean, he didn't have writer, producer or anything like that.
He was just so this guy John Crosby brings me in.
And I'd only been out there probably a part of
a good part of the year. That's not much, okay.

(29:23):
I had brought enough money with me. I had done
the Broadway show back in Chicago again, and I kind
of had what was the old West we called a
grub steak, you know, and so I had enough to
live on. So Ed reads me, and it was what
just a couple of lines. It was.

Speaker 3 (29:38):
Murray's daughter was got a summer job.

Speaker 4 (29:41):
At the news studio in Minneapolis, and she was a
total screw up. But nobody had the heart to tell
Murray's daughter, She's not gonna me even lout couldn't do it.
He going in there, you know, I'll tell her and
then oh, you're just a little darling, aren't you? You know?
And he couldn't it. And so I was a male boy,
that guy a kid that he that Ted Knight brought in.

Speaker 3 (30:04):
Well the coho wife found here, he brings me in.

Speaker 4 (30:08):
That man had I was. I probably almost went in
my pants a couple of times. I laughed so bloody
hard that I just couldn't the man. You gotta admit
he was. When you want some Mary tylerboard show, that
guy was absolutely hysterical, you know. And I got to
work with these these people. Mary, she was so wonderful
to me and and rotea Dali Vali Arper really befriended me.

(30:33):
She sat and darting me forever when everything about me,
how good, and what pins were, and uh. It was
on that studio a lot in CBS in the valley
that I wandered into the door. Big wide doors were
opened on the on the sound stage, and I wandered
into Dodge City, Kansas, gun smoke. The interior of the

(30:54):
western town was on a sound stage, dirt street wagon, stage, coaches, saloons,
there was this Kiddy's saloon. There was Matt's office, there
was Doc his office up in the you know, and
I'm wandering around. They'd all gone to lunch and I'm
wandering around, going, I'm going to do this one day.

Speaker 3 (31:16):
I'm going to do this one But I got it.
Did Yeah.

Speaker 4 (31:20):
John Madley, the executive producer, said it was the worst
episode they had done in fifteen years. They cast me
and somehow my future was linked to that because it
was actually James arn Neelson gave me my biggest break ever.
I wouldn't have never gotten to Scarecrown missus King probably,
you know, seriously, I mean I would have never I

(31:43):
had to add that how the Westers won that series
under my belt and so it's amazing. It meets maybe
one person in your life could be absolutely could change
the direction. And you know what I'm saying, I mean
all of us have that somebody that whether it was
advice or some decision made. If he, if he if

(32:04):
he had to like Richard Hatch more than me for
the role, I don't know where it would be.

Speaker 6 (32:11):
You might have ended up on battlest I might have
been on Mettle Star instead of How the West was One.

Speaker 3 (32:18):
I love How the West was One though.

Speaker 6 (32:21):
That's that's the first time I remember you.

Speaker 4 (32:25):
And that was my springboard. I couldn't have walked in.
I couldn't have had any cloud whatsoever with CBS. Somehow
I just wandered over at CBS because I think Mary
Tyler Moore was a CBS show. I think it was,
and they were the biggest company on that little lot
that used to be Republic Studios in the old things.

(32:47):
Kaye and I we had a very interesting relationship that
uh you know, I was married child and that I lived.
I lived out of town when North the Valley and studios,
and she lived over in Beverly, Glenn. So we never

(33:08):
did anything really you know, uh personal, I mean so
far as hanging out and things like that. We did
enough of that out of set for but Europe we
all did. We all hung with each other much much
more because we didn't have our loved ones with us
until later in the trip, you know, uh then they

(33:29):
came and so but Katie and I I think we
did we had a we had a we had a
relationship in our relationship was kind of it could be.
It could be a little zesty, and I mean, you know,
it could be a little exciting so far as uh,

(33:50):
you know, I had to watch my steps sometimes I
better toe the line. Who was the boss there? You know?
She was miss Kate Jackson. I had to behabe myself
or I'd get taken to the principal's offers.

Speaker 3 (34:08):
Now, who's the principal for Kate Jackson? Or did she
say to the principle.

Speaker 4 (34:14):
If I did that? And it wasn't ever that. You know,
you've heard stuff between Sybil and Bruce that was became legendary. Yes, uh, none,
None of.

Speaker 3 (34:25):
Our stuff was like that. It was always like a
little thing.

Speaker 4 (34:28):
Yeah, and are you really gonna wear that shirt? Well?
This is what Jimmy Hammon I mean. I yeah, well
I don't like I know, the belt's wrong. Everything's good.
That was the first season I've read. Well, wait a
second notice is Scarecrow and missus King? It was never

(34:51):
anything serious, you know.

Speaker 3 (34:54):
Now, would you prank her? Yes, yes I would, I would, But.

Speaker 4 (35:00):
I had a line just came into my head. Do
you know who I love to really goof off with?
Was Beverly Garland. Yes, she was a no nonsense in that.
You know, she just loved to lap. She'd like to
have a cigarette. Set out there and have a cigarette
and see while those old time she was abroad. She
was abroad. She was a real day you know what

(35:22):
I mean. And she she worked with everybody and she did.
If you actually look at her credits, she was in everything.
But she there's nothing could FaZe her. She had her
hotel in the valley, Beverly Garland, if the vine on there,
but Kate would get be in a bad mood. She

(35:42):
was upset with something. And if Kate did that, because
you know what it's like all things that Kate's feeling bad,
we're all feeling bad because we're good. And when she's
feeling great, everybody's feeling great. When you're the leads of
this show, you literally carry the morale of the day, Hey.

Speaker 3 (36:01):
With you.

Speaker 4 (36:03):
Ben would come walking in, Okay, what's wrong now, what's
the problem? Oh that that's nothing. I tell you about
the time when so and so and I had to yeah,
you know, doorthe a little more and I had to
come through this little moment I stepped on her drig,
you know, and suddenly everyone's laughing. You're together like a family.
You're having there's arguments there, jokes, there's fun, there's everything

(36:27):
that happens in a group of people that all know
each other so well after a while, and you know
what I'm saying, Yeah, yeah, yeah, And it's such an
I can tell the between you two from oh my
God of drama, all the times of drama, all kinds
and what's camera there?

Speaker 3 (36:47):
What's his name of Ken? Kevin? Kevin's lots of Devin.
He's a sound guy.

Speaker 4 (36:52):
Yeah, oh yeah, Oh they're the worst. You know, I
never met that happy sound guy in my entire career.

Speaker 8 (37:00):
Kevin's laughing, Why you may, I'll tell you why my
friend every time when we used to shoot here in
the San Fernando Valley.

Speaker 4 (37:13):
There's three airports in San Fernando Belt and so is
Warner Brothers at Columbia Studios and Universal we're all there
and Burbank Airport. You know, they come up off that
runway and they swear right, oh, so ready for a take.
We've got our love of eer Mike Son.

Speaker 3 (37:33):
We're all setting ready to go.

Speaker 4 (37:35):
And then uh, that's not good for men? Can we
stop right there? That's not good for me. You may
be doing your best work and he blows that take
by going, that's not good because we have another one.
By used to always I go, you guys aren't happy,
are you?

Speaker 3 (37:54):
Said?

Speaker 8 (37:54):
No?

Speaker 4 (37:55):
I had the director one that we're.

Speaker 9 (37:56):
Moving on, moving on, But I need one. I need
one more, one more, I need a clean take. But
Kevin would never do that. Kevin, I'm looking at the
corner of the screening, Kevin, the key sound good.

Speaker 4 (38:12):
I've met wonderful people. You know. Crews are always my favorites.
Take care of your crew, you know, like.

Speaker 3 (38:20):
On the weekends, sometimes I would buy the boys that
like the uh, the grips uh uh.

Speaker 4 (38:26):
When we could do this back in the day, I'd
buy them a case of beer and have it for
Friday night. Now that was probably very irresponsible. Or exotic
coffee trucks and crowd and you know, to always buy
those for the for the kids, because there after we're
long gone and my wardrobe is all hung up in
the closet and I'm in my car driving home. Uh,

(38:50):
They're there for another hour or two wrapping up everything,
and they have to be there the next morning. I
was taught this by Jimmersex. I learned from him what
it was to be the star of a series. He
certainly knew because gun Smoke was on for twenty years.

Speaker 3 (39:08):
That's crazy to carry a crew give him a little
something or other, something personal.

Speaker 4 (39:13):
I know at the end of the year we got
like a coffee mug with from jem to. Everybody got
a personal coffee mug. They oftentimes do T shirts and
gaps and things like that. It makes everybody more cohesive
and you have those little things like that, everyone's wearing
a crew jacket with the shel on the back or on.

(39:35):
Amazing what that does for morale.

Speaker 3 (39:40):
Yeah.

Speaker 4 (39:42):
I still have my old scarecrow. I we had three
of the two of them, and I have the corduroy
gray one. It's kind of like a bomber jacket, but
it's corduroy and really really bright.

Speaker 3 (39:55):
Sort of purple purple interior.

Speaker 4 (39:59):
I don't know it was I have that. I've kept
most of my crew jack I'm going I'll give them
my original tron Jack too, which was a member's only one.

Speaker 3 (40:08):
Oh, that's so funny. We haven't even touched on tron
I know, and I know you talk a lot about Tromp.
That's how I met Cindy, and that was the air.

Speaker 4 (40:18):
It was while that was in post production that I
met for I did bring them back live.

Speaker 6 (40:25):
And you brought you said, Hey, how about Cindy. Let's
bring Cindy. Yeah, because I thought she looked the part. Yeah,
she's got a little kid to burn, you know, like.

Speaker 4 (40:34):
She did, and she had she had that kind of
feel and when it worked until they did what they
wanted my care when you're struggling in the ratings, they're
trying some way to fix. What can we do to
change it up before we get it up? Unfortunately, they
let Cindy go because they wanted my character to have

(40:56):
more availability, have a love interest in the schell in
an episode because before Lee and Amanda we were kind
of that way.

Speaker 3 (41:03):
She was forever I was forever chasing her and she
was forever resist so and she worked for this.

Speaker 4 (41:10):
She was like at the Embassy, Yes, she was like
the Lambassy. Yes. Yes. And that was a fun show.
But Scarecrow made it odd that the pain of losing
that all went away immediately as soon as we did Scarecrow,
Missus and you had what should have.

Speaker 6 (41:27):
Been I was going to say, and so you finally
like that felt like, hey, I've hit a place as
an actor that I was trying.

Speaker 4 (41:35):
I arrived on my own. Yeah.

Speaker 3 (41:37):
Yeah, and that's going to feel pretty good.

Speaker 4 (41:40):
I wasn't under you know, well, James Arnest, who was
this tight type and television and and and even Maurice
Saint and all the wonderful people that were the adults
on the show. We were kids in the seventies. But yeah,
I've done basically a series for every or two for
every decades and the nineties was the last one was

(42:04):
Battle on five.

Speaker 3 (42:05):
Yeah, so I'm more than blessed, more than blessed.

Speaker 4 (42:08):
Leave me.

Speaker 6 (42:09):
And you've had these like very like Tron is a
franchise in one of the early franchises that sort of
didn't know it was a franchise.

Speaker 4 (42:17):
I think, well, I think Disney didn't realize they had
a franchise. Smooth in their franchise Central right now.

Speaker 3 (42:24):
I mean when it comes to the Marble and Star
Wars and so on.

Speaker 4 (42:28):
And that's great. And now that you know they've just
done another Tron movie and it was time to have
a new generation do it, they should call you, I know,
And that's fine. I wish them all luck, And I
said I had to say it because I was being
pestered online, like I cannot tell you. And when I

(42:51):
do conventions, that's one of my highest selling photos and
stuff and most targeted. You know, it's a generational thing
tooms and dads. They bring their kids. They watched it,
and you know, the original was the sweeter one of
the yes, or darker and violent and everything as we

(43:11):
went on. But that's okay, I think that, you know,
do I want to do that one again? No? I
really don't see what I don't want to do. And
I also said this one Scarecrow iss Cake, it's capturing
light being in a bottle, you know that phrase. We
could never find that again, even if it was a
reunion movie. We could never find we were people of

(43:36):
that time, that place, that situation. You know what I'm saying.

Speaker 2 (43:41):
Yes, it's hard to have to do to capture it
the first time. That magic, that serendipity, whatever it is
that makes something like that.

Speaker 4 (43:49):
Hit or something, Yes, it's no, it's nothing that's really tangible.
It's it's something and that's the magic of it all.
And when audiences respond like that, then you know, you've
got something. Can you do that again twenty five thirty
years later?

Speaker 3 (44:07):
Probably not? Probably not.

Speaker 4 (44:09):
First of all, the writers aren't there, and it was
the writing, Yeah, Kye and I could probably do the
phone book for you, but the magic, you know. Steve
and Nita, her group I think did the best of
Scarecrow and Missus Green. Then when they left, they just

(44:31):
seemed to leave us all time. I was always standing
there with fly.

Speaker 3 (44:37):
Tave me with you. Yeah. I think she went to
do in the heat of the night or something.

Speaker 4 (44:42):
Yes, Yes, she was marvelous and Steve as well and
shared their whole group. And then we had George Geiger
and his team did a very noble attempting. But then
how do we marry Lee and a mad Yeah? It
was quite a quandary. We were in the seriously quite

(45:04):
a quandary. How do you marry off these two? Should
we marry off these? It was like the pros and
cons of doing this, and oftentimes I think that could
be the death of it. Oh my god, we lost it,
and I did think there was some thing. How would
we even if we had continue to say, Katy hadn't
been Hill, where would we have gone with this? You know,

(45:28):
how would we age into this? You know, it was
a it was a tough concept to make a series
around in the first place. Okay, the one off, you know,
the pilot, we got that, but how are you going
to make this? And how long is it comes? So
she had to become a full fledged agent, but she
still had to have her conflct. You know. Four Dean

(45:49):
the boyfriend was heartbroken. I think in all those those
bar scenes that where we should have had him down
at the end of the bar, just this knockout and drunk,
just going oh, you know, I had a career. I
had used to take me to the train.

Speaker 3 (46:12):
You know, I did the weather. I need the weather.

Speaker 4 (46:17):
I was a good weather man.

Speaker 3 (46:19):
And then she left me, and I just you know,
you know, so I think I think you could write
this right now.

Speaker 4 (46:27):
I know I could have made it. I think we
could have made a great spoop of it. And I
know there's a lot of fan fiction up there, and
I always tried to tell him I can't read this,
especially when we were still doing it. You know how
many lawsuits going in Hollywood over that? That was Star Galactica.

(46:48):
Who was the who was the I worked with him too?
Crazy guy, the producer writer of that, Glenn Larson. Glenn Larson, yes,
was sued by Joy Lucas. Oh boy, Wen, I did
a huge pilot with him. We literally blew up northern Florida.

Speaker 3 (47:10):
What was the name of the pilot.

Speaker 4 (47:12):
It was called Rhodes Raiders, and it was a spoof
like Mchael's Nighty, like all those comedies, military comedies, Hogan's Heroes,
all those things. I think you can find it. I
think you can find it on something like Not to
Be Here something one of those. I don't believe it
ever aired. And they spent three million on it. It

(47:34):
was a great premise, but Glenn Larson spent probably a
million of his own. Richard Lange, I believe, was the
one that directed this epic World War two comedy.

Speaker 3 (47:49):
Sure well.

Speaker 4 (47:51):
My buddy Fie Kuzatsu was my nemesis. He was this
crooked Japanese officer that was doing every black market thing
he could do on side, and we were in the Philippines.
It was in the Philippines. We shot it in jack
outside of Jacksonville, Florida. We had a lot of jungle
area there. We had a young lady, lady I think
she was in one thing, as I can remember, I

(48:14):
think she went back to theater. We scared her to death. Anyway,
I played Charlie Rhodes. I had been drummed out of
the Flying Tigers through a false thing, and I was
I ran a bar in Manila and the Japanese in
Bay and I have to get out, and I've got

(48:36):
this my piano player. We were sidekicks, and then he was.

Speaker 3 (48:42):
It was clearly a Cossa blanket takeoff too.

Speaker 4 (48:45):
We had every homage you could find, all those movies,
even the Flying Tigers, John Wayne's Flying Tire, and we
had everything. I had a white sports coat on with
a white bean her t shirt underneath it. Okay, soaring, yes,
Clyde was so wonderful in it too.

Speaker 3 (49:06):
But we we actually blew up an.

Speaker 4 (49:08):
Entire freight ship and sunk it in the harbor, and
it caught the trees on fire, and Emily, we kept yelling,
keep rolling, keep rolling. Anyway, like I said, we could
have burned Jacksonville to the ground.

Speaker 3 (49:22):
Then we had the.

Speaker 4 (49:23):
Sort of dirty dozen. These guys were all in the
looney bin. It was kind of an insanity ward. And
so we had these two big weightlifting brothers that walked
the same time. I forget what their names are.

Speaker 3 (49:36):
They were some some wrestling duels. Sounds insane, and.

Speaker 4 (49:39):
We turned into roads raiders. It's hilarious. We put together
all these old parts. They would have been great toys
for kids of old airplanes and trucks and tanks, and
we put all mismatch together. We had the machine shop
going all night long with but Andrew's sisters is a
little bit pupable. Yeah, Company B and I think the

(50:02):
show could have gone. Universal loved it, and I think
then I think Glynn somehow scuttled it with his relationship
there Universal. They had a lot invested in that. We
had a great love story in there too, between me
and a woman who was posing as a nun on
the until this here, as they do, until she wasn't anymore,

(50:26):
and then she was a OSS agent. I was forever
trying to find Scarecrow again.

Speaker 3 (50:33):
Yeah. Do you remember working with Angie Dickinson on Policewomen.

Speaker 4 (50:37):
Yes, I do. That's the guys I played adults starred
on the TV series. Not the kids today, it's the
young People, or at least two has been in the
last in the two thousands. Here the younger ones and
the adults are the No, we still had Quincy or Barretta,
and we still had all the cop shows, and we
had all the sitcoms. It was still the parents. You know,

(51:01):
they'll cause me and so seventies policewoman Angie Dickinson, I
actually got an indication of First of all, I was
an absolute auber. I was scared to death. I was
going to actually urn her. But there's another dame for
you sitting there. So where are you from?

Speaker 3 (51:17):
Kid?

Speaker 4 (51:18):
You know, she was with them all, all the tough guys. Okay,
she worked with all of them, and she was always
playing those kind of galts and and she was great.
And I realized for the first time what kind of
what kind of work that was to be the lead
in the TV series as well, because my last night

(51:38):
was the night that I was going to kill her.
Underneath the satamonic appear it was Friday night, that magical
Friday night I'm talking about, and we're on location and
it's cold and wet, and Jim James Wainwright saves the
day by shooting me at the last moment. I've got

(51:58):
her down there, I've got a knife to her and
I'm like this crazy drunk doubt whatever, and probably got
some kind of monologue there and why my mommy didn't
like me or something, you know that makes me become
a psycho. We're sitting in the car, in a car
parked right next to the pier while they're lighting and

(52:20):
changing the angles and things like that of the camera
and lenses and things, and she's busily. I thought she
knew all her lines. I thought, oh, my god, door lines.
What I didn't realize is this was the last night
on this episode. She's got Monday morning staring at her,

(52:41):
and she's trying to go up on what do I
do in the next episode, And blew.

Speaker 3 (52:46):
My mind the concept.

Speaker 4 (52:48):
I'm going, Wow, she's already she's already left me basically,
and she's you know, onto the next thing. Is that
what it's like? And yeah, that's what it's like. Good people,
those were all. It was a wonderful time to come
into the business. I think, you know, there was a

(53:08):
lot of the big movie stars in the Twilight's careers
who were doing television series like The Garner went back
and forth successfully yet Cleveland. Then of course you had
Robert Blake, I did Bretta first thing he does, he
takes I walk up to him there, introduced me to him,
and so in character. I can't say the last word,

(53:29):
but hey, kid, he's looking up and up and down.
He's looking up, and you tell me you're a good actor.
I think you're a piece of I think I think.
My knees started wobbling, and I thought I was about
to faint. I used to watch Bretta That's stupid Birdie
on the shoulder at home with my parents. This blew

(53:53):
my mind.

Speaker 3 (53:54):
And I'm standing here doing it and he calls me
a piece of Hi. You know what I'm saying. So
were you? I later got to know him.

Speaker 4 (54:02):
He was neighbors with the out of place Widden Hills,
where he said we used to go ride horses together.
I never mentioned that I was. That was before he
killed his wife. Okay, okay, all right, yes.

Speaker 2 (54:14):
Well, first of all, I didn't. I never would have
thought that the Robert Blake as a horseman. So that's
very interesting.

Speaker 4 (54:20):
He was in those old movies. He would played little Beaver.
Never call him little Beaver. Apparently he would go Murder's
Rage along with Red Rider and the Wild Built Elliott movies. Yeah,
it was a child start. He's a lot of Westerns
when and so.

Speaker 2 (54:39):
When you came to Hollywood, it was during the time
when there was still the contract system that studios still
put this it was we were you ever under contract
with any of the studios.

Speaker 4 (54:47):
I was brief played for MGM. I waited a year
to do. How the Westerns were We did the pilot,
it was like eight months later, nine months we didn't
do the the rest of it. Yeah, and so I
kind of had to sign on. I mean Kitty went
and did a thing called Supertrain or something like that,
and Chips, she did an episode of Pips MGM. Everything

(55:12):
I did, I was, I was all MGM. I had
to sign with them. So that was kind of the
last dying gas you know of the studio system, which
you know, I think, just knowing myself, I probably would
have really liked that to be a part of a studio.
I remember Jimmy Stewart talking about it, and you know,

(55:33):
they do fifteen twenty thirty pictures a year. They stuck
you in things sometimes maybe weren't the best the highest
quality for you, but everything you did was learning to
learning your craft and doing your craft. And they went
to schools for riding, dancing, ben saying whatever it was required,

(55:55):
you know, and elocution all that stuff. So I think
I would have liked that old studio system base. You know,
there was some I always heard, like Angie and those guys.
They all talked about this stuff, you know, and how
different it was then. That's why it sounds like me
now I'm going I'm them now. The business I almost

(56:16):
don't recognize right anymore. We don't even use those bigy
old cameras anymore. Everything is a small little thing on
a on a tripod, a little typeod and it's all
digital now. Not used to big cans of film being
put in it. You know. I felt like you were
making something, yeah, and then or you're doing a scene
when you're hear this. We had a short ends. They

(56:41):
put it in a short end and the best part
of my performance anyway.

Speaker 3 (56:47):
Melissa and I talked about that we were at film
school at the same time when it was still film
and transitioning to video and digital, and I appreciate that
I got to sort of.

Speaker 4 (56:59):
I gotta tell you, I am more deep ps I
talked to all started with film even in film school.
My son Lee did he did from school here in Hollywood.
We were talking about this the other night, watching something,
a streaming movie, and it's all dark. It's so dark

(57:19):
you can't and there's some emotional scene going on. You
want to see the eyes, you want to see the people, right,
And there was always some kind of source lighting. Is
it moonlight? Is it something? But there's always something, you know,
Phil Noir. Look what they did back in the forties,
no budgets at all, just in black and white movies.

Speaker 3 (57:39):
Some of the greatest films in.

Speaker 4 (57:40):
History are being in that period. Yeah, but more dps.
I talked to Or. You hear a mask?

Speaker 3 (57:48):
What was it like when we used film?

Speaker 4 (57:51):
It's a man, something that's a man really.

Speaker 3 (57:53):
So it was really some what's next for you?

Speaker 4 (57:58):
I'm doing an audio book for uh OR. I had
the Rice Boroughs stories of John de Carter and Mars
I'm doing. I'm one of a couple of other actors
doing it. I just do little things here and there.
I've got Blue Ridge. It was just on I'll be
going back in that next February. I hear and anything

(58:20):
could come up, right, I'm trying to you know, it's
lower when you're this age.

Speaker 3 (58:25):
It is Well, it's not just slower time.

Speaker 4 (58:28):
I mean, yeah, but you know what I understand I
all those old guys got that I worked with. I
understand them more and more now. And I was just
start up, you know, just a punk and and you
know it's just in and it's been marvelous when you

(58:48):
have a few highs like Scarecrow, Missus King. Ah, it's
a treasure I always have. I always have that, you know.
And I'm sure Katie feels the same way. You imagine
coming off of the phenomena Charlie's Angels. We'll know what
that's like. When you're in the biggest thing going. You're

(59:11):
the biggest phenomena in a medium such as television. They're
reaching millions of people every night, and that's it's crazy.
I have no regrets. There were bad decisions made, everyone
has them, you know, and we went the wrong way
wats But I think I did more went the right

(59:31):
way more times than not. You know what I'm saying. Good,
you know, it's like the crazy as that is, but
I appreciate this and we finally got it done.

Speaker 3 (59:45):
It's going to be a big two parter, right Kevin. Yeah,
Kevin's like I can't wait to edit. I'm going to
take the knife to that guy.

Speaker 4 (59:55):
Like you can't believe it looks like a three minute commercial.
You can find me a box Likener Bruce. And if
as a blue check, I want to emphasize it as
a blue check, that's me excellent. A couple other guys
out there, we can't seem to get rid of them.
They just keep cropping back up, but they're always asking

(01:00:17):
for money. Eventually, if you send the so and so money,
I just want to ward off all fans, scarecrow whatever
that there's people out there that are trying to get
your money and it's ridiculus. I would never ask. And
it's been great talking to you.

Speaker 3 (01:00:36):
It has been so great talking to you.

Speaker 2 (01:00:37):
Thank you so much, thank you, thank you, can't thank
you enough my pleasure.

Speaker 3 (01:00:42):
Yes, thank you you too, Kevin.

Speaker 4 (01:00:48):
I'm not picking on you, man, I really know. I
love sound people. Anyway, Take care all right.

Speaker 3 (01:01:02):
For today's audiography.

Speaker 2 (01:01:03):
Find out more about Bruce box Lightner at Facebook dot com,
slash box Lightner Bruce and Instagram also at box Lightner Bruce.

Speaker 6 (01:01:14):
And he's on Cameo so Cameo dot com, slash box
Lightner Bruce I want to shout out again the Ultimate
Fans Guide to Scarecrow and Missus King, the book written
by the three fans that we have a whole podcast about.

Speaker 3 (01:01:28):
Please go check it out. The link will be in
our description.

Speaker 2 (01:01:31):
If you're a fan of Scarecrow and this is King
and you don't have a copy of this book, you
need to go get it right now.

Speaker 6 (01:01:38):
Because are you really a fan If you don't know
that book, That's right, you're certainly not the ultimate fan.

Speaker 3 (01:01:44):
That's right exactly.

Speaker 2 (01:01:47):
And we're saying this even though we have absolutely no finance.

Speaker 3 (01:01:50):
We get back to it from mass exactly. We just
we just really love the book, so we really love
and the people who worked on it so diligently for
so many years.

Speaker 6 (01:01:59):
Yeah, that was amazing, Sharon, What a treat.

Speaker 2 (01:02:04):
Another fantastic chat with another fantastic guest. It just it
just keeps getting better and better.

Speaker 6 (01:02:16):
Well, I was reminded as we were talking and he
was telling stories and particularly about the sort of the
fun of an eighty set. But one of the reasons
I really like Bruce Boxsleitner and many of the roles
he plays, maybe not the murderous, abusive guys which you know,
of course, is a staple of seventies and eighties television.

(01:02:38):
But I was reminded of Linda Bloodworth thomasin in our
interview with her, we talked about the importance of benevolent
masculinity in as role models, and I think that there's
a little of that coming off of I think that's
one of the appeals of Lee stetson masculine but ultimately

(01:03:01):
basically reigns in, you know, some of that to be
a benevolent protector and sort of a tonic masculinity instead
of toxic masculinity.

Speaker 2 (01:03:12):
Yeah, I agree, It's it's not something you always find
sometimes did a lot of times. It maybe just tends
to go a little bit too far, but it definitely
did not. And Scarecromas is King. It's probably one of
the reasons for its long term appeal.

Speaker 3 (01:03:25):
Yeah, I think so.

Speaker 6 (01:03:26):
And I think there is something to be said for
a star that will co star with a female lead
and let her remain the lead, right, And that's true
of Scarecromas King, and that is not true on either
Moonlighting or Remington Steel. Now those are different shows, and

(01:03:47):
Remington Steel is named Remison Steel, but Scarecrow and Missus
King is named Scarecrow and Missus King, And I think
that Scarecromis King remains more equal for longer throughout the
show show than either Moonlighting and Remington Steele does in
the hole for their whole series. True, but Kate Jackson

(01:04:11):
did have the producer.

Speaker 2 (01:04:14):
Yeah, tool in her toolbox. Yes, tool in her toolbox.
And I can't say I say in.

Speaker 3 (01:04:21):
Her toolbox chakor I mean either way, Yes, you're right,
it helps to be the producer.

Speaker 6 (01:04:29):
But she also got called out, as all of the
women in these you know, sort of coupled them shows.

Speaker 3 (01:04:36):
Often did, for being difficult on the set.

Speaker 6 (01:04:39):
And it feels like difficult on the set was I
want to have a creative voice in the running.

Speaker 3 (01:04:45):
Of my show.

Speaker 2 (01:04:46):
True, And and they fortunately hired an actor who played
the part well and also ended up being a great
co star.

Speaker 3 (01:04:57):
Yes, and they are. There's just their magic together. They're
pretty freaking magical. Yeah.

Speaker 4 (01:05:02):
Yeah.

Speaker 6 (01:05:02):
Every time I go back and watch it, I'm like,
holy crap, They're just magical and you.

Speaker 3 (01:05:07):
Just want to watch them being together.

Speaker 2 (01:05:09):
Yeah, yes, yeah, 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. Hey listeners,

(01:05:30):
it's Sharon and Susan talking to you from the right now,
not the back then when we recorded Bruce. We're jumping
in from packing boxes to let you know that the
next episode is a new episode all about us moving
and all the changes that have been happening for Susan,
myself and Melissa.

Speaker 1 (01:05:47):
So of course we had to do that through the
context of our favorite songs and music videos from the
nineteen eighties talking about change, personal and political.

Speaker 2 (01:05:57):
So people get ready, we just fight talking about a revolution.

Speaker 6 (01:06:01):
Don't miss it adds hand so pretty.

Speaker 5 (01:06:09):
Into the city's dreaming, gunning God for the money in
the man world. Ada

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RERUN: Bruce Boxleitner | The Scarecrow And Mrs. King Years, Part 2

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}RERUN: Bruce Boxleitner | The Scarecrow And Mrs. King Years, Part 2