Lindsay Wagner

Lee Majors’s Steve Austin got rebuilt better, stronger, faster; Wagner’s Jaime waits in the wings of that ABC origin, then takes the rebuild as her own series. Martin Caidin’s Cyborg as family-hour adventure, Oscar Goldman handing missions, sound design as a national language. She makes the tennis-pro-to-agent arc feel like a person, not a gender-swap memo from merchandising.

1970s craft, ABC paper: The Six Million Dollar Man (1974–1978) keeps Jaime Sommers on the call sheet. File s01e01 as ignition: Population: Zero opens Caidin's Cyborg as ABC family-hour adventure. Majors already rebuilt; slow-motion sound design is loading into a national language, Oscar Goldman handing missions. s03e01 is later weather: The Return of the Bionic Woman (1) is the franchise door opening. Jaime Sommers waiting in the wings becomes a series argument: the cyborg template about to split in two. That is the gossip: Jaime Sommers as work, The Six Million Dollar Man as the room.

The Bionic Woman is the slow-mo essential: warmth and steel in the same run, female-led network action that did not need to borrow Steve’s close-up. On TV Flash Wagner is 1970s appointment science fiction with a pulse. Franchise origin is the gossip. Jaime is the reason the wings became a title card. Stay for the craft, not the lunchbox.

ABC/NBC's The Bionic Woman (1976–1978) parks Wagner as Jaime Sommers. 1970s tags stay on the folder. s02e01 is a useful mid-run tab — The Return of Bigfoot (2) is crossover crypto-spectacle with Jaime as the other half. Franchise essential, not a guest dish: slow-mo family hour shared without shrinking the lead. The handshake remains s01e01: Welcome Home, Jaime (1) flips the Six Million Dollar template. Wagner's tennis-pro rebuild as federal agent: female-led network action that stood alone in ratings and merch. Watch the hour, not a clip farm. Wagner is still the assignment.