Her journey through marriage began in 1971, when Wagner married music publisher Allan Rider.
The relationship was her first marriage, and it lasted approximately two years. By 1973, the couple had divorced, the same year Wagner’s film career was beginning to gain momentum.
It was an early chapter in a life that would soon become increasingly visible to the public.
Wagner later entered a relationship with actor Michael Brandon. The two lived together for roughly two years before deciding to marry in 1976.
Their marriage, however, would also prove short-lived.
In August 1979, the couple legally separated. What followed was a period of conflicting reports concerning property and financial requests, claims that Brandon publicly denied. He later spoke about the divorce as a painful experience and suggested that the timing of the relationship had simply been wrong.
For Wagner, the end of her second marriage prompted a moment of reflection.
In a March 1980 People cover story, she spoke about marriage and acknowledged the possibility that repeating the same pattern could only lead to more pain.
But Wagner’s personal life was about to change again.
While working on The Bionic Woman, she met stunt performer Henry Kingi. Their professional connection eventually developed into a relationship, and in May 1981, the two married in a ceremony at Lake Tahoe.
This marriage brought Wagner into another important stage of her life—not simply as an actress and wife, but as a mother.
Their son, Dorian, was born in September 1982. The couple later welcomed a second son, Alex, expanding their family during a period when Wagner’s career remained closely connected to television.
But once again, the marriage did not last.
Wagner and Kingi divorced in 1984. Following the separation, Wagner moved out of their Coldwater Canyon residence with Dorian.
As with many high-profile separations, questions surrounding property, legal representation, insurance, mortgages, investment accounts, real estate, or estate arrangements can sometimes become part of private negotiations or legal proceedings. However, the available public account does not establish those specific arrangements in Wagner and Kingi’s case.
What is clear is that another chapter of Wagner’s married life had come to an end.
Six years later, Wagner married for a fourth time.
In a private ceremony in West Los Angeles, she married film and television producer Lawrence Mortorff. It was Wagner’s fourth marriage and Mortorff’s second.
Unlike some of her earlier relationships, the ceremony was kept largely private. The marriage lasted approximately three years before ending in divorce in 1993.
The couple did not have children together.
Four marriages. Four different relationships. Four chapters that eventually came to an end.
Yet looking back at Wagner’s life solely through the lens of those marriages would miss the larger story.
Because her most enduring relationship was not with any of her husbands.
It was with the character who transformed her career.
Wagner’s public identity became permanently linked to Jaime Sommers, the character she first portrayed on The Six Million Dollar Man before moving into the starring role on The Bionic Woman.
Jaime was unlike many of the female television characters audiences had seen before. She was athletic, intelligent, capable, compassionate, and powerful. Wagner brought an unusual combination of strength and warmth to the role, helping turn Jaime Sommers into one of the defining television figures of the 1970s.
Her performance earned Wagner a Primetime Emmy Award in 1977.
The recognition helped cement her place in television history and ensured that, decades later, audiences would still remember the name Lindsay Wagner alongside the character that made her famous.
But Wagner’s career did not end with The Bionic Woman.
Over the years, she continued working in film and television, gradually expanding her interests beyond acting. She also became involved in writing, teaching, and speaking about wellness, developing a public identity that extended far beyond the fictional world of Jaime Sommers.
That evolution is perhaps the most revealing part of her story.
The woman who once occupied magazine covers because of her marriages and personal relationships eventually became someone whose life could no longer be defined by whom she married.
Today, Wagner is single, and she appears comfortable allowing her work, her family, and her interests to speak for themselves.
The four names connected to her marriages—Allan Rider, Michael Brandon, Henry Kingi, and Lawrence Mortorff—remain part of her history. Each relationship represents a different period in her life, from the beginning of her career to motherhood and the challenges that accompanied her years in the spotlight.
But they are chapters, not the entire book.
As Wagner prepares to meet fans in Northern Ireland, the focus is once again likely to return to the character who made her a television icon. For longtime viewers, Comic Con Northern Ireland offers a chance to reconnect with the actress behind one of the most memorable heroes of the small screen.
And there is something fitting about that.
More than 50 years after she first appeared before television audiences, Wagner is still moving forward.
Her life has included professional triumphs, personal disappointments, motherhood, four marriages, divorces, reinvention, and decades of work after her greatest television success.
The marriages mattered. They were real parts of her journey, and each left its own mark.
But they did not define her.
In the end, the clearer story is the one Wagner has spent decades writing for herself: after every relationship ended, she continued building a life of her own.
The actress once known around the world as Jaime Sommers grew beyond the character, beyond the headlines, and beyond the relationships that once attracted so much public attention.
At 77, Lindsay Wagner’s story is no longer simply about the men she married.
It is about the woman who kept moving forward—on her own terms.