For most of the 20th century, if an actor coming and coming into a film career, taking a prominent role in the television series could be dangerous. Although it may be difficult to believe now, there was a time when the film was considered a far more prestigious job line than to shine in the living rooms of viewers around the world. Obviously, breaking through television was not automatic death (Just look at Clint EastwoodWho, in the 1960s, went from "Rawhide" to overtaking Johnon Wayne as the most popular western film starvet on the planet), but closeness can grow a fixed set of expectations. Ted Danson could have been a huge star star, but after a few seasons of brilliant work in "Cheers" that all people could see was Sam Malone. Tom Selek, The man who was almost Indiana OnesonsHe faced similar fights as he tried to get rid of his "Magnum Pi" personality.

So, when Tom Hanks, after making his bones as a performer at the Great Lakes Theater Festival in Cleveland, Ohio, moved to New York City to continue his professional acting career, he was able to be aware that successful television acts could limit his options. Since he was in the early 20th, it is more likely that he believes, as most young adults do, that the rules do not apply to anyone as a unique and brilliantly talented as he himself. Further, after booking a unique film role over the four years, everyone was thrown into numerous television shows, he almost certainly realized that if he was serious to earn a living as an actor, he had to go where he was.

And to be entirely honest, when Hanks appeared on shows like "taxi" or "happy days", he looked like he belonged to television. He was a silly, a loose face who laughed at thrilled outbursts. It seemed natural to Sitkom's wide comedy, and he might get stuck in that kingdom for a long time had "friends of the armpit", which aired between 1980 and 1982, lasted more than two seasons.

Created by Chris Thompson, Thomas L. Miller and Robert L. Boith, "Bozom Friends" revolves around the Zany Antics of Kip Wilson (Hanks) and Henry Desmond (Peter Scolari), two low-level AD agency employees who are destroyed after their building, posing as women to rent space in a cheap, A-Femalet building. This was originally a fun premise in 1980 (it's safe to say "Friends of the armpit" would never have been done today), but it prevents writers, who had to retain the suspension of the rosy of Kip and Henry in each episode. It was exhausted pretty quickly, which was a shame because Hanks and Scolari had a wonderful report and created great laughter from occasionally improvising their dialogue.

The show was not a critical favorite, nor did he catch the viewers. The big reason for the last failure was its time period, which changed many times during her first ABC season. This retained the show to find a loyal audience, which led to a low-level second season during which, ironically, the quality of the series was better because the writers withdraw from the cross-dressing element. Hanks and Scolari, which may have been enough to get the play another season, had the ratings even slightly improved.

While he was undoubtedly funny at "Bosom Buddies", Hanks' work on the show didn't make him look exactly like a future movie star. So, it was something shock to see how he chose his cartoon down the scas and capable of playing a comical leading man in Ron Howard's Splash. Hanks then returned to his old Status in the wildly troubled hit in 1984 "Bachelor of Entertainment" and would not demonstrate much on the path of the range before playing the son of the jacked Jackers Glason in Ho-Hum at Gari Marshall "Nothing in common". Until Hanks starred in Penny (Gari's sister) Marshall in 1988 "Big", became overly obvious that he would be a big big star star. And this was only possible because the ABC badly engulfed the two -season package of "Friends of the Arms".