The 1970s prime-time television series “Emergency!” was an action-packed drama that followed the daily lives of courageous firefighters and paramedics in Los Angeles County. The show, which aired from 1972 to 1979, was praised not only for its gripping storylines and character development but also for its realistic portrayal of the emergency services industry. It provided a compelling look into the challenges and triumphs faced by first responders, highlighting their incredible dedication and heroism in the face of danger.
Cast of TV’s Emergency! (1973), L-R: Kevin Tighe, Robert Fuller, Julie London, Bobby Troup and Randolph Mantooth NBC Television
The Origin of Emergency!
The show was spun off from the original series “Adam-12,” which was also set in Los Angeles and followed the lives of two police officers. “Emergency!” took the same approach but shifted its focus to the lives of firefighters and paramedics. This innovative show was created by Robert A. Cinader and Jack Webb, the latter also known for producing “Adam-12” and “Dragnet.”
At the heart of “Emergency!” was its talented cast, led by Randolph Mantooth, who portrayed firefighter and paramedic John Gage. Mantooth’s charismatic performance was complemented by Kevin Tighe, who played his reliable partner Roy DeSoto. The ensemble cast also included Julie London, who breathed life into nurse Dixie McCall; Bobby Troup, who played the compassionate Dr. Joe Early; and Robert Fuller, who took on the role of the authoritative Dr. Kelly Brackett.
One of the show’s standout features was its commitment to authenticity. It was praised for its accurate portrayal of the emergency services industry, an effort bolstered by the involvement of real-life firefighters and paramedics serving as technical advisors. This attention to detail extended to the use of actual emergency vehicles and equipment, earning the show a loyal following of industry professionals and curious viewers alike.
“Emergency!” was known for its gripping action scenes, which often involved realistic special effects that depicted explosions, fires, and other dangerous situations. The show’s excitement wasn’t limited to physical dangers; it also tackled significant social issues of the time, such as drug abuse, mental health, and domestic violence. This made “Emergency!” a groundbreaking program that addressed topics other shows of the era often shied away from.
Despite its success, “Emergency!” was canceled in 1979 after seven impactful seasons. However, its legacy persisted. The show paved the way for subsequent action-packed dramas, such as “CHiPs” and “Miami Vice,” and it inspired a new generation of viewers to pursue careers in emergency services. The influence of “Emergency!” is also seen in modern medical dramas like “ER” and “Grey’s Anatomy,” which continue to blend high-stakes action with personal and social issues.
In retrospect, “Emergency!” not only entertained millions but also educated the public about the critical work of emergency responders and healthcare professionals, leaving a lasting impact on both television and real-world perceptions of these vital services.
Squad 51 before restoration, picture taken at Pomona Raceway in the 1970s. Wikipedia
Emergency! was a groundbreaking television series that meticulously followed the daily lives and challenges of firefighters and paramedics in Los Angeles County. The show was universally praised for its realistic portrayal of the emergency services industry, as well as for its thrilling and hair-raising action scenes. The cast was spearheaded by the talented Randolph Mantooth and Kevin Tighe, who delivered compelling performances that were both heartfelt and authentic. They were joined by a stellar supporting cast, including Julie London, Bobby Troup, and Robert Fuller, each bringing their unique charisma and depth to the show. Emergency! was initially spun off from the original series Adam-12, yet it carved out its own significant legacy, leaving an indelible mark on the television industry. More than just entertainment, the series brought public attention to the vital and courageous work of emergency responders, inspiring many to pursue careers in this essential field.
Rod: A creative force, blending words, images, and flavors. Blogger, writer, filmmaker, and photographer. Cooking enthusiast with a sci-fi vision. Passionate about his upcoming series and dedicated to TNC Network. Partnered with Rebecca Washington for a shared journey of love and art.
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Rod: A creative force, blending words, images, and flavors. Blogger, writer, filmmaker, and photographer. Cooking enthusiast with a sci-fi vision. Passionate about his upcoming series and dedicated to TNC Network. Partnered with Rebecca Washington for a shared journey of love and art.
In that first movie, “Episode IV,” Luke Skywalker’s Uncle Owen was a farmer on the planet of Tatooine. He farmed water from air in the middle of a desert.
It might sound impossible, but it’s exactly what experts discussed at the second International Atmospheric Water Harvesting Summit hosted by Arizona State University in March 2025.
Each day, a human needs to consume about the equivalent of 0.8 gallons of water (3 liters). With more than 8 billion people living on the planet, that means engineers need to produce nearly 2.6 trillion gallons (10 trillion liters) of clean drinking water every year. Taken globally, rainfall would be enough, but it’s distributed very unevenly – including landing in the oceans, where it immediately becomes too salty to drink safely.
Deserts, which cover about one-fifth of the Earth’s land area, are home to about 1 billion people.
Researchers at places such as Berkeley have developed solar-powered systems that can produce clean drinking water from thin air. In general, they use a material that traps water molecules from the air within its structure and then use sunlight to condense that water out of the material and into drinkable liquid. But there is still a ways to go before they are ready for commercial distribution and available to help large numbers of people.
Researchers can harvest water from air in the desert, in a process powered only by the Sun.
Space debris
When the second Death Star was destroyed in “Return of the Jedi,” it made a huge mess, as you would expect when blowing to smithereens an object at least 87 miles across (140 kilometers). But the movie’s mythology helpfully explains a hyperspace wormhole briefly opened, scattering much of the falling debris across the galaxy.
As best as anyone can tell, a hyperspace wormhole has never appeared near Earth. And even if such a thing existed or happened, humans might not have the technology to chuck all our trash in there anyway. So we’re left with a whole lot of stuff all around us, including in space.
According to the website Orbiting Now, in late April 2025 there were just over 12,000 active satellites orbiting the planet. All in all, the United States and other space-faring nations are trying to keep track of nearly 50,000 objects orbiting Earth. And there are millions of fragments of space debris too small to be observed or tracked.
Just as on Earth’s roads, space vehicles crash into each other if traffic gets too congested. But unlike the debris that falls to the road after an Earth crash, all the bits and pieces that break off in a space crash fly away at speeds of several thousand miles per hour (10,000 to 30,000 kph) and can then hit other satellites or spacecraft that cross their paths.
This accumulation of space debris is creating an increasing problem. With more satellites and spacecraft heading to orbit, and more stuff up there moving around that might hit them, space travel is becoming more like flying the Millennium Falcon through an asteroid field every day.
Engineers at NASA, the European Space Agency and other space programs are exploring a variety of technologies – including a net, a harpoon and a laser – to remove the more dangerous pieces of space junk and clean up the space environment.
Dodging obstacles in space is no picnic.
Get Ready for the Premiere of Star Trek: Strange New Worlds Season 3!
Star Trek: Strange New Worlds Season 3 will premiere at the 2025 Tribeca Festival from June 4-15. The series continues crew adventures aboard the U.S.S. Enterprise, exploring new themes and characters.
Exciting news for Star Trek enthusiasts! According to an official announcement originally published on startrek.com, the third season of Star Trek: Strange New Worlds is set to premiere at the 2025 Tribeca Festival. This much-anticipated event will take place from June 4 to 15 in New York City, showcasing a lineup filled with both new and returning television programs, as well as independent episodic series.
Festival Highlights
The Tribeca Festival is renowned for its world premieres and exclusive panels featuring cast members from major networks and streaming platforms. Following the premiere screening of Season 3, attendees can look forward to an engaging conversation with key cast members, including Anson Mount (Captain Pike), Ethan Peck (Spock), Celia Rose Gooding (Uhura), Babs Olusanmokun (Benga), Carol Kane, and the creative minds behind the series, executive producers Alex Kurtzman, Akiva Goldsman, and Henry Alonso Myers.
What to Expect in Season 3
As we dive into Season 3, we reconnect with the beloved crew of the U.S.S. Enterprise, still commanded by Captain Pike. This new season picks up from the intense conclusion of Season 2, where the crew faced a harrowing encounter with the Gorn. However, as they navigate through uncharted territories, new life and civilizations await them, alongside a villain who will truly test their grit and resolve.
Strange New Worlds promises to infuse an exciting twist into the classic Star Trek narrative, elevating both beloved and new characters to new heights. Viewers can look forward to a range of thrilling adventures that explore themes of faith, duty, romance, comedy, and mystery—delivering genres never before seen in the Star Trek universe.
A Talented Ensemble Cast
The series boasts an impressive cast, including Anson Mount, Rebecca Romijn, Ethan Peck, Jess Bush, Christina Chong, Celia Rose Gooding, Melissa Navia, Babs Olusanmokun, and Martin Quinn. Additionally, fans can expect appearances from guest stars such as Rhys Darby, Patton Oswalt, Cillian O’Sullivan, Melanie Scrofano, and Carol Kane, with special guest star Paul Wesley also joining the adventure.
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Ticket Information
For those eager to witness the premiere, single tickets will be available for Tribeca members starting April 24, with sales opening to the general public on April 29. Be sure to visit TribecaFilm.com to learn more about the festival programming and secure your tickets. Memberships and festival passes are also available for a more immersive experience.
Where to Watch
After its premiere at the Tribeca Festival, Star Trek: Strange New Worlds will stream exclusively on Paramount+ in the U.S., U.K., and various regions across Latin America, Europe, and Asia. In Canada, the series will also be accessible on Paramount+, while it will stream on SkyShowtime in several other European markets.
Stay tuned for more updates as we approach the premiere date! For the latest news, follow @StarTrek on TikTok, Instagram, Facebook, YouTube, and Twitter. The adventure is about to continue—engage!
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A true advertising face-plant happens when a commercial is both tone-deaf and completely forgettable.
spxChrome/iStock via Getty ImagesMatthew Pittman, University of Tennessee
What makes something a flop?
Not the kind of flop that Kansas City Chiefs quarterback Patrick Mahomes is prone to do, but a flop in the world of advertising?
Brands airing Super Bowl ads have a lot riding on their investments – roughly US$7 million for a 30-second spot for the 2025 big game. So there’s a lot of pressure to get things right.
In my advertising classes, I often tell students that a commercial that’s controversial or disliked in the moment shouldn’t necessarily be considered a failure. In fact, enragement drives engagement. So if one of the goals of advertising is to keep the brand top of mind for consumers, a hated Super Bowl ad still accomplishes at least one goal. Think of the now-infamous Pepsi ad where Kendall Jenner “solves racism” with a can of Pepsi. Or all those raunchy GoDaddy ads that everyone rolled their eyes at, but the company kept running, year after year.
Instead, a true advertising face-plant is a commercial that’s both tone-deaf and completely forgettable – so dull, off-putting or confusing that when a brand completely switches up its strategy, you almost don’t remember the massive blunder that compelled it to change course in the first place. Almost.
So with this definition in mind, here are my submissions for five of the biggest Super Bowl advertising flops.
1. General Motors, 2007
Should viewers care about a ‘depressed’ robot?
A GM robot gets so depressed after getting fired that it jumps off a bridge to end its own existence.
How endearing.
The ad for the then-struggling automaker, which aired during Super Bowl 41 between the Indianapolis Colts and Chicago Bears, features a robot that struggles with depression and existential angst after learning its services are no longer needed on the assembly line.
The robot questions its meaning and purpose and tries to combine dark humor and social commentary about the monotony of work and the inevitability of technological progress. But it ends up missing the mark for a few reasons.
Suicide is pretty bleak for a Super Bowl spot, and mental health, in general, is a sensitive topic. There was little effort made to connect the spot to core GM brand values, which include inspiring “passion and loyalty” and “serving and improving communities.”
Furthermore, the idea of robots having human emotions can be off-putting for many consumers – particularly at a time when many automotive and factory workers in the U.S. were rightly concerned about robots taking their jobs.
2. Groupon, 2011
The bizarre ad wasn’t funny and didn’t make much sense, either.
Sometimes I try to imagine the meetings at ad agencies where ideas for clients are batted around:
“We need to promote this new app that lets families get products like smoothies at slightly discounted prices.”
“OK, how about this: It starts as a Tibetan tourism ad. Then it takes a dark turn and suggests that Tibet is about to be wiped off the map. That’s when our client’s product gets introduced: We tell viewers that before Tibetan culture goes extinct, they should try fish curry, like these 200 people in Chicago who saved $15 at a Himalayan restaurant using Groupon.”
“Excuse me?”
“Oh – and let’s have the narrator be a white guy with long sideburns.”
I have no idea how this one avoided the cutting-room floor.
3. Nationwide Insurance, 2015
Another death on the docket.
The insurance company used a strange mix of heartbreak and guilt-tripping to try to entice viewers to buy its policies during Super Bowl 49.
The ad features a young boy narrating in a somber tone, listing all of the milestones he’ll miss because he’s dead: learning to ride a bike, travel the world, get married.
The twist is that the cause of his death is an accident. That’s where Nationwide comes in: They offer life insurance to help offset tragedies. But wait – insurance doesn’t prevent tragedies. It merely provides compensation to “replace” what you lost. Both the morbid tone and twist were bizarre.
Exploiting tragedies in advertisements is generally not going to win people over. I can’t imagine how it would feel to be a parent who’s lost a child and see this TV ad.
4. Audi, 2020
Everything everywhere all at once.
Can a “Game of Thrones” star join forces with Disney while highlighting the importance of sustainability to create an ad for … Audi?
In the minute-long spot, Masie Williams, who plays Arya Stark on “Game of Thrones,” belts out the lyrics to “Let It Go,” the hit single from Disney’s “Frozen.” As she drives, pedestrians join her in song. At the end of the ad, Audi announces that they are finally making an electric car.
The ad seems to be about “letting go” of fossil fuel dependence – the gas sign yells it, car dealership yells it, mechanics yell it – almost two decades after the first major electric car hit the market.
Was it meant to be empowering? Funny? Inspirational? It tried to do a little bit of everything, leaving viewers grasping and gasping. Not to mention the song “Let It Go” had come out seven years prior, which made the whole production seem even more dated.
5. Just For Feet, 1999
A company-cratering advertisement.
Close your eyes.
Imagine an ad that’s racist and confusing.
Imagine an ad in which the main character is disappointed to receive the product being advertised.
Imagine an ad so bad that the company sues the agency responsible for the ad because it destroyed their reputation and bankrupted them.
Ladies and gentlemen, I give you Just For Feet’s “Kenyan Runner” Super Bowl ad.
The ad depicts a barefoot Kenyan runner sprinting across a rugged landscape as a group of white men in military SUVs tracks him down as if on a hunting expedition.
After they eventually catch him, they forcibly drug him by offering a mysterious beverage. The runner drinks it, collapses and wakes up to find that he is now wearing a pair of Just For Feet sneakers. He looks confused and distressed, as if he’d been violated.
Bizarre and unsettling, indeed. Just For Feet filed for bankruptcy less than a year later.Matthew Pittman, Associate Professor of Advertising and Public Relations, University of Tennessee
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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