Yale-New Haven gets 15 minutes of fame

On March 17, a local farmer fell victim to a heavy equipment accident. When he arrived at Yale-New Haven hospital with four firefighters, two police officers and three ambulance workers, his arm was still caught in the machine. As medical personnel began to treat the patient, whose arm was ultimately amputated, one of the doctors shouted, “We get a case like this once in a hundred years. Where’s the Learning Channel?”

At first glance, it might seem like the doctor was just trying to be funny. But he had reason to expect that documentary filmmakers from the cable network would show up to film this case, as Yale-New Haven hospital had been selected to be the site of the documentary show Trauma: Life in the ER. Unfortunately, the crew was not scheduled to arrive for another two days.

Beginning on March 19, a crew of four filmmakers and producers spent every hour of one month filming every event in the emergency trauma center at Yale-New Haven, from the initial calls from ambulance companies to the discharge of patients. The cases they filmed became the basis for the episode “Keeping the Faith,” which will air on Monday, Oct 15 at 8 p.m. The episode features commentary from the doctors on the cases, as well as insights into their personal lives.

According to hospital spokesman Mark D’Antonio, the producers of Trauma, who until now had never filmed in the Northeast, selected Yale-New Haven because of its diverse caseload.

“They chose us based on the fact that we are the only Level I trauma [center] in the state for adults and kids,” D’Antonio said.

The Level I designation, the highest for a trauma center, is based on the number of patients the hospital staff treats, and the amount and quality of the medical equipment available.

D’Antonio also said the producers expressed interest in Yale-New Haven because of the high profile of the Yale name.

The doctors and staff at Yale-New Haven enjoyed working with the TLC producers.

“We were very sorry to see them go,” D’Antonio said.

Only two percent of the doctors did not want to participate in the program and over 80 percent of adult patients gave their consent to have their cases on the show, although the rate of consent was slightly lower for parents of injured children. D’Antonio said that the filmmakers asked for consent only after they were no longer in an emergency situation.

“It’s a no-pressure kind of situation for the patients,” D’Antonio said.

He said that the members of the camera crew, who he described as “very professional” used small digital cameras and wore scrubs to fit in at the hospital. They fit in so well that they even attended one doctor’s wedding. D’Antonio said the camaraderie between the filmmakers and the doctors allowed TLC to demonstrate in the show that the doctors are human beings and have lives outside the hospital.

“They really got to know the doctors as people,” he said.

D’Antonio, who has already seen the episode, said that he likes the portrayal of the hospital.

“They just want to make you look good,” he said. “And they did.”


  • hschumann

    Your article about the Shakespeare authorship debate repeats the usual false assumptions by those unwilling to do any research on the issue. No Oxfordian has said that Will of Stratford could not have written the works because of his class. The charge of snobbery is a straw man used by those unwilling to consider the evidence.

    The following from Jeremy Crick of the de Vere Society explains it.

    “In each play, the poet displays an easy familiarity with all the courtly formalities and shows a shrewd understanding of how powerful factions at court competed over policy. Oxfordians aren’t snobs – we follow the evidence and all the evidence points to the poet being a senior courtier and there is no evidence that Shakespeare ever once attended court.

    Stratfordians have always been in despair over the fact that not one single document has ever been discovered from his lifetime that proves that William Shakespeare of Stratford was an author. That he never appeared to have written any letters home – in spite of being apart from his family so often. That he was content to bring his children up to be illiterate. That there is not one literary reference in his long and detailed will – no books, no manuscripts, no collection of the Shakespeare Quarto editions to be handed down as heirlooms in remembrance of the ‘soul of the age’. That must have been quite a conspiracy – to erase all Shakespeare’s literary material from the archive record. Either that or it just wasn’t there in the first place.

    How much Stratfordians would love to have the compelling historical evidence, as Oxfordians do, of the poet’s travels through France and Italy. In a series of letters home to his father-in-law Lord Burghley, Oxfordians have documentary proof that Edward de Vere visited every town and city mentioned in the many plays he chose to set in Italy. Edward de Vere shows again that he is using his detailed acquired knowledge of the princely courts of Italy to inspire him.

    Stratfordians have no choice – they must renounce looking for the poet’s life in his works, the chasm between them is too great. It is astonishing how impoverished their view of the poet must be in rejecting The Sonnets, for surely they must consider all the despair, passion and guilt displayed here to be nothing more than a whimsical Platonic exercise.”

    As far as 1604 is concerned, Neither dates of publication nor dates of performance tell us anything about the date of composition. No source for any Shakespearean play is dated after 1604. No sonnets were written after 1604. Between the years 1593 to 1604, seventeen plays attributed to Shakespeare were published. From 1605 to 1623 there were only five, said to be collaborations.