15 Best Firefighter Shows Of All Time, Ranked

Procedurals are the bread and butter of network television. From medical dramas to detective shows, these series provide reliable action, high-stakes scenarios, and characters we’re keen to follow for years on end. While doctors and law enforcement stories make up the bulk of these dramas, today we’re setting our sights on an often-overlooked procedural sub-genre: the firefighter show.

Firefighter series are far less common than medical and cop shows. We’d wager a guess that this is in large part a production issue; the kinds of death-defying stunts depicted on these shows, not to mention the literal fire, can hike up budgets in a major way. Still, despite their relative rarity compared to other types of network dramas, there are some great firefighter shows out there, and they’ve become more prevalent in recent years.

Some of these shows focus entirely on firefighters, while others depict them alongside other first responders. From goofy melodramas to gritty character studies, here are the 15 best firefighter shows of all time.

Most firefighter shows air on network television, which means the censors limit what they can depict. The Belgian series “Under Fire” distributed by Netflix faces no such constraints. The characters can swear, take their clothes off, and engage in big-budget action sequences. The series is set at a fire station in Ostend, Belgium. The ragtag crew there are mostly rule-breakers. Orlando Foncke (Louis Talpe) sees himself as the hero of the squad, but he’s constantly defying orders. When their lieutenant is reassigned as punishment for the squad’s bad behavior, a woman is brought in as their new leader and the men react poorly.

Some of the action sequences in “Under Fire” — including a hot-air balloon rescue in the pilot — are legitimately harrowing and drawn-out in a way that adds to the tension. Unfortunately, the series fails to distinguish itself from other shows of this ilk, with conflict we’ve seen a hundred times before and a somewhat jarring score. Still, there’s plenty of excitement here, and the rescue scenes are a lot of fun.

“Fire Country” on CBS distinguishes itself from other firefighter shows with a premise we haven’t seen on TV before. Max Thieriot, who also co-created the show, plays Bode Donovan, who is serving time in prison for armed robbery. Keen to shorten his sentence, Bode volunteers for the state’s incarcerated firefighter program, helping fight the fires ravaging northern California’s forests. Much to Bode’s chagrin, he’s assigned to the small town that he’s spent years running away from.

“Fire Country” is a redemption story told through the lens of firefighting and incarceration. The fires serve less as physical threats and more as metaphorical manifestations of Bode’s demons. This dramatic interplay works, but it’s also one of the show’s weaknesses: “Fire Country” focuses too much on Bode at the expense of his incarcerated brethren and the truly exploitative circumstance they find themselves in. Nonetheless, the firefighting scenes are all well done, the outdoor environment adds some real beauty, and the rest of the cast has great chemistry when they get their chance to finally shine.

One of the final shows Shonda Rhimes produced for ABC before departing for Netflix, “Station 19” utilizes the tried-and-true Shondaland formula. A “Grey’s Anatomy” spin-off, the two shows are connected via Ben (Jason George), a former surgeon who’s decided to become a firefighter. Ben is the rookie in this firehouse, and the main protagonist is Andy (Jaina Lee Ortiz), the daughter of the captain and a formidable firefighter in her own right. Andy struggles to contend with the expectations of the men in her life following a change in command.

If you’ve watched Rhimes’ other shows, the happenings of “Station 19” will feel familiar: It’s got beautiful, heroic people performing high-stakes tasks under pressure, poignant speeches, on-the-nose needle drops, and workplace trysts that probably constitute HR violations. For the most part, it works, though it never reaches the heights of “Grey’s” and it’s not quite as compelling as firefighter shows on other networks. There’s little attempt at realism here, though the focus on character growth rather than flashy aesthetics is refreshing.

The Sky1 series “The Smoke” doesn’t exactly throw out the firefighter show handbook, but it’s compelling enough to warrant a look. We follow Kev (Jamie Bamber), a firefighter nine months out from the most traumatic call of his life. In a harrowing, seven-minute-long opening sequence, we watch Kev enter a burning building, try and fail to save a baby, get attacked by a mysterious figure, and suffer extensive burns all over his backside. After months of therapy, he’s back to work, but Kev is far from okay.

With a smart script penned by Lucy Kirkwood and a supporting cast that includes Taron Egerton, Jodie Whittaker, and Rhashan Stone, “The Smoke” strives to inject profundity into its tale of a traumatized hero. In addition to the expected rescue sequences, we’re given a long, hard look at Kev’s fractured psyche and the despair behind that stoic facade. “The Smoke” is never quite as exciting as the amazing opening scene, and it only has eight episodes to ramp things up, but it’s a bracing jaunt while it lasts.

The anime series “Fire Force” takes a very different approach to firefighting. Based on a manga from Atsushi Ohkubo, creator of the popular series “Soul Eater,” “Fire Force” is set in a post-apocalyptic world in which much of civilization has been destroyed by massive fires. Our hero is Shinra (voiced by Gakuto Kajiwara), a so-called “pyrokinetic” who can shoot flames from his feet, allowing him to fly. Shinra works as a firefighter for the Fire Force, a special brigade tasked with putting out “Infernals” — human beings who go up in flames and become red-hot monsters.

“Fire Force” features frequent action sequences and beautifully animated flames. The series also functions as a sort of mystery, as we learn more about Shinra’s dark past and he investigates the other fire houses for possible corruption. The central premise is intriguing, and the non-stop thrills make for an entertaining ride. However, the show is let down by its characterization of some of the side characters, particularly the women firefighters, who are subjected to sexualized “fan-service” scenes that add nothing to the plot.

K-drama “The First Responders” tells a fast-paced story about a cop, a firefighter, and a paramedic. Police detective Jin Ho-gae (Kim Rae-won) is known by the nickname jindo dog, and he has all the stubborn tenacity of a hunting canine. Son Ho-jun plays Bong Do-jin, a brave firefighter and investigator. Do-jin is extremely serious about his work and will never leave a man behind. He works alongside Song Seol (Gong Seung-yeon), a compassionate paramedic at the fire station.

“The First Responders” is all about the action, and romance isn’t a priority. While there is a simmering, slow burn between two characters, this isn’t a “making out in supply closets” kind of show. Still, there’s plenty of melodrama, with mystery plots, thrilling rescue scenes, and feel-good moments of heroism. Season 2 suffers in comparison to Season 1 thanks to an unpopular writing choice that upset many viewers, but there’s a lot to enjoy about “The First Responders.”

Ryan Murphy’s “9-1-1” spin-off “9-1-1: Lone Star” takes the spirit of the original and injects it with its own goofy flavor. The series stars Rob Lowe as Owen Strand, a New York City firefighter who moves to Austin, Texas, with his son to lead an ailing firehouse. Owen has been tasked with bringing diversity to the fire station and goes about hiring people who have been overlooked our outcast in some way. His ragtag group saves the day while putting out personal fires that include cancer, PTSD, and prejudice.

“Lone Star” delivers the silly thrills that “9-1-1” fans have come to expect and is often more lighthearted in tone than its predecessor despite some serious storylines. Lowe is amusing as Owen, though he doesn’t quite have the fatherly gravitas of “9-1-1” captain Peter Krause. The series loses momentum briefly after Liv Tyler leaves at the end of Season 1, but Gina Torres makes a formidable replacement. The characters on “Lone Star” are distinct enough from its parent series to warrant interest, though the camaraderie amongst the squad isn’t as strong.

The 1958 series “Rescue 8” was one of the earlier shows to illustrate the exploits of a fire department, and in many ways serves as a precursor to modern series like “Chicago Fire” and “9-1-1.” The show depicts a much simpler time. Rescue 8 is a two-man unit comprised of Wes Cameron (Jim Davis, who also narrates the series) and Skip Johnson (Lang Jeffries). They drive around in their Chevy truck responding to emergencies that include: a woman and her child stuck at the top of a Ferris wheel, an old man trapped inside a clock, a child lost in the sewers, and a priest and thief trapped underneath a collapsed church.

While these rescues can be rather silly and moralistic, many of the disasters feel quaint when compared to the calamities that befall the characters in contemporary firefighter dramas. Indeed, this is the kind of show you might describe as good, clean fun. Nothing too shocking happens, and there’s little romantic tension or plot twists. It’s just a couple of guys doing their best to save people with surprisingly limited resources.

One of ITV’s longest-running programs, the British drama “London’s Burning” ran for an impressive 14 seasons. Based on a TV movie, the series premiered in 1988 and follows a group of London firefighters. The show set out to take a serious look at the perils these firefighters face on a daily basis, while featuring comedic scenarios to break the tension. In addition to physical danger, “London’s Burning” also tackles prejudices both within and outside of the firehouse, as the first Black firefighter and the first woman both face pushback from their colleagues the greater community.

“London’s Burning” aired before widespread use of CGI on television, and many of its practical and special effects were groundbreaking at the time. Though the drama sometimes gets over the top, the series maintains a sense of realism by depicting the struggles of ordinary folks.

“9-1-1” is far from the most realistic firefighter show out there, but we can forgive its inaccuracies because of how much fun it is. The Ryan Murphy series follows firefighters at Station 118 in Los Angeles, along with 9-1-1 dispatchers and one very formidable cop. Bobby Nash (Peter Krause) is the captain of the 118 and leads the team like a father. His squad includes semi-reformed himbo Buck (Oliver Stark), paramedic Hen (Aisha Hinds), and Chimney (Kenneth Choi). Buck’s sister, Maddie (Jennifer Love Hewitt), works as a 9-1-1 dispatcher, and Angela Bassett plays Athena Grant, an LAPD sergeant.

While some of the calls the 118 take are based on true stories, “9-1-1” frequently veers into melodrama territory. In one episode, Athena lands a passenger jet on a freeway with a video-game-playing child as her copilot. There is also a multi-episode tsunami arc, a man who gets eaten by a whale, and multiple episodes set in space. While it may be too bonkers for some, once you’re a fan, it’s hard to stop watching.

Executive produced by TV veteran Dick Wolf, “Chicago Fire” was the first major firefighter series of the 2010s. Amazingly, it’s still going strong today after 14 seasons on air and three Chicago-based spin-offs. Set, of course, in the city of Chicago, the show takes place at Firehouse 51 and follows the firefighters and paramedics that work there. As in “9-1-1” and other procedurals of this ilk, the members of Firehouse 51 are more like family than coworkers, and their dynamic is the show’s emotional scaffolding.

“Chicago Fire” focuses more on the emergencies than contemporary firefighter shows, particularly in the early seasons, and this grittiness makes it stand out from the pack. The peril in “Chicago Fire” always feels real, and even the most beloved characters aren’t safe from grievous bodily harm or even death. While it becomes soapier and focuses more on personal drama in the later seasons, it’s an all-around solid show that delivers reliable thrills and heartbreaking twists.

Though it’s a proudly stupid comedy, “Tacoma FD” may be one of the most accurate firefighter shows out there. While the firefighters in “Chicago Fire” and “9-1-1” are constantly dealing with major disasters, on “Tacoma FD,” the calls aren’t always life-or-death; sometimes they’re just weird. Creators Kevin Heffernan and Steve Lemme, of the Broken Lizard comedy troupe, set the series in the rainy city of Tacoma, Washington, because they thought it would be funny to follow a group of firefighters who seldom put out fires.

The result is a situational workplace comedy in the vein of “Brooklyn Nine-Nine.” The calls they go on are bizarre, and they include a llama stuck in a playground and a boy hiding in a well to escape his helicopter mom. Another episode follows a highly competitive pickleball tournament. Amazingly, these stories are all based on real events, many of them relayed via Heffernan’s firefighter cousin, who worked in the writer’s room. Unlike the Broken Lizard film “Super Troopers,” in which the state troopers are bumbling idiots, the firefighters in “Tacoma FD” know their stuff, but their ludicrous circumstances make for a hilarious — and unique — sitcom.

A lesser-known series from “ER” and “The Pitt” producer John Wells, “Third Watch” deserves more love. The show takes place in New York City and follows a police precinct and firehouse nicknamed “Camelot.” The protagonists of “Third Watch” work a shift from 3 p.m. to 11 p.m., hence the title. The show features an amazing ensemble cast with no weak links, including Michael Beach (who also appeared on “ER”), Kim Raver, Bobby Cannavale, Eddie Cibrian, Molly Price, and Jason Wiles.

Fast-paced, realistic, and gritty like “ER,” “Third Watch” doesn’t pull punches when it comes to illustrating the difficulties faced by first responders. The show’s format makes for a compelling drama, showing emergencies from the perspectives of different first responders and integrating their storylines into one gripping narrative arc. The amazing cast, most of whom stuck with the show for all six seasons, are full of adrenaline and charm that make the series sing.

“Emergency!” was a groundbreaking series in more ways than one. Though hospital dramas had been popular at least since the 1960s, none had yet tackled the nascent field of paramedics. Co-created by “Dragnet” mastermind Jack Webb, “Emergency!” premiered in 1972 and followed firefighters and paramedics at a firehouse in Los Angeles. The show, which aimed for realism by using the newest technology and procedures, as well as casting real-life firefighter Mike Stoker, had a significant real-world impact. By many accounts, it helped promote the push to expand EMS services in the United States. For example, Los Angeles County’s paramedic units grew from three to 15, and they credited the show for that expansion.

In addition to its objectively positive effect on society (which also included inspiring would-be paramedics to join the profession), “Emergency!” is an exciting series worth watching for the drama alone. The series centers on Johnny Gage (Randolph Mantooth), an impulsive young firefighter with constant lady troubles, and Roy DeSoto (Kevin Tighe), a more level-headed family man. The show mastered the procedural format we know and love today, tackling several emergency calls per episode alongside moments of character growth and camaraderie between first responders.

As a dark comedy that aired on FX, “Rescue Me” sets itself apart from other TV shows about firefighters. For one, the show’s protagonist is far from an unambiguous hero, reflecting cable TV’s interest in male anti-heroes on shows like “Breaking Bad” and “The Shield.” Denis Leary plays Tommy Gavin, a New York City firefighter with a lot on his plate. Haunted by the trauma of 9/11, struggling with alcoholism, and facing domestic troubles, Tommy’s public and private selves are very different. Viewed as a hero by some, Tommy’s family and friends find much of his behavior despicable.

“Rescue Me” teeters on the edge of bad taste, oscillating between comedy and tragedy at a jarring but somehow viable pace. Tommy is an extremely flawed character, as are many of his fellow firefighters, and the series doesn’t shy away from these flaws. Adding to its edgy take on firefighter drama, the show also features talking dead people (including Jesus himself) in the form of grief-stricken, alcohol induced hallucinations. “Rescue Me” is no doubt a challenging show, and it gets really dark, but you have to admire its daring storytelling and insistence on upending our expectations.