Martin E. Brooks

The Six Million Dollar Man turned Martin Caidin’s Cyborg into ABC family-hour adventure: Lee Majors, better-stronger-faster, sound design as a national language. Brooks’s Rudy Wells is the medical argument under the merch — the rebuild as a person you see again, not a pilot-only miracle. Jaime waiting in the wings. The lab is the quiet half of the stunt.

The Six Million Dollar Man is 1970s television with ABC manners (1974–1978). Brooks plays Dr. Rudy Wells as work, not merch. File s01e01 as ignition: Population: Zero opens Caidin's Cyborg as ABC family-hour adventure. Majors already rebuilt; slow-motion sound design is loading into a national language, Oscar Goldman handing missions. s03e01 is later weather: The Return of the Bionic Woman (1) is the franchise door opening. Jaime Sommers waiting in the wings becomes a series argument: the cyborg template about to split in two. Brooks photographs as a person, which is how a 1970s hour still works.

The Bionic Woman kept him in the same science when Wagner flipped the template with warmth and steel. Female-led network action that stood alone in ratings. On TV Flash Brooks is franchise glue: two titles, one decade, the doctor who makes slow-mo feel like a procedure. Watch him when the catalog talks bionics and forgets the bench.

Call The Bionic Woman the ABC/NBC 1976–1978 contract. Dr. Rudy Wells is the assignment on the work order. s02e01 is a useful mid-run tab — The Return of Bigfoot (2) is crossover crypto-spectacle with Jaime as the other half. Franchise essential, not a guest dish: slow-mo family hour shared without shrinking the lead. The handshake remains s01e01: Welcome Home, Jaime (1) flips the Six Million Dollar template. Wagner's tennis-pro rebuild as federal agent: female-led network action that stood alone in ratings and merch. The desk does not need a trailer beat. Brooks's place in the room is the point.