Global News

A woman who survived a devastating train crash in southern Spain has been reunited with her dog, four days after he went missing in the chaos.

Ana García, 26, had been traveling with her pregnant sister and their black-and-white dog Boro when their train derailed on Sunday evening in Adamuz, Córdoba. The tail end of the train jumped the tracks and collided with another train coming from the opposite direction, in what became Spain’s deadliest rail disaster in over a decade.

Dozens were killed and more than 150 people were injured. García and her sister were rescued from the wreckage by emergency crews. But as they were being pulled to safety, Boro bolted.

“Please, if you can help, look for the animals,” García pleaded through tears in a televised interview. “We were coming back from a family weekend with the little dog, who’s family, too.”

Her public appeal quickly gained traction. Spaniards flooded social media with posts searching for Boro, while animal welfare group PACMA (Partido Animalista Con el Medio Ambiente) joined the search, warning that the dog was likely “very scared and disoriented” in the area surrounding the crash site.

Then, on Thursday, firefighters searching the nearby forest found Boro alive. Images posted to social media show García hugging her dog tightly.

“Many thanks to all of Spain and everyone who has got involved so much,” García said. “It gave me great hope and we’ve done it.”

PACMA called the reunion a “joy,” but also used the moment to highlight a broader issue. “Boro’s case demonstrates the need for emergency protocols for our animals in cases of accidents or catastrophes,” the group posted on X. “This situation could have been different and resolved sooner.”

PACMA president Javier Luna also expressed his gratitude to the volunteers and emergency crews who helped bring Boro home. “No amount of thanks to the people involved in Boro’s rescue will ever be enough,” the group wrote.

The happy ending comes amid a grim week for Spain’s rail system. Sunday’s crash was followed by two more: a commuter train collision near Barcelona on Tuesday night that killed one person and injured at least 37, and another crash on Thursday in southeastern Spain, where a train hit a crane, injuring six.

Sunday’s derailment was the worst train crash in Spain since 2013, when a high-speed train derailed in Galicia, killing 80 people. As investigations continue, the recent spate of incidents is prompting renewed questions about safety on the country’s extensive railway network.

For García, though, the return of Boro has offered at least one moment of healing in a week marked by trauma. According to PACMA, the dog is now safely home—and “happy.”

Missing Dog Boro Found Safe After Spain Train Crash, Reunites With Owner

Smithsonian Magazine

Cheyney University in Pennsylvania was founded in 1837 with a clear purpose: to educate the descendants of the African race in academics, trades, and agriculture. Nearly two centuries later, it remains a cornerstone of a broader story—one that’s now being told at the Smithsonian’s National Museum of African American History and Culture.

The museum’s new exhibition, At the Vanguard: Making and Saving History at HBCUs, brings that story to life through a striking collection of art, artifacts, and archival material drawn from five historically Black colleges and universities: Clark Atlanta, Florida A&M, Jackson State, Texas Southern, and Tuskegee.

The show dives into the academic, cultural, and social contributions of HBCUs—institutions that emerged out of necessity and went on to shape American life in lasting ways.

"HBCUs are part of the American narrative,” said Deborah Tulani Salahu-Din, a literary historian and co-curator of the show. “Like Black people are part of American history and culture.”

From the Civil War to the Civil Rights era, HBCUs have trained generations of Black educators, artists, doctors, and leaders. Between the 1860s and 1900 alone, more than 90 such schools were established. Shaw University was the first to open after the war. And in 1965, the Higher Education Act formally recognized the role of HBCUs in expanding access to higher education for Black and low-income Americans.

At the Vanguard captures that legacy through physical objects—some humble, some historic. At Tuskegee University, for example, students once learned brickmaking in class and used those very bricks to build the campus. Four of those handmade bricks are now on display at the museum.

“Many of the buildings were created by students,” Salahu-Din said. “Some were even able to help build the school in lieu of paying tuition.”

Elsewhere in the exhibition are George Washington Carver’s notes on peanut oil and a rare 1942 printing of For My People by poet Margaret Walker. Carver’s innovations in agriculture are widely known, but the display also honors his role as a teacher and mentor at Tuskegee. Walker, meanwhile, left a lasting mark at Jackson State University, where she launched the Institute for the Study of the History, Life and Culture of Black People and brought together Black women writers from across the country.

Art also plays a central role. An oil painting by William H. Johnson, lent by Clark Atlanta’s museum, and a sculpture by Cameroonian artist Franck Kemkeng Noah, from Texas Southern, highlight how HBCUs have supported Black artists for decades. Many schools built their own collections long before mainstream institutions showed interest.

“HBCUs played the role in providing platforms and showcasing works that would otherwise just go neglected,” said Salahu-Din.

One of those platforms was created by Hale Woodruff, a painter who founded the first permanent fine arts program at a Southern HBCU—Clark Atlanta—in the 1940s. He later helped establish an annual juried art competition that spotlighted young Black artists, at a time when their work was largely ignored by the broader art world.

“HBCUs saw the value of Black cultural production and Black aesthetics in ways that other audiences probably didn’t understand,” said Joanne T. Hyppolite, NMAAHC’s curator of African diaspora history. “They encouraged students to look at their communities, their landscapes, their families, and paint from that, from what they know and what they saw.”

And while many people associate HBCUs with marching bands and step shows, Hyppolite points out that the schools are incredibly diverse—urban and rural, public and private, large and small. Each has its own identity and legacy.

That diversity is central to the exhibition, which will tour the five campuses that contributed to it once its run in Washington ends. Jeanelle Hope, the museum’s curator of entrepreneurship and innovation, sees it as a rare opportunity for students to connect with their own school’s history.

“A lot of students don’t visit their campus archives or art museums,” said Hope, who previously taught at an HBCU. “Oftentimes, they aren’t aware of the rich history of their campuses.”

The exhibition, she says, is about more than remembering the past—it’s about helping the next generation see themselves as part of it.

From handmade bricks to typewritten lab notes, from early founders to present-day curators, At the Vanguard tells the story of institutions that were never just schools. They were—and still are—engines of culture, guardians of history, and homes for generations of Black excellence.

Historically Black Schools Preserve History With Artifacts From Paintings To Marching Band Hats

The Cool Down

A newborn goat and its mother were rescued from an isolated spot on a cliff in Ajo, Spain, footage released on January 22 by the Cantabria Government Emergency Response Center shows.

“The mother could have given birth there and, since the baby did not come up, she remained with it at that point,” they wrote on X.

Firefighters carried the baby to a safer place where there were more goats, they said.

A Tiny Newborn Goat and Its Mother Were Just Rescued From  a Cliff in Spain

Talker News

A museum once on the brink of permanent closure is getting a second lease on life—thanks to passionate rug lovers.

The Museum of Carpet in Kidderminster, Worcestershire, had shut its doors last month after visitor numbers dropped to just six a day. But following an outpouring of public support and a grassroots campaign by shag pile enthusiasts, the museum is set to reopen on February 14 for a special four-day half-term run.

Yes, that’s Valentine’s Day. And yes, someone has already declared it the perfect romantic outing. “I’m definitely taking my girlfriend there on Valentine’s Day, she loves a good shag pile!” one cheeky commenter wrote online.

The museum’s team is hoping the limited reopening could pave the way for a full comeback.

“Volunteers expressed great enthusiasm and commitment to open the museum as much as possible in the coming months,” said Geoffrey Gilbert, chair of the Carpet Museum Trust. “Meanwhile discussions continue on support and funding for the development of a new Museum for Kidderminster.”

Entry during the half-term period will be free, a move designed to draw more visitors and drum up momentum for future plans. Regular admission had previously been £6 for adults and £17 for families.

For locals in Kidderminster—a town once known as the carpet capital of Britain—the news has been warmly welcomed.

“It’s marvelous news to see such an important slice of the town’s history opening once more,” said 70-year-old Graham Connell. “Almost everyone living in this country has carpets in their homes and that is down mainly to this town and the people who lived and worked here. When the museum opens again, I’ll be first in line.”

Housed in an 18th-century mill and launched in 2012, the Museum of Carpet has showcased three centuries of British carpet-making, with everything from vintage underlay samples to iconic designs. In its early years, it attracted school groups, coach tours, and textile buffs from around the country. It even developed something of a cult following online, thanks in part to a tongue-in-cheek promotional video featuring Gary Barlow calling it a “very nice day out.”

The museum boasts a solid four-star rating on TripAdvisor, with reviewers calling it “an absolute gem” and praising its hands-on exhibits and passionate volunteers.

But like many niche museums, it struggled with rising costs and declining footfall. Maintaining the collection and the building cost roughly £100,000 a year, and by late December, the numbers just didn’t add up. The doors closed on December 20, seemingly for good.

That’s when the community stepped in. The unexpected groundswell of support has not only reignited interest in the museum, but also spurred conversations about creating a more sustainable future for the space.

For now, museum fans can mark their calendars. February 14 is looking a lot more textured.

Britain’s Only Carpet Museum to Reopen After Shag Pile Fans Rally to Save It

Scientific American

More than 500 years after his death, researchers are still trying to understand what made Leonardo da Vinci tick. Now, they’re turning to cutting-edge genetic tools—and centuries-old art—to try and find out.

A new study, not yet peer-reviewed, claims to have found traces of male DNA on a chalk drawing often attributed to da Vinci called Holy Child. And while the researchers stop short of saying it’s definitively the artist’s, the discovery marks the latest step in an ambitious international effort: the Leonardo da Vinci DNA Project.

The project brings together a broad cast of characters—art historians, geneticists, forensic scientists, physicians, and environmental researchers—who are united by one big question: could understanding da Vinci’s DNA help explain his extraordinary talents?

“What can we learn about his ability to see things that you and I just don’t have that ability to see?” said forensic scientist Rhonda Roby, who’s part of the team. “He could see the flutter of a dragonfly’s wings… envision helicopters when there weren’t even helicopters built.”

The idea of finding da Vinci’s genetic material first took off more than a decade ago. It hasn’t been easy. Da Vinci had no children, and his remains were moved and likely lost during the French Revolution. So instead, the team started looking elsewhere—at works of art he might have handled, documents he might have signed, and descendants of his family line, some of whom are still alive today.

Roby herself swabbed items in a private collection for DNA back in 2021. She says much of the work involves “very small biomass,” making it especially tricky. Unlike medical researchers who have test tubes of blood to analyze, forensic scientists often work with minuscule traces—like dust particles on the corner of a 500-year-old sketch.

That’s where Holy Child came in. Before sampling, the team made a high-resolution image of the drawing and used it to map out possible swabbing locations without physically touching the actual artwork. They focused on the edges of the drawing—where someone might have handled it carefully over the centuries—and collected DNA there.

Roby says the group has also experimented with different sampling methods on lesser-known artworks, including punching tiny holes (1.2 or 2 millimeters wide) to compare how much material each method could retrieve. “Most likely, the bigger the punch, the more material you’re gonna get,” she said, though the team is careful not to damage significant pieces.

Sometimes they’ve even used a wet vacuum technique, wetting the surface lightly and then sucking up the moisture to capture any biological traces left behind.

It’s not just human DNA they’re finding. On historical letters, they’ve even uncovered traces of malaria, suggesting that pathogens from past centuries can still be identified on documents that have long since stopped being infectious.

For Roby, one of the project’s biggest achievements isn’t a single eureka moment—it’s the steady progress in building techniques that could someday help researchers confirm the authenticity of disputed artworks.

It’s still early days. Roby notes that any attempt to use genetics to authenticate art will need far more data, a large enough DNA reference database, and access to multiple verified works. But she believes that with time, these methods could become part of a broader toolkit, alongside traditional provenance research, pigment analysis, and stylistic comparisons.

“I think just like a criminal case that we do, there’s a lot of information that comes in together,” she said. “There’s fingerprints, there’s eyewitness accounts, there’s alibis, and then there’s the DNA testing... It’s a case. This is a piece—an exciting piece—and it can be built upon.”

Still, there are concerns. One of the potential goals of the project is to see whether aspects of da Vinci’s genius—like his extraordinary visual perception—might be partially explained by his genes. That raises ethical questions in today’s world, where some tech billionaires and biotech companies are investing in genetic engineering to boost intelligence or other traits.

Roby acknowledges the concern but says it’s not what drives her work. “I’m just a scientist looking to answer some questions,” she said. “I hope people use science to help us in this world… I can’t spend my time worrying about what people will do with the little bit of information I’m putting out.”

For now, the search continues. Whether or not the DNA found on Holy Child actually belonged to da Vinci remains to be seen. But the techniques being developed in the process could reshape how we study the past, piece by piece—dust speck by dust speck.

Scientists are hunting for Leonardo da Vinci’s DNA—on his drawings

Good News Network

When Ms. Sun lost her ear in an industrial accident, doctors at a hospital in Shandong, China faced a daunting challenge. The blood vessels and nerves around the injury were too damaged for immediate reattachment. So instead, they did something extraordinary: they grafted the ear onto her foot.

It’s part of a process called “heterotopic survival,” where severed body parts are temporarily transplanted onto other parts of the body to keep them alive. In Sun’s case, the ear was stitched to the top of her foot, where blood flow and thin skin helped keep it viable.

For five months, Sun lived with her ear on her foot, wearing oversized shoes to protect it. Doctors monitored it closely, especially after early signs of necrosis. But the ear gradually regained color and remained healthy, thanks to the foot’s steady blood supply.

In October, surgeons determined the time was right to reconnect the ear to her head. The procedure required delicate work to restore blood vessels and nerve connections, but it was a success.

Experts told The Mirror that when immediate reattachment isn’t possible, heterotopic survival techniques like this can be the best option—especially for fragile body parts like ears. Ms. Sun is now recovering well.

Woman's Severed Ear Successfully Reattached After Temporary Graft on Foot

The Guardian

Scientists at Rice University say they’ve developed a new way to remove and destroy PFAS chemicals—at speeds up to 100 times faster than today’s filtration systems.

PFAS, short for per- and polyfluoroalkyl substances, are a group of more than 16,000 compounds used in everything from non-stick cookware to waterproof clothing. Nicknamed “forever chemicals,” they don’t break down naturally and have been linked to cancer, liver damage, kidney disease, and birth defects. They’re also notoriously difficult to remove from the environment.

But in a new peer-reviewed study, researchers at Rice detailed a copper-aluminum material that could change that. The compound is a type of layered double hydroxide, or LDH, and works by drawing in PFAS through charge-based attraction. Because the material is positively charged and PFAS are negatively charged, they’re pulled together like magnets.

“It just soaks it in to the order of 100 times faster than other materials that are out there,” said Michael Wong, director of Rice’s Water Institute and co-author of the study.

That speed could be a game-changer. Most current filtration systems—including granular activated carbon, ion exchange, or reverse osmosis—can trap PFAS but can’t destroy them. That leaves facilities with filters full of toxic waste, which then has to be stored or incinerated. Burning the material can release harmful byproducts or simply break large PFAS into smaller, still-dangerous fragments.

Rice’s approach goes further. By heating the soaked LDH material to 400–500°C—well below the temperatures used in current thermal processes—researchers were able to break the carbon-fluorine bonds that make PFAS so indestructible. The resulting fluoride binds with calcium in the LDH, forming a stable calcium-fluoride compound that Wong says is safe to dispose of in landfills.

The key is concentration. Because the material absorbs PFAS at such a high rate, researchers don’t need to heat massive volumes of water. They can simply isolate the PFAS in the filter and destroy it in small, controlled batches.

“It’s going to be important for the direction of research on PFAS destruction in general,” Wong said.

The process worked especially well on long-chain PFAS, which are among the most common pollutants in drinking water and wastewater. It also showed promise with shorter-chain PFAS, though Wong said more research is needed to confirm how broadly it works.

One potential advantage is that the material can be dropped into existing filtration infrastructure. That makes it easier and cheaper to implement than entirely new systems—always a hurdle when trying to scale up new environmental technologies.

Still, experts say caution is warranted. “I’m always skeptical of claims around total destruction of PFAS,” said Laura Orlando, a civil engineer with the non-profit Just Zero. She pointed to the complexity of dealing with wastewater in real-world conditions, where variables like temperature, flow rates, and occupational safety come into play.

Other hurdles include regulatory approval, permitting, and long-term durability. But if Rice’s technology holds up in larger trials, Orlando said, “then it would be really something to pay attention to.”

For now, Rice’s team is continuing lab tests and preparing to explore how the material behaves in field conditions. They say the next steps will focus on scalability—and ultimately, making the process affordable and reliable enough to be used by municipal water systems, industrial sites, and cleanup efforts nationwide.

New Material Destroys ‘Forever Chemicals’ 100 Times Faster Than Current Filters, Researchers Say

Sunny Skyz

In 2005, Kansas City musician Billy Brimblecom was trying to stay alive. Diagnosed with cancer, he underwent 13 rounds of chemotherapy. The treatment worked—but it came at a cost. Doctors had to amputate his leg.

Then came another blow. His insurance would only cover about half of the $60,000 needed for a prosthetic limb.

That’s when his old friend, Jason Sudeikis, stepped in.

Long before Ted Lasso or Saturday Night Live made him a household name, Sudeikis met Brimblecom at a Kansas City improv workshop. When he heard what Brimblecom was going through, he decided to help the only way a Midwesterner knows how—by throwing a barbecue.

That fundraiser covered the cost of Brimblecom’s new leg. But the story didn’t end there.

What started as a one-time act of generosity has grown into something much bigger: Thundergong!, an annual music and comedy variety show that raises money for amputees who can’t afford prosthetic limbs. The event supports the Steps of Faith Foundation, which Brimblecom now leads as CEO.

Since 2017, the show has helped more than 2,000 people regain their mobility—and their confidence.

“I think a big reason that something like Steps of Faith is important is because you get people an arm that they lost through some tragedy or a leg that they lost—you’re giving them their confidence back,” said Sudeikis.

The most recent edition of Thundergong! in 2025 raised $1.13 million, pushing the total raised over the last nine years to more than $5 million.

For Brimblecom, the mission is personal. After his own surgery, he visited another amputee who was struggling emotionally. The conversation stuck with him.

“I don’t even remember what I said,” he said. “But I remember how I felt, and how he was looking at me. I could see the excitement and the hope in his eyes. And I said, ‘Gosh, I wish that could be my job.’”

Today, it is.

“It’s about hope, confidence, surviving, and thriving,” he said.

Sudeikis summed it up best: “To do something that you love with people you love, to help people you may never meet—I wish it on everyone.”

How Jason Sudeikis and his Buddy Helped Transformed a Friendship Into a Lifesaving Fundraiser

ABC News

For more than a century, a collection of sharp-toothed gargoyles has stood watch over Covington, Kentucky, perched atop the Cathedral Basilica of the Assumption. This year, they’re getting some company—and a facelift.

In January, workers began installing new terra cotta gargoyles on the cathedral’s facade, one of the final steps in a two-year, $7.8 million restoration of one of America’s most ambitious Gothic revival churches. Known by many as “America’s Notre Dame,” the cathedral’s design was modeled after its famous French namesake, complete with flying buttresses, pointed arches, and rows of grotesque stone figures.

Unlike the Notre Dame in Paris, which underwent massive repairs after a 2019 fire, Covington’s cathedral has suffered a slower erosion—125 years of rain, wind, ice, and Ohio River air taking a quiet but steady toll on the building’s limestone, metal, and terra cotta features.

“We consider ourselves blessed to be able to ensure the cathedral is taken care of for coming generations,” said the Very Rev. Ryan Maher, rector of the cathedral.

The recent work has included replacing large sections of limestone, sourced from the same quarry in Bedford, Indiana, that supplied the original 1901 construction. The new gargoyles and 26 rooftop chimeras are exact replicas of the worn originals, recreated using high-resolution scans and hand-finishing techniques.

“It’s hard to believe that you’re able to replicate a piece that was built a hundred years ago by men that are no longer with us,” said Brian Walter, executive vice president of Trisco Systems, the company leading the restoration.

Walter called the work “an art and a science” that’s been passed down through generations. “Every part of it is challenging.” Crews have been hoisting massive stones high above a busy Covington street through winter winds and summer heat, all while trying to preserve the intricate character of the original design.

The cathedral has undergone previous renovations, including new statues in 2019. But the current overhaul was triggered by a startling discovery in 2018—a chunk of stone had fallen from the building. Maher took it as a sign that more serious restoration work was overdue.

This time around, workers replaced corroded carbon steel with more durable stainless steel pins and brackets, ensuring longer-lasting support for the facade.

The cathedral itself is an architectural statement. Opened in 1901, it was the vision of Belgian-born Bishop Camillus Paul Maes, who wanted to build something grand enough to reflect what he called “heaven on earth.” At the time, Covington had a population of just over 40,000—about the same as today—but Maes believed the fast-growing immigrant Catholic community needed a sanctuary as awe-inspiring as any in Europe.

Inside, the high vaulted ceilings and massive stained-glass windows were inspired by another Paris landmark, the Basilica of Saint-Denis. Outside, the facade was meant to echo Notre Dame de Paris—albeit at half the scale and without the iconic twin towers.

Cathedral historian Stephen Enzweiler said the design was part of a larger Gothic revival movement in the U.S. around the turn of the century. “At the time, no one had ever heard of Covington,” he said, but the cathedral’s quality and ambition made it stand out.

“It shows the talent of the bishop, the architect and the craftsmen,” said Duncan Stroik, professor of architecture at the University of Notre Dame.

Ironically, much of the “medieval” Gothic revival was itself influenced by 19th-century renovations to Notre Dame, spurred in part by the success of Victor Hugo’s novel The Hunchback of Notre Dame. The chimeras—those fantastical, non-functional creatures atop Notre Dame—were added by architect Eugène Viollet-le-Duc during that era. Covington’s versions are purely decorative too; unlike traditional gargoyles, they don’t serve as rain spouts.

What exactly gargoyles were meant to represent remains up for debate. Were they spiritual guardians? Warnings to the wicked? Or just the creative whims of medieval masons? Whatever the answer, their image has softened over the years—from demonic protectors to cartoon sidekicks, garden ornaments, and even the name of the cathedral’s newsletter: The Gargoyle Gazette.

Funding for the $7.8 million project came from more than 2,000 individual donors, plus several foundations. Maher said the community rallied quickly. “It was kind of an easy sell, because of what the cathedral means to not only our parishioners but to the whole community.”

If all goes to plan, the restoration will be finished by March. For Maher, the timing is perfect—and symbolic.

“When everything is upside down, this is a place where people can experience the calm of the Lord,” he said.

'America's Notre Dame' Cathedral Undergoes Renovation, Gargoyles Included

BetaKit

It may be freezing in Edmonton right now, but three local tech companies are already looking ahead to wildfire season.

FireSafe AI, Wyvern, and AIRmarket—three startups based in Edmonton—are joining forces to roll out a modern, data-driven wildfire detection and prevention system ahead of summer 2026. Together, they’re hoping to create a faster, more accurate way to detect wildfires before they grow out of control.

The collaboration brings together each company’s strength: FireSafe AI specializes in early wildfire detection using artificial intelligence. Wyvern provides hyperspectral satellite imagery. AIRmarket handles drones and real-time aerial surveillance.

“Ultimately, it’s really about creating that… 2 a.m. operational view where [FireSafe AI] can be trusted to respond, detect, and ultimately reduce losses in business continuity, property and in lives,” said Nafaa Haddou, founder and CEO of FireSafe AI.

FireSafe AI is the core of the system

FireSafe’s AI platform combines data from its mobile fire detection towers, traffic cameras, and satellites to produce fire hazard scores and send alerts to emergency crews. In 2025, the company began integrating satellite imagery from Wyvern, which allows the system to get even more detailed and localized.

“What [it] allows us to do is to get a layer of data that’s not easily accessible to a lot of people,” said Haddou. “That hyperspectral layer allows us to categorize based on species, to see under the tree canopy better, rather than just greens and dryness.”

FireSafe users will soon be able to request satellite data directly, thanks to new APIs Wyvern is building specifically for the partnership.

If the AI system detects a fire, AIRmarket’s drones can be launched immediately to confirm the threat and provide real-time situational awareness to crews on the ground. Haddou said the integration was a “natural kind of fit.”

Last summer, FireSafe and AIRmarket held joint demonstrations in Alberta’s Municipal District of Bighorn, showcasing their ability to operate drones beyond visual line of sight—something Transport Canada has recently loosened regulations on.

The need for rapid detection isn’t theoretical.

In July 2024, a lightning strike near Athabasca Falls ignited a blaze that torched 3,500 hectares in just a few hours. The fire ultimately consumed 32,000 hectares and forced the evacuation of Jasper. A few years earlier, in 2021, the entire village of Lytton, B.C., was destroyed by fire in a matter of minutes.

As Canada’s wildfire seasons grow more intense and unpredictable, there’s growing urgency for new solutions. Fires that burn closer to populated areas carry not just human cost, but economic fallout as well.

In 2023, Vermilion Energy was forced to halt operations at a facility near Entwistle, Alberta, due to a nearby wildfire. The shutdown resulted in a loss of about 30,000 barrels of oil equivalent per day.

“That’s significant costs for a lot of these clients,” Haddou said. “So even being able to keep an operation online for an additional hour, or making sure they can go out to create proper firebreaks to limit damage—that’s where the benefit is.”

FireSafe is currently working with Sturgeon County and the Municipal District of Bighorn to deploy its platform. Haddou said the company is focusing on county governments for now, since they often cover large areas and have mandates for public safety.

“They have to make the most out of their resources,” he said. “So being able to reduce false positives and callouts is huge, and in turn to be able to be notified and get the triangulated location to respond in that critical window… is astronomical in improving the ultimate outcome for these communities.”

Beyond governments, FireSafe is targeting industries like oil, gas, and utilities, where wildfires can disrupt operations and cause massive financial losses.

FireSafe AI was founded in 2023 and bootstrapped its way through early development. The company received a $125,000 angel investment in 2025 and support from programs like the Community Safety and Wellness Accelerator. They’re now in the process of raising $1.5 million USD in seed funding.

“Currently we’re aiming to raise a target of $1.5 million USD to really allow us to accelerate development, go to market and get to product market fit,” said Haddou. “We’ve got traction, we’ve got pilots, we’ve got customers, but we’re calling it seed. Effectively, it’s still an early-stage fund for us.”

As fire seasons continue to intensify, FireSafe hopes that the right mix of AI, satellite data, and drones can give first responders an edge—and give communities more time to act.

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