The Wild Wild West

The Wild Wild West is an American television series that ran on CBS for four seasons (104 episodes) from September 17, 1965 to April 4, 1969.The Wild Wild Westincluded many episodes with science-fiction elements.Ascience fiction Westernis a work offictionwhich has elements ofscience fictionin aWesternsetting. It is different from aSpace Western, which is a frontier story indicative ofAmerican Westerns, except transposed to a backdrop ofspaceexploration and settlement.Wild,Wild West might also considered a Weird Western,in that had a mixture of weird elements.In the 1960s, the television seriesThe Wild Wild Westbrought elements of spy stories and science fiction to the Old West.Weird Westis used to describe a combination of theWesternwith anothergenre, usuallyhorror,spy, occult, or fantasy.

Developed at a time when the television western was losing ground to the spy genre, this show was conceived by its creator, Michael Garrison, as "James Bond on horseback."&lt;ref&gt;'Wild Wild West' on DVD, Los Angeles Times, November 4, 2008&lt;/ref&gt;

Two television movies were made with the original cast in 1979 and 1980, and the series was adapted for a motion picture in 1999 with a new cast and story.

Creation, writing and production
Michael Garrison and his partner at the time, Gregory Ratoff, purchased the film rights to Ian Fleming's first Bond novel, Casino Royale, back in 1955. They pitched the idea to 20th Century Fox, but the studio turned them down. After Ratoff died in 1960, his widow and Garrison sold the film rights to Charles K. Feldman, who eventually produced the spoof Casino Royale in 1967. Garrison, in the meantime, had brought James Bond to television in a unique way.

The pilot episode, "The Night of the Inferno", was produced by Garrison and scripted by Gilbert Ralston, who had written for numerous episodic TV series in the 1950s and 1960s. In 1997, Ralston sued Warner Brothers over the upcoming motion picture based on the series. (Wild Wild West was released in 1999.) In a deposition, Ralston explained that he was approached by Michael Garrison, who '"said he had an idea for a series, good commercial idea, and wanted to know if I could glue the idea of a western hero and a James Bond type together in the same show."&lt;ref&gt;The New York Times, 8 July 1999&lt;/ref&gt; Ralston said he then created the Civil War characters, the format, the story outline and nine drafts of the script that was the basis for the television series. It was his idea, for example, to have a secret agent named Jim West who would perform secret missions for a bumbling Ulysses S. Grant.

Ralston's experience brought to light a common Hollywood practice of the 1950s and '60s, when television writers who helped create popular series allowed producers or studios to take credit for a show (thus denying the writers millions of dollars in royalties). Ralston died in 1999, before his suit was settled. Warner Brothers ended up paying his family between $600,000 and $1.5 million.&lt;ref&gt;The Wall Street Journal, 15 July 2005&lt;/ref&gt;

As indicated by Robert Conrad on his DVD commentary for the first season, the show went through several changes in producers in its early weeks of production. This was apparently due to conflicts between the network and Garrison. Collier Young produced episodes 2-4. These episodes featured a butler named Tennyson who traveled with West and Gordon. Tennyson was dropped after the fourth produced episode, but since the episodes were not broadcast in production order, the character popped up at different times during the first season. Fred Freiberger produced episodes 5-14; John Mantley episodes 15-21; and Gene L. Coon episodes 22-27. Garrison then returned to produce the last episode of season one. On August 17, 1966, early during production of the second season, however, Garrison, at home, was taking a shower when the telephone rang. He ran to answer the phone, slipped on the tile floor and fell down the stairs, killing himself. CBS brought in Bruce Lansbury, head of programming in New York (and brother of actress Angela Lansbury), to produce the show for the remainder of its run.

Black and white to color
First season episodes were filmed in black and white, and were appropriately darker in their tonality. (Cinematographer Ted Voightlander was nominated for an Emmy for his work on these episodes.) Subsequent seasons were filmed in color and the show became noticeably campier. Still, some episodes could be astonishingly violent, and that ultimately was the series' downfall: according to Susan Kesler's book (see below), CBS bowed under pressure from watchdog groups and gave the show its cancellation notice in late February, 1969.&lt;ref&gt;"The Washington Post", 22 February 1969&lt;/ref&gt; Get Smart moved from NBC to CBS to fill the first half hour of West's old Friday night time slot in the fall of 1969.

Reruns and syndication
CBS re-ran several episodes of The Wild Wild West in the summer of 1970 before the program moved into syndication and new life on local stations across the country, including WGN. In 1994, it was broadcast on TNT, which usually preferred the color episodes over the black and white shows. Hallmark Channel briefly aired the series in 2005 as part of its slate of Saturday afternoon Westerns but quickly dropped it after several weeks. Retro Television Network aired two episodes back-to-back on Thursday nights in 2005 and is now broadcasting the show during the daytime.

Concept summary
The Wild Wild West told the story of two Secret Service agents: James West, the charming gunslinger (played by Robert Conrad), and Artemus Gordon (played by Ross Martin), the brilliant gadgeteer and master of disguise. Their unending mission was to protect President Ulysses S. Grant and the United States from all manner of dangerous threats. The agents traveled in luxury aboard their own train, the Wanderer, equipped with everything from a stable car to a laboratory. James West had served as an intelligence/cavalry officer in the US Civil War; his "cover" during the series is that he is a railroad president. After retiring from the Service by 1880 he lives on a ranch in Mexico. Gordon's past is more obscure; when he retires in 1880 he goes on the road as the head of a Shakespeare traveling players troupe.

The show incorporated classic Western elements with an espionage thriller, as well as science fiction/alternate history ideas (in a similar vein to steampunk) and plenty of comedy. In the finest James Bond tradition, there were always beautiful women, clever gadgets, and delusional arch-enemies with half-insane plots to take over the country or the world.

The title of each episode begins with "The Night" (except for the first-season episode "Night of the Casual Killer", which omitted the definite article).

The one memorable recurring arch-villain was Dr. Miguelito Quixote Loveless, a brilliant but megalomaniac dwarf portrayed by Michael Dunn. Like Professor Moriarty for Sherlock Holmes, Loveless provided West and Gordon with a worthy adversary, whose plans could be foiled but who resisted all attempts to capture him and bring him to justice. Loveless was introduced in the show's sixth produced, but third televised episode, "The Night the Wizard Shook The Earth", and appeared in another nine episodes. Initially he had two constant companions: the huge Voltaire, played by Richard Kiel; and the beautiful Antoinette, played by Dunn's real-life singing partner, Phoebe Dorin. Voltaire disappeared with no explanation after his third episode, and Antoinette after her sixth. According to The Wild Wild West Revisited TV movie, Loveless eventually dies in 1880 from ulcers, brought on by anger and frustration at having his plans consistently ruined by West and Gordon. (His son, played by Paul Williams, subsequently seeks revenge on the agents.)

Though several actors appeared in multiple villainous roles, only one other character had a second encounter with West and Gordon: Count Manzeppi (played flamboyantly by Victor Buono), a diabolical genius of "black magic" and crime, who – like Dr. Loveless – had an escape plan at the end. (Buono eventually returned in "More Wild Wild West" as a parody of Henry Kissinger, who ends up both handcuffed and turning invisible with the villainous Paradine!)

While the show's writers created their fair share of villains (Agnes Moorehead won an Emmy for her role as Emma Valentine in "The Night of The Vicious Valentine"), they frequently started with the nefarious, stylized inventions of these madmen and then wrote the episodes around these devices. Stories were also inspired by Edgar Allan Poe, H. G. Wells, and Jules Verne.

Robert Conrad and a stock company of stunt players choreographed at least two fight sequences per episode. Conrad also insisted on performing all of his own stunts, such as leaping off a balcony or running in front of a team of horses. During filming of "The Night of the Fugitives," Conrad fell 12 feet from a chandelier onto a concrete floor and suffered a concussion. Production of the series, then near the end of its third season, was shut down two weeks early. (The episode eventually aired during the fourth season, with footage of the fall left in.) Ross Martin broke his leg in a fourth season episode, "The Night of the Avaricious Actuary," and suffered a heart attack a few weeks later after completing "The Night of Fire and Brimstone." His character was replaced temporarily by other agents played by Charles Aidman (four episodes), Alan Hale, Jr. and William Schallert. Aidman said that the script rewrites he had been promised simply amounted to changing the name "Artemus Gordon" to "Jeremy Pike" (his character's name).&lt;ref&gt;Kesler, Susan E., The Wild Wild West: The Series, Arnett Press, 1988&lt;/ref&gt; Pat Paulsen is frequently thought of as a Martin substitute, but he in fact appeared in one of Aidman's episodes, and his character would have been present even if Martin appeared.

Ross Martin once called his role as Artemus Gordon "a show-off's showcase" because it allowed him to portray over 100 different characters during the course of the series, and perform dozens of different dialects. Martin sketched his ideas for his characterizations and worked with the makeup artists to execute the final look. Martin was nominated for an Emmy in 1969.

Props
The Wild Wild West featured numerous gadgets. Some were recurring devices, such as James' sleeve gun or breakaway derringer hidden in his left and right boot heels. Others only appeared in a single episode.

Most of these gadgets are concealed in West's garments:
 * Sleeve gun (a Remington derringer, featured in many episodes). In a few episodes the ejecting/retractable support-arm of the device had other useful gadgets attached to it instead of the derringer, such as a tiny squirt-can containing acid, iron climbing-claws, and various blades.
 * Lock-pick in the lapel of the bolero-style jacket.
 * Throwing knife in the collar of the jacket.
 * Various explosive devices fitted in the jacket's lining, inside his belt (and its buckle), and a secret compartment in his holster.
 * A flat metal barbed climbing-spike and a thin, but strong attachable rope or cord that could be shot into a wooden beam or wall from either his derringer or revolver.
 * A small hand-held rod with a built-in spring-loaded motor-driven winch. When used in conjunction with his climbing-spike and rope, the rod-winch can either hoist him upwards to a building's roof, for instance, or lower him into a deep pit, the distance depending on the length of rope deployed.
 * An ejecting knife-blade in his boot, just between the outer sole and toe-box of the boot.
 * Extra bullets in his belt buckle.
 * A thin, but extremely strong wire flexible enough to be coiled and fitted in the inner lining of the crown of his hat; the wire has multiple uses, and is also capable of sawing through a steel bar.
 * Breakaway derringer (featured in numerous episodes). Usually the handle and trigger mechanism is located in the hollowed-out heel of one boot, while the barrel assembly is located in the other boot's hollowed-out heel; the two pieces snap together and lock. Often bullets for this breakaway derringer are dispensed from a secret compartment in his belt-buckle.
 * A wad of plastic explosive in the hollow heel of one boot; the fuse attached to the hem of his jacket.
 * A break-away blow-torch, each piece hidden in each hollowed-out boot heel.

Aboard the train:
 * Two pistols on a wooden swivel-stand on desk, activated and controlled by a knob on the fireplace.
 * The fireplace conceals a secret escape door and an emergency flare signal.
 * Several pistols, a few rifles, shotguns, and other assorted weaponry hidden behind a sliding wall-panel behind the map at one end of the railway car.
 * A shotgun hidden under a revolving table-top.
 * Cages for carrier pigeons hidden in the walls.

Other gadgets:
 * Exploding billiard ball (usually the cue ball, but not always; featured in pilot episode).
 * Cue stick that has a hidden sword inside (featured in pilot episode).
 * Cue stick that can shoot a bullet (featured in pilot episode).
 * Stage coach with ejector-seat (featured in "The Night the Wizard Shook the Earth").
 * A telegraph mechanism in a cane.
 * A blow torch disguised as a cigar.

The villains often used equally creative gadgets, including:
 * An earthquake making device.
 * A brainwashing device using intense sight and sound.
 * A cyborg, i.e., a man who replaced much of his flesh and bone with metal, making him strong and nearly invulnerable.
 * An early flamethrower.
 * Man-sized steam-driven puppets.
 * Jars that could preserve disembodied human brains and draw upon their knowledge and psychic force.
 * The Juggernaut, a steam-powered triangular tank with a barbed tip.
 * A potion, made from liquified diamond, which enabled a man to move so fast as to be invisible.
 * An LSD-like hallucinogen, capable of driving men into fits of killing madness.
 * A television.
 * A torpedo disguised as a dragon and capable of homing on a radio signal.
 * An invisible electronic force field that disintegrates anything that came in contact with it.
 * A drug capable of shrinking a man down to a height of 6".
 * A suit of armor that acted as an exo-skeleton.
 * A tidal wave-making device that generated giant bubbles.
 * A sonic device that allowed the use of paintings as a portal to other dimensions.
 * Crystals that, when surgically implanted inside the brain and then shattered by a high-pitched noise, caused the subject to turn into a criminal.
 * A giant falcon-shaped cannon, capable of devastating a small town with a single shot.
 * A giant tuning fork device mounted on wheels.
 * A locomotive modified to collide with oncoming trains and derail them.

The train
For the pilot episode, "The Night of the Inferno," the producers used Sierra Railroad No. 3, a 4-6-0 locomotive that was, fittingly, an anachronism: it was built in 1891. Footage of this train, with a 5 replacing the 3 on its number plate, was shot in Jamestown, California. Best known for its role as the Hooterville Cannonball in the CBS series Petticoat Junction, Sierra No. 3 probably appeared in more films and TV shows than any other locomotive in history. It was built by the Rogers Locomotive and Machine Works in Paterson, New Jersey.

When The Wild Wild West went into series production, however, an entirely different train was employed. The locomotive, a 4-4-0 named the Inyo, was built in 1875 by the Baldwin Locomotive Works in Philadelphia. Originally a wood-burner, the Inyo was converted to oil in 1910. The Inyo, as well as the express car and the passenger car, originally served on the Virginia and Truckee Railroad in Nevada. They were among several V&T cars sold to Paramount Pictures in 1937-38. The Inyo appears in numerous films, including High, Wide, and Handsome (1938), Union Pacific (1939), The Marx Brothers' Go West (1940), Meet Me in St. Louis, (1944), Red River (1948), Disney's The Great Locomotive Chase (1956) and McLintock! (1963). For The Wild Wild West, Inyo's original number plate was temporarily changed from No. 22 to No. 8 so that footage of the train could be flipped left or right without the number appearing reversed. Footage of the Inyo was shot around Menifee, Calif., and re-used countless times during the run of the show. (Stock footage of Sierra No. 3 occasionally resurfaced as well!)

These trains were used only for exterior shots. The luxurious interior of the passenger car was constructed on Stage 6 at CBS Studio Center. (Neither Stage 6 or any of the western streets still exist.) Designed by art director Albert Heschong&lt;ref&gt;&lt;/ref&gt;, the set reportedly cost $35,000 in 1965.

The interior of West and Gordon's train was used in an episode of Gunsmoke titled "Death Train" (aired 1/27/67).

After her run on The Wild Wild West, the Inyo participated in the Golden Spike Centennial at Promontory, Utah, in 1969. The following year it appeared as a replica of the Central Pacific's "Jupiter" locomotive at the Golden Spike National Historical Site.. The State of Nevada purchased the Inyo in 1974; it was restored to 1895 vintage, including a wider smoke stack and a new pilot (cow catcher) without a drop coupler. The Inyo is still operational and currently displayed at the Nevada State Railroad Museum in Carson City. The express car (No. 21) and passenger car (No. 4) are also at the museum.

Another veteran V&T locomotive, the Reno (built in 1872 by Baldwin), was used in the two Wild Wild West TV movies and in the 1999 theatrical film starring Will Smith. The Reno is located at Old Tucson Studios.

Theme music
The main title theme was written by Richard Markowitz, who was brought in after the producers rejected two attempts by famed film composer Dimitri Tiomkin. However, Markowitz was never credited for his theme on any episode of the series (although he did receive "music by" credit for episodes he'd scored or where he supplied the majority of tracked-in cues, and he did receive "theme by" credit on both of the TV movies); it is generally believed that this was due to legal difficulties between CBS and Tiomkin over the rejection of the latter's work. Markowitz had previously composed the theme to the TV series The Rebel.

Graphics
The cartoon for the opening credits was another unique element of the series. The screen was divided into five panels, the vertically rectangular center containing a cartoon "hero" who interacted with characters in the surrounding square panels. The cartoon Hero actually bears more of a resemblance to Clint Eastwood in Rawhide or James Arness in Gunsmoke than Conrad. The screen's backdrop was colored to reflect the flag of the United States, with the upper left panel being blue and the others containing horizontal red and white stripes.

The original sequence is as follows:
 * Hero strikes match, lights a cigarette and begins walking in profile
 * Behind the Hero, in the lower left panel, a robber backs out of a bank; the Hero subdues him with a karate chop
 * In the upper right panel, a cardshark tries to pull an ace from his boot; the Hero draws his gun and the cardshark drops his card
 * In the upper left panel, a gunman points a six shooter at the Hero, who drops his gun and puts his hands up. Hero then shoots the gunman with his sleeve derringer; gunman's hand falls limp
 * A woman in the lower right panel taps Hero with her parasol. He pulls her close and kisses her. She is about to stab him but turns away and slumps against the side of the frame, still holding the knife, mesmerized by his kiss. He tips his hat and walks away from camera. This final vignette changed when the series changed to color: the Hero knocks her out with a right cross to the jaw! [Note: This variant can be seen in the original pilot version of the opening credits (included on the DVD release) when the series was under the title The Wild West.] Despite the new version, James West never hit a woman in any episode, although he grappled with some. (The closest he comes to actually hitting a woman is when he slams a door on the evil Countess Zorana, hiding behind it to catch him, in "The Night of the Iron Fist." In "The Night of the Running Death" he does slug a woman called Miss Tyler, but "she" turns out to be a man in drag; actor T. C. Jones) The original animation, with the Hero winning the woman over with a kiss, was a more accurate representation of West's methods than the right cross. Ironically, it is another example of the emphasis on violence of the show.
 * The camera then zooms into the middle panel and the title The Wild Wild West appears. Camera swish pans to an illustration of the train, with Conrad's and Martin's names on the ends of different cars.

The four corner panels were then utilized for the commercial breaks. Each episode was divided into four acts. At the end of each act, the scene (usually a cliffhanger moment) would freeze and a sketch or photograph of the scene would replace one of the panels, creating a "freeze-frame vignette". This graphic was shot at a facility on Ventura Blvd called Format Animation, which no longer exists.

The freeze-frame art changed over the course of the series. In all first season episodes other than the pilot, the panels were live-action stills made to evoke 19th century engravings. In season two (the first in color) the scenes dissolved to tinted stills; from "The Night of the Flying Pie Plate" on, however, the panels were home to Warhol-like serigraphs of the freeze-frames. The end credits were displayed over each episode's mosaic in every season but the last, when a standardized design was used. The pilot is the only episode in which the center panel of the Hero is replaced by a sketch of the final scene of an act — in the third act, he is replaced by the villainous General Cassinello (Nehemiah Persoff).

During the first season, the series title "The Wild Wild West" was set in the font P.T. Barnum. In subsequent seasons, the title appeared in a hand-drawn version of the font Dolphin (which resembles other fonts called Zebrawood, Circus, and Rodeo Clown). Robert Conrad's name was also set in this font. Ross Martin's name was set in the font Bracelet (which resembles Tuscan Ornate and Romantiques). All episode titles, writer and director credits, guest cast and crew credits were set in P.T. Barnum. During commercial breaks, the title "The Wild Wild West" also appeared in P.T. Barnum. This teaser part of the show was incorporated into The History Channel's Wild West Tech (2003-5).

TV-movies
Conrad and Martin reunited for two television movies, The Wild Wild West Revisited (aired May 9, 1979) and More Wild Wild West (aired October 7-8, 1980). "Revisited" introduced Paul Williams as Miguelito Loveless Jr., the son of the agents' arch-nemesis. Loveless planned to substitute clones for the crowned heads of Europe and the President of the United States. (This plot was borrowed from the second season episode "The Night of the Brain.") More was initially conceived as a rematch between the agents and Miguelito Jr., but Williams was unavailable for the film; his character was changed to Albert Paradine II and played by Jonathan Winters. Paradine planned world conquest using a formula for invisibility (recalling the first season episode "The Night of the Burning Diamond"). Both TV films were campier than the TV series, although Conrad and Martin played their roles straight.

In other media
&lt;!-- Deleted image removed:--&gt; The series spawned several merchandising spin-offs, including a seven-issue comic book series by Gold Key Comics, and a paperback novel, Richard Wormser's The Wild Wild West, published in 1966 by Signet (ISBN 0-451-02836-8), which adapted the episode "The Night Of the Double-Edged Knife".

In 1988, Arnett Press published The Wild Wild West: The Series by Susan E. Kesler (ISBN 0-929360-00-1), a thorough production history and episode guide.

In 1990, Millennium Publications produced a four-part comic book series ("The Night Of The Iron Tyrants") scripted by Mark Ellis with art by Darryl Banks. A sequel to the TV series, it involved Dr. Loveless in a conspiracy to assassinate President Grant and the President of Brazil and put the Knights of the Golden Circle into power. The characters of Voltaire and Antoinette were prominent here, despite their respective early departures from Dr. Loveless' side in the original program. A review from the Mile High Comics site states: "This mini-series perfectly captures the fun mixture of western and spy action that marked the ground-breaking 1960s TV series." The storyline of the comics mini-series was optioned for motion picture development.

In 1998, Berkeley Books published three novels by author Robert Vaughan - The Wild Wild West (ISBN 0-425-16372-5), The Night of the Death Train (ISBN 0-425-16449-7), and The Night of the Assassin (ISBN 0-425-16517-5).

In the 75th volume of the French comic book series Lucky Luke (L'Homme de Washington), published in 2008, both James West and Artemus Gordon have a minor guest appearance, albeit the names have been changed to "James East" and "Artémius Gin".

DVD
The first season of The Wild Wild West was released to DVD in North America on June 6, 2006, as a special 40th anniversary edition by CBS Home Entertainment (distributed by Paramount). For the first season set, Robert Conrad recorded special audio introductions for all 28 episodes and the set also included interviews and 1970s era footage of Conrad and Martin being interviewed. The second season was released on March 20, 2007 but the set contained no special features. The third season was released on November 20, 2007. The fourth and final season was released on March 18, 2008. In France, all four seasons (known locally as Les Mystères de l'Ouest) were released in a DVD boxed set before their US release; the set includes many of the extras on the US season one set, plus several other extras (including a 1999 interview with Robert Conrad at the Mirande Country Music Festival in France). Both of the TV movies are also included as extras, but unlike the episodes (all of which are in English with French subtitles, and many (but not all) of which also have French dubs) the TV movies are only present dubbed into French.

A new fan-made Wild Wild West series is being developed by the creators of Star Trek: New Voyages

Motion picture
In January 1992, Variety reported that Warner Bros. was planning a theatrical version of The Wild Wild West directed by Richard Donner, written by Shane Black, and starring Mel Gibson as James West. (Donner directed three episodes of the original series.) Donner and Gibson instead made a theatrical version of TV's Maverick in 1994. The Wild Wild West motion picture continued in the development stage, with Tom Cruise rumored for the lead in 1995. Cruise instead revived Mission: Impossible the following year.

Finally, in 1999, a theatrical motion picture loosely based on the series was released. Directed by Barry Sonnenfeld, the film Wild Wild West (without the definite article used in the series title) made substantial changes to the characters of the series, reimagining James West as an African-American (played by Will Smith), which included, to a small degree, some of the racial issues that certainly would have made it difficult for a black man to be a United States secret service agent in the late 1800s. (However, at the end of "The Night of the Returning Dead", West and Gordon did invite an African-American character played by guest star Sammy Davis Jr. to join the department.)

Significant changes were made to Dr. Loveless (played by Kenneth Brannagh in the film). He went from a dwarf (TV) to a man without legs (film); his name was also changed to Arliss Loveless and he was given the motive of a Southerner who sought the defeat of the North after the Civil War. Kevin Kline plays Gordon, whose character was similar to the version played by Ross Martin, except that he was bitterly competitive with James West, and much more egotistical. The film script had Kline's Gordon invent more ridiculous, humor-related, and implausible contraptions than those created by Martin's Gordon in the television series.

The film also depicted West and Gordon as competitive rivals (almost to the point of a mutual dislike and distrust of one another), whereas in the television series, West and Gordon had a very close friendship and trusted each other with their lives.

Robert Conrad reportedly was offered a cameo in the role of President Grant, but turned it down. He was outspoken in his criticism of the new film. In a New York Post interview (July 3, 1999), Conrad stated that he disliked the movie and that contractually he was owed a share of money on merchandising that he was not paid. He had a long-standing feud with producer Jon Peters, which may have colored his opinion. He was also offended at the racial aspects of the film, as well as the casting of Brannagh as a double amputee, rather than a little-person actor, in the role of Loveless.

Dates
The series is set during the presidency of Ulysses Grant, 1869-77; occasional episodes indicate a more precise date.
 * "The Night of the Glowing Corpse" is set during the Franco-Prussian War of 1870-1.
 * "The Night of the Eccentrics" takes place four years after the assassination in 1867 of Emperor Maximilian I of Mexico.
 * In "The Night of the Brain" Artemus Gordon shows James West a newspaper dated July 12, 1872. West states, "July 12, that's an interesting date, but it happens to be tomorrow." Later they again get tomorrow's newspaper and we see the date: July 14, 1872.
 * "The Night of the Lord of Limbo" takes place seven years after the end of the Civil War, making it 1872.
 * In "The Night that Terror Stalked the Town", Loveless has a headstone prepared for West, showing his birthdate as July 2, 1842.
 * "The Night of the Whirring Death" opens with the caption San Francisco 1874.
 * In "The Night of the Flaming Ghost", West says, "If the real John Brown had lived he'd be almost 75 years old by now." Brown was born May 9, 1800.
 * In "The Night of the Arrow", a cavalry officer resigns his commission as of April 6, 1874.
 * In "The Night of the Avaricious Actuary," the heading of a letter shown on screen is dated 1875.
 * In "The Night of the Underground Terror", the sadistic commandant of a POW camp is said to have escaped justice for ten years, presumably from the end of the war in 1865.

Contrary evidence

 * In "The Night of the Samurai", it is stated that Commodore Matthew Perry's diplomatic expeditions to Japan in 1852 and 1854 occurred "thirty years ago".
 * In "The Night of the Infernal Machine," a character quotes from Emma Lazarus' poem The New Colossus, which was written in 1883.
 * In "The Night Of The Human Trigger", a blackboard is seen sporting a host of scientific equations, including E=MC&lt;sup&gt;2&lt;/sup&gt;, several years before Albert Einstein was born.