In "The Night of the Two-Legged Buffalo," Artie looked very good in the ceremonial feather outfit, but I'm sure he had his stomach sucked in. This is not a criticism, just something I noticed. He was so cute.

"The Night of the Druid's Blood" used the idea of the brains of brilliant scientists being kept alive outside their original bodies. The exact same idea was the basis of The Colossus of New York, in which Ross Martin starred. Could they have drawn inspiration from this, or just coincidence?

In "The Night of the Golden Cobra," Jim tore the knee of his trousers. In the next scene the trousers knee is intact.

Did the wardrobe people have a problem with trouser cuffs? Jim's trousers were connected to his boots with stirrups so they never rode up. Was this ever really a thing? Artie usually wore those high boots, and when he didn't he seemed to have a similar arrangement to Jim's. Did someone have a trouser cuff hangup?

In scenes where Artie had to take his shirt off he had no chest hair but in scenes where his shirt was only partly open it was evident he had chest hair. Maybe his was not considered as attractive as Jim's who definitely had chest hair.

In "The Night of the Gypsy Peril," Artie, in the guise of a peddler, makes a reference to the treasures of Tutankhamun. These were absolutely not known or dreamed of in the 19th Century. The name was known due to the discovery of some jars bearing the name of Tutankhamun while excavating a bull burial at the Serapaeum of Saqqara in 1852, but this would probably not be general knowledge among the public, only among archaeologists or historians. As far as Tutankhamun possessing any treasures, let alone exceptional treasures beyond those known of any other Egyptian Pharaoh, that was absolutely undreamed of until his tomb was opened by Howard Carter in 1922. Nothing approaching it has been discovered before or since. I don't know whether to count this as a more major error than featuring the Statue of Liberty 12 years too early in "The Night of the Infernal Machine," but at least Tutankhamun was known of then, no matter how obscurely, whereas the Statue of Liberty was not known yet and was featured much more prominently so take your pick as to which was the more major screwup.

In "The Night of the Skulls," Artie fakes his death and in disguise conducts his own funeral. In the eulogy he refers to himself as being like a veritable "colossus."

In "The Night of the Infernal Machine," the poem "The New Colossus" by Emma Lazarus is featured, though it was not actually written until 1883 and it's still presumably between 1872(ish) and 1874(ish) in The Wild Wild West's universe. That's TWO references to a "colossus" in a row. The first one, certainly, has to be a reference to the movie The Colossus of New York, in which Ross Martin starred. This sci-fi horror film, which freaked me out as a child, explores the definition of humanity and how meddling with nature can result in very bad things. I recommend for anyone who hasn't seen it.

In "The Night of the Tartar," Jim tells a Russian villain that he can't banish anyone to Alaska as "we bought that from you five years ago." The sale of Alaska to the United States took place in 1867 so again presumably it is only 1872 here although it has been 1874 in previous episodes. The Wild Wild West may be like Sherlock Holmes stories, which sometimes did flashbacks to past escapades.

In "The Night of the Vicious Valentine," actor J. Edward McKinley is really playing Chopin's "Fantaisie-Impromptu." It is clear he is not faking which is very unusual.

In "The Night of the Hangman," Artie repeatedly uses the term "daguerreotype" to describe photographs on transparent glass plates he is using as slides. Artie is living in the past! The daguerreotype process had almost completely died out by the early 1860s, and Artie is living sometime around 1872-1874 or thereabouts (the series is never very firm on this), in any case certainly well after 1860. Also, daguerreotypes were not on glass plates and could not be used as slides! It's not uncommon that a person might use the wrong word, such as saying "videotape" when recording on a digital camera, but it IS the wrong word!

On two separate occasions when Artie was snooping around and someone whose business it probably was questioned his presence, Artie knocked the guy unconscious and the guy fell into water and Artie didn't get him out resulting in a probable drowning. That wasn't very nice. But I still love him anyway.

Both were in Season 3. The first was in "The Night of the Headless Woman," where Artie was dressed as an old sea salt snooping around the warehouse he hoped to get into and was confronted by a man who may have been the bad guys' henchman. He knocked the guy out and off a dock into water.

The more egregious case, I think, was in "The Night of the Amnesiac," where Artie went seeking Jim in a Chinese bathing establishment. The owner or some worker tried to stop him and Artie knocked him headfirst into a barrel of water. I call this more egregious as the guy was not possibly a henchman but just doing his job, and because Artie could easily have gotten him out unlike the first guy who went off a dock. I always thought of Artie as the more gentle and sympathetic of the two, but when Jim defeated a guy in a mud bath in "The Night of the Two-Legged Buffalo," he at least had the decency to pull his head out and leave him so he wouldn't drown. The above two offenses I think were out of character for Artie and it bothered me. And please don't say, "It was because the script called for it."

In "The Night of the Amnesiac," one of the bad guys referenced Pinocchio. This is 1874 more or less. Pinocchio wasn't published until 1883.

In "The Night of the Avaricious Actuary," it didn't take me two viewings to notice this, I noticed it right away and found it confusing. Near the end the person disguised as an old man who is supposed to be Artie is clearly not Ross Martin when they are in the room where Jim is tied up and escapes. Then when they leave the room it is Ross Martin disguised as the old man.

The first person disguised as the old man, whoever he was, referenced Little Lord Fauntleroy. The year is identified, via a document, as 1875. Little Lord Fauntleroy did not begin to be published until it was serialized in a magazine in 1885-1886 and then appeared as a book in 1886.

In "The Night of the Winged Terror, Part 2," in the outdoor scene where the lady villain is talking to Jim, an airplane contrail can be seen in the sky.

Jim mounted his horse from the right at least once in a first season episode. I believe this was in "The Night of the Deadly Bed." The horse was next to the train and Jim jumped onto it from the right side. Pretty sure the footage wasn't reversed.

Thank you for posting those. Certainly careless of the writers to reference Little Lord Fauntleroy and Pinocchio when scripting for an era prior to the existence of the works. Pinocchio likely would've been found in even the most basic encyclopedia.

After reading The Adventures of Sherlock Holmes, I noticed how many elements of "The Night of the Bleak Island" are like Sherlock Holmes stories. A giant black hound which seems supernatural is obvious, but there are others, such as an isolated mansion, an observant British detective who bitterly misses his criminal adversary, trouble over an inheritance, and the pursuit of a treasure, in this case an exceptionally large diamond.

This is the first episode in which James West works entirely without a partner.

Ross Martin was three inches taller than Robert Conrad but this is only evident a few times. They did a heck of a great job hiding this. Through most of the series they appear to be identical heights.

In "The Night of the Tycoons," Jim removes his boot heel to escape deadly peril. He then rolls onto the floor and when he gets up, both boot heels are on without his having put the heel back.

This is the second of only two episodes in which Jim works entirely without a partner.

In "The Night of the Human Trigger," Jim fortunately has his sleeve gun in his left sleeve, which is usually in his right. In one of the black-and-white episodes he is shown wearing it over his shirt sleeve, under his coat sleeve, while in a color episode it is on his bare arm as if he is intending to wear it under his shirt sleeve.

Jim calls his partner "Artemus" a lot in the first season, but in later seasons it is usually "Artie."

Raggedy Ann makes a couple of appearances. In "The Night of the Howling Light," she is one of the dolls in Madame Lafarge's room. Raggedy Ann appears several times in the toy shop in "The Night of the Whirring Death," and Raggedy Andy is also briefly seen. Despite a questionable origin story by the creator Johnny Gruelle, of Raggedy Ann being based on a rag doll found in the attic of a family home, it is believed Gruelle designed the doll himself and applied for a patent for the design on May 28, 1915. Younger brother Raggedy Andy appeared in 1920.

Somehow I am able to tolerate the idea that Dr. Loveless invented recording machines several years before Thomas Edison invented the phonograph in 1877, but to see these clearly 20th century dolls in a 19th century setting is jarring. They just don't qualify under the steampunk allowances.

In "The Night of the Burning Diamond," there was an open window in a room from which Jim had to escape, but he chose to jump through a closed window. Maybe it was just closer.

In "The Night of the Murderous Spring," Artie keeps pulling up his pants because they have used his suspenders as a weapon and he didn't have time to put them back on. This is an extremely clever and amusing touch. Also an interesting bit of trivia I learned from the DVD set is that the guy they killed using the suspenders was Robert Conrad's father. They may have been aiming a little high as they got him in the chest and Dr. Loveless's center would have been much lower.

"The Night of the Raven" has the following similarities with the film The Incredible Shrinking Man: the main character is menaced (and, in the movie, wounded) by a giant house cat (yellow tabby in both cases), he has to spring a mousetrap without hurting himself, he battles a huge spider in an enormous web (tarantula in both cases), and he uses something the size of a thread to a normal-sized person as if it were a rope. Think the writer was influenced by this movie?

In "The Night of the Flying Pie Plate," the term "flying saucer" was used. This term was not coined until after Kenneth A. Arnold saw some unidentified flying objects while flying past Mt. Rainier on June 24, 1947.

In "The Night of the Poisonous Posey," Artie mentions Danny Deever in reference to a hanging. This was a poem by Rudyard Kipling which wasn't written until 1890.

This is one of the few episodes where you see Jim West get really dirty. His green suit is covered at times with dirt and dust.

In "The Night of the Skulls," the villain aspiring to be president starts reciting the Pledge of Allegiance, including the words "under God." The first version of the pledge was not written until 1885 and "under God" was not added until 1954.

In a first season episode, sorry I don't remember which, Jim, I believe, refers to Artie, I think, using the words of the Boy Scout pledge. The Boy Scouts of America were not founded until 1910.

In "The Night of the Tottering Tontine," the shadow of the microphone is visible in one scene as it is moved twice.

I do believe this episode has the cutest ending of the entire series. Jim and Artie frighten two young ladies into hugging them, then turn to each other and nod in a satisfied manner.

Jim's horse is shown being loaded onto or unloaded from the train in several episodes but "The Night of the Gypsy Peril" is the only one in which its stall is shown. The poor horse has a very small space.

Artie's disguises and props would have taken an entire train car at least.

Artie changes his stance and walk for many of his characters. My absolute favorite is in "The Night of the Surreal McCoy," with that incredible gliding walk he assumes as Lightnin' McCoy. You never see him move like that before or since. I love, Love, LOVE this episode just for that walk!

Jim's eye color is mentioned just once. In "The Night of the Cadre," his eyes are described as green. I have observed closely and notice his eyes appear more blue when he is wearing blue, more green when he is wearing green, and their color changes in different lights. Overall the blue seems dominant. If pressed for an answer I would say Robert Conrad had blue eyes and Jim West had green eyes. Prove me wrong.

In "The Night of the Headless Woman," during and right after the title, the mannequin is lying in the road in two pieces. When Artie picks her up she is back in one piece although no one put her head on.

In "The Night of the Death Masks," in the scene where Jim is in the saloon at night, it can be plainly seen that he is wearing knee pads. It makes sense that he would, but this is the only time I have spotted them.

Besides the Pinocchio reference, here are two more anachronisms from "The Night of the Amnesiac," spoken by chief villain Silas Crotty:

--Ouija board: Not invented until 1890.

--Bronze plating baby shoes: Invented in the 1930s and became a business in 1934.

The formula for The Wild Wild West was "a beautiful woman and a strong adversary," but it occurred to me that "The Night of the Big Blackmail" is the exception to those rules. There is no beautiful woman, and Harvey Korman makes for rather a silly adversary, but the episode works.

"The Night of the Man-Eating House" is the exception to everything. The only beautiful woman and strong adversary is the house itself unless you count the deranged madman as a strong adversary. It is also the only episode that is almost entirely a dream sequence. Although there is conflict, it's one of the relatively few where Jim doesn't wipe up the place with half a dozen guys.

In "The Night of the Camera," no beautiful woman till the last scene.

In "The Night of the Camera," the agents have obtained a rare volume published in 1575 on the subject of the nature of good and evil, but when a page is shown it appears to be a story about Wyatt Earp.

At the end, it sounds an awful lot like Jim calls Jeremy Pike "Artie."

In "The Night of the Winged Terror, Part 2," William Schallert actually plays Frédéric Chopin's "Waltz in D-flat major, Op. 64, No. 1," popularly known as the "Minute Waltz." I have heard it played better but he plays it very quickly and quite recognizably.

"The Night of the Diva" is I believe the only episode where Jim does any singing though he does whistle in a number of episodes. Robert Conrad also pursued a singing career.

Five trains portray "The Wanderer" in the series. The most commonly seen is Number 8. Number 3 is also seen several times and once the shot is reversed so the number is backwards. Another which is seen more than once is Number 5. The train in the opening illustration is also Number 5. Number 16 and Number 22 are each seen once apiece. Number 22 appears in "The Night of the Diva" and if my eyes do not deceive me they actually drove the train onto a sound stage which is quite a feat.

I noticed this probably the first time I saw this episode, and didn't mention it earlier because it seemed kind of mean to do so, but in "The Night of the Pistoleros," after Jim confirms Artie is dead, Artie can be seen breathing very heavily. It is extremely noticeable.

Noticed on the first viewing but decided to include here:

The sound of "My Grandfather's Clock" being played in the toy shop in Season 2, Episode 17, "The Night of the Feathered Fury," is unquestionably a Fisher-Price Tick-Tock Teaching Clock. I had one at the time this episode was made. Several models can be observed in YouTube videos, but they all make pretty much the same sound, which is unmistakable.

Note: it should still be around 1875 here and the song wasn't written until 1876 but whatever.

Jim's horse was wonderfully well trained, coming whenever he whistled. On at least two occasions it performed stunts, throwing a bad guy in "The Night of the Iron Fist" and in "The Night of the Juggernaut" rolling to the ground to dodge rockets. It is wonderful to watch the horse's actions and how quickly Jim pulls his leg out of the way. I love how after Jim rides the horse he always pats it affectionately.