Did The Wild Wild West Exist

Earl Hamilton
• Sunday, 17 October, 2021
• 25 min read

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.” Set during the administration of President Ulysses Grant (1869–1877), the series followed Secret Service agents James West (Robert Conrad) and Artemis Gordon (Ross Martin) as they solved crimes, protected the President, and foiled the plans of megalomaniacal villains to take over part or all of the United States.

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The show featured a number of fantasy elements, such as the technologically advanced devices used by the agents and their adversaries. The combination of the Victorian era time-frame and the use of Verne an technology have led several Steampunk websites to cite the show as a pioneering influence on the genre.

Despite high ratings, the series was cancelled near the end of its fourth season as a concession to Congress over television violence. The WildWildWest told the story of two Secret Service agents: the fearless and handsome James West (played by Robert Conrad), and Artemis Gordon (played by Ross Martin), a brilliant gangster and master of disguise.

Their 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 and cavalry officer in the American Civil War (1861-1865) on Grant's staff; his “cover”, at least in the pilot episode, is that of “a dandy, a high-roller from the East”. According to the TV movies, West retires from the Service by 1880 and lives on a ranch in Mexico.

Gordon, who was a captain in the Civil War, returns to show business when he retires as the head of a traveling Shakespeare players troupe. Revisited introduced Paul Williams as Manuelito Loveless Jr., the son of the agents' nemesis.

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Loveless planned to substitute clones for the crowned heads of Europe and the President of the United States. This plot is similar to the second-season episode “The Night of the Brain”, which featured a different villain.

Most of the exteriors were filmed at Old Tucson Studios where there are western sets and a functioning steam train and tracks. Ross Martin said, “We worked on a lot of the same sets at the studio, including the interiors of the old train.

More WildWildWest was initially conceived as a rematch between the agents and Manuelito Jr., but Williams was on tour and unavailable for the film; his character was changed to Albert Paradise II and played by Jonathan Winters. Paradise planned world conquest using a formula for invisibility, recalling the first-season episode “The Night of the Burning Diamond”.

The WildWildWest Revisited takes the agents to a town called Wagon Gap. Conrad once revealed that CBS intended to do yearly TV revivals of The WildWildWest.

Conrad was later quoted in Cinefantastique about these films: “We all got along fine with each other when we did these, but I wasn't happy with them only because CBS imposed a lot of restrictions on us. In November 1964, Conrad was making the film Young Dillinger (1965) with Nick Adams, Victor Bono and John Ashley (all of whom would later guest star on The WildWildWest) when his agent sent him to CBS to audition for the West role.

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Others tested included Robert Horton, Ray Danton and James “Skip” Ward. “For the first few episodes we tried stuntmen,” Conrad explained, “but the setup time slowed production down, so I volunteered.

Conrad spent weeks in the hospital and had a long convalescence slowed by constant dizziness. The episode was eventually completed and aired early during the fourth season, with footage of the fall left in.

Conrad later told Percy Chain of the Boston Globe, “I have the whole scene on film. Thereafter, Conrad was doubled for the dangerous stunts but still participated in fight scenes.

Martin sketched his ideas for his characterizations and worked with the makeup artists to execute the final look. Martin told Percy Chain of the Boston Globe, “In the three years of the show, I have run a wider gamut than even those acknowledged masters of disguise, Paul Mini and Lon Chaney.

Martin broke his leg in a fourth-season episode, “The Night of the Avaricious Actuary,” when he dropped a rifle, stepped on it, and his foot rolled over it. Martin told Percy Chain of the Boston Globe, “In the scene where I was hurt, my stand-in tried to finish it.

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A few weeks later, after completing “The Night of Fire and Brimstone”, Martin suffered a heart attack on August 17, 1968. Doctor Loveless and Voltaire. Ida Lupine as Doctor Faustino. The show's most memorable recurring arch- villain was Dr. Manuelito Quixote Loveless, a brilliant but petulant and megalomaniacal dwarf portrayed by Michael Dunn.

Voltaire disappeared without explanation after his third episode (Richard Kiel returned in a different role in “The Night of the Simian Terror”), and Antoinette after her sixth. According to the television film The WildWildWest Revisited, Loveless eventually dies in 1880 from ulcers, brought on by the frustration of having his plans consistently foiled by West and Gordon (his son, played by Paul Williams in the TV film, subsequently seeks revenge on the agents).

Other villains were portrayed by Leslie Nielsen, Sam Wanamaker, Martin Landau, Burgess Meredith, Boris Karloff, Ida Lupine, Carroll O'Connor, Ricardo Montauban, Robert Duvall, Ed Abner, and Harvey Korean. While the show's writers created their fair share of villains, they often started with the nefarious, stylized and sometimes anachronistic inventions of these madmen (or madwomen), and then wrote the episodes around these devices.

President Ulysses S. Grant: Seven episodes (James Gregory in the pilot; Roy Angel thereafter). According to Doris, while filming the episode “The Night of the Murderous Spring”, her costume became entangled in machinery used to drag a boat she and Dunn were in underwater.

Count Carlos Mario Vincenzo Robespierre Vanzetti (Victor Bono): Two appearances. A master of dark magic and leader of a handpicked team of assassins (Bono also played Juan Anglo in “The Night of the Inferno,” the first episode, and Henry Messenger in “More Wild Wild West, ” the final production).

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Frank Harper (William Schaller): Another agent who worked with Jim in the fourth season. In 1954, director/producer Gregory Ra toff purchased the film rights to Ian Fleming's first James Bond novel, Casino Royale, for $600.

CBS, meanwhile, bought the TV rights for $1,000, and on October 21, 1954, the network broadcast an hour-long adaptation on its Climax! In 1960, Edda Hopper reported that Ra toff's film would star Peter Finch as Bond.

But Ra toff died that December, and his widow sold the film rights to producer Charles K. Feldman for $75,000. Feldman and director Howard Hawks were interested in making “Casino Royale” with Cary Grant as Bond.

Eventually Feldman was offered $500,000 and a percentage of the profits to let Harry Saltzman and Chubby Broccoli make the film with Sean Connery. Alston said he then created the Civil War characters, the format, the story outline and nine drafts of the pilot script that was the basis for the television series.

Alston later sued Warner Bros. over the 1999 theatrical film WildWildWest, which was based on the series. This was apparently due to conflicts between the network and Garrison, who had no experience producing for television and had trouble staying on budget.

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At first, Ben Brady was named producer, but he was shifted to Rawhide, which had its own crisis when star Eric Fleming quit at the end of the 1964-65 season. Young also claimed to have added the wry second Wild to the series title, which had been simply “The Wildest in its early stages of production.

Young's replacement, Fred Feinberger, returned the series to its original concept. It was on his watch that writer John Kneubuhl, inspired by a magazine article about Michael Dunn, created the arch-villain Dr. Manuelito Loveless.

Phoebe Doris, who played Loveless' assistant, Antoinette, recalled: “Michael Garrison came to see nightclub act when he was in New York. And, Garrison felt, if Michael Dunn sang on every show, with the girl, it would be an extraordinary running villain.

Loveless was introduced in “The Night the Wizard Shook The Earth,” the show's sixth produced, but third televised episode. After ten episodes (5–14), Feinberger and executive producer Michael Garrison were, according to Variety, “unceremoniously dumped,” reputedly due to a behind-the-scenes power struggle.

By then, Garrison's conflict with CBS was resolved, and he returned to the executive producer role. Coon left after six episodes (22–27) to write First to Fight (1967), a Warner Bros. film about the Marines.

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Garrison's return was much to the relief of Ross Martin, who once revealed that he was so disenchanted during the first season that he tried to quit three times. He explained that Garrison “saw the show as a Bond spoof laid in 1870, and we all knew where we stood.

They knew they couldn't change the James West role very much, but it was open season on Artemis Gordon because they had never seen anything like him before.” On August 17, 1966, however, during production of the new season's ninth episode, “The Night of the Ready-Made Corpse”, Garrison fell down a flight of stairs in his home, fractured his skull, and died.

In the early 1960s Danbury had been in charge of daytime shows at CBS Television City in Hollywood, then vice president of programming in New York. When he was tapped for The WildWildWest, Danbury was working with his twin brother, Edgar, producing legitimate theater on Broadway.

Cinematographer Ted Highlander was nominated for an Emmy Award for his work on one of these episodes, “The Night of the Howling Light.” The 70-acre lot was formerly the home of Republic Studios, which specialized in low-budget films including Westerns starring Roy Rogers and Gene Au try and Saturday morning serials (which The WildWildWest appropriately echoed).

CBS had a wall-to-wall lease on the lot of starting in May 1963, and produced Gun smoke and Rawhide there, as well as Gilligan's Island. Beginning in 1971, MM Enterprises (headed by actress Mary Tyler Moore and her then-husband, Grant Tinker) became the Studio Center's primary tenant.

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In 1995 the lagoon set that was originally constructed for Gilligan's Island was paved over to create a parking lot. Footage of this train, with a 5 replacing the 3 on its number plate, was shot in Jamestown, California.

The luxurious interior of the passenger car was constructed on Stage 6 at CBS Studio Center. Designed by art director Albert Reaching, the set reportedly cost $35,000 in 1965 (approximately $250,000 in 2011 dollars).

All three series were filmed at CBS Studio Center and shared other exterior and interior sets. After her run on The WildWildWest, the Into 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 Into in 1974; it was restored to 1895 vintage, including a wider smoke stack and a new pilot (cow catcher) without a drop coupler.

The Into is still operational and displayed at the Nevada State Railroad Museum in Carson City. Another veteran V&T locomotive, the Reno (built in 1872 by Baldwin), was used in the two The WildWildWest TV movies.

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For its role as “The Wanderer” in the film, the engine was sent to the steam shops at the Strasbourg Rail Road for restoration and repainting. Some were recurring devices, such as West's sleeve gun or a breakaway derringer hidden in his left and right boot heels.

In a some episodes the ejecting arm of the device dispensed other useful gadgets, such as a tiny squirt-can containing acid, iron climbing-claws, a knife, a pulley and various blades. (“The Night of the Avaricious Actuary”) Throwing knife concealed in a pocket inside the back of the jacket.

Carried in his jacket pockets, belt buckle, hat, a secret compartment in his holster, and the hollowed-out heels of one or both boots. Various lengths and types of fuses were sewn into the hem of his jacket or the waistband of his pants.

The piton fit the muzzle of either his derringer or revolver and was fired into a wooden beam or wall. When used in conjunction with the piton and wire, the winch could either hoist him upwards, to a building's roof for instance, or lower him into a pit.

He used this to probe and trigger traps in the Secret Service training room depicted in “The Night of the Janus”. A battery-powered (or spring-driven) electric drill, that in one episode was roughly the size of a large avocado and used to assist West's escape from a metal cage.

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(“The Night of the Returning Dead”) A kit bag, which when opened inflated a big balloon to shock and disorient for a few seconds. A remote control under a revolving table that automatically locked the door of the rail car.

(An anachronism since this was invented nearly twenty years later) Two pistols on a wooden swivel-stand on desk, activated and controlled by a knob on the fireplace. At least one episode shows a pistol concealed behind a side shelf door panel.

(“The Night of the Feathered Fury”) Several pistols, rifles, shotguns, and other assorted weaponry were mounted on a concealed pull-down panel on the laboratory section of the train. (“The Night of the Inferno”) A small mirrored ball hung over the desk and could be used to induce hypnotic suggestions to amiable young women.

(“The Night of the Tartar”) Overhead billiard scoring wire and beads that connected to signal lamps on the back of the railroad car to turn lights off as needed). (“The Night of the Inferno”) Cages for two carrier pigeons (named Henry and Henrietta).

In the pilot episode, the cages were located above the door in the same room where West usually dressed and equipped himself. In subsequent episodes, the carrier pigeons were usually located in a compartment above the fireplace.

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(“The Night of the Colonel's Ghost”) Decorative lion heads that spew knockout gas when triggered. (“The Night of the Big Blackmail”) A toy train set along with life-sized cutouts of West's and Gordon's heads.

(“The Night Dr. Loveless Died”) A Bunsen burner in the laboratory car that, when turned up, activates an outside distress flare. (“The Night of the Inferno” (pilot episode)) Cue stick that fires a bullet.

(“The Night of the Watery Death”) A cigar that when thrown to the ground produces shock and smoke effect. (“The Night of the Bubbling Death”) Smoke Screen in prop human skull.

(“The Night of the Human Trigger”) Brainwashing techniques using intense light and sound. (“The Night of the Puppeteer”) Jars that preserved disembodied human brains to draw upon their knowledge and psychic force.

(“The Night of the Sudden Plague”) An explosive powerful enough to destroy city blocks. (“The Night the Wizard Shook the Earth”) A metal cage connected to a lightning rod.

(“The Night of the Juggernaut”) A potion, made from liquefied diamonds, which enabled a man to move so fast as to be invisible. (“The Night of the Burning Diamond”) An LSD-like hallucinogen, capable of driving men into fits of killing madness.

(“The Night of the Murderous Spring”) A cathode-ray tube (television) plus prototypes of the airplane, automobile, penicillin. (“The Night the Wizard Shook the Earth”) A torpedo disguised as a dragon capable of homing on a radio signal.

(“The Night of the Watery Death”) A drug capable of shrinking a man down to a height of six inches. (“The Night of the Surreal McCoy”) Crystals that, when surgically implanted inside the brain and shattered by a high-pitched noise, caused the subject to turn into a criminal.

(“The Night of the Big Blackmail”) A pair of large metal hands with a deadly electric field. (“The Night of the Eccentrics”) A flying “pie plate” (balloon filled with flares).

Horowitz explained his own approach: “By combining jazz with Americana, I think that's what nailed it. Session musicians who played on the theme were Tommy Morgan (harmonica); Bud Shank, Ronnie Lang, Play Johnson, and Gene Cyprian (woodwinds); Vince Rosa and Henry Sigismund (French Horns); UAN Rosa, Ollie Mitchell, and Tony Terran (trumpets); Dick Nash, Lloyd Late, Chauncey Welsh, Kenny Shorter (trombones).

Tommy Tesco and Bill Pitman (guitars); Carol Kaye (Fender bass); Joe Forward (brushes); Gene Estes, Larry Bunker, and Emil Richards (timpani, percussion). The Hero, who looked more like a traditional cowboy than either West or Gordon, encounters cliché western characters and situations from each corner panel not found in the show.

The Hero strikes a match, lights a cigar, and begins walking in profile to the right. In the upper left panel, a gunman points a six-shooter at the Hero, who drops his gun and puts his hands up.

The Hero then quickly retrieves his own gun and puts it back in his holster. A woman in the lower right panel taps the Hero on the hat with her parasol.

She draws a knife but, mesmerized by his kiss, turns away and slumps against the side of the frame. When the show switched to color, the Hero knocked the woman down with a right cross to the jaw.

This variant also appears in the original pilot episode (included on the DVD release) when the series was titled The Wild West. The closest he came was when he slammed a door against the shotgun-holding evil Countess Zoran in “The Night of the Iron Fist”.

In “The Night of the Running Death” he slugged a woman named Miss Tyler, but “she” was 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.

The camera then swish pans to an illustration of the train, with Conrad's and Martin's names on the ends of different cars. 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.

Curiously, in this design, the bank robber is unconscious, the cardsharp has no card and the lady is on the ground, but the sixshooter in the upper left-hand panel has returned. 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; he is replaced by the villainous General Castillo (Nehemiah Person) at the end of the third act.

“The Night of the Eccentrics” takes place four years after the execution in 1867 of Emperor Maximilian I of Mexico, i.e. 1871. In “The Night of the Eccentrics” Count Vanzetti hums Ride of the Valkyries which was first performed on June 26, 1870.

“The Night of the Man Eating House” states that Liston Day has been in solitary confinement for 30 years and later that he was arrested April 23, 1836. In “The Night of the Brain” Artemis Gordon shows James West a newspaper dated July 12, 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 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 prison camp is said to have escaped justice for ten years, presumably from the end of the war in 1865. In “The Night of the Samurai,” Baron Siege says Admiral Perry took the sword over 30 years earlier.

Some episodes were considered violent for their time and that, rather than low ratings ultimately was the series' downfall. These were choreographed by Whitey Hughes and Conrad, and performed by Conrad and a stock company of stuntmen, including Red West, Dick Cagney and Bob Heron (who doubled for Ross Martin).

“hen I came back for the fourth season, I was limited to what I could do for insurance reasons,” Conrad explained. Often, George would start a stunt, such as a high fall or a dive through a window, then land behind boxes or off camera where Conrad was hidden and waiting to seamlessly complete the action.

This common stunt technique, known by filmmakers as “The Texas Switch”, was often used by Ross Martin and his double, Bob Heron. Robert Conrad: 6-inch fracture of the skull, high temporal concussion, partial paralysis.

However, despite a CBS mandate to tone down the mayhem, “The Night of the Egyptian Queen” (aired November 15, 1968) contains perhaps the series' most ferocious barroom brawl. A later memo attached to the shooting script of “The Night of Manuelito's Revenge” (aired December 13, 1968) reads: “Note to Directors: The producer respectfully asks that no violent acts be shot which are not depicted in the script or discussed beforehand.

Most particularly stay away from gratuitous adults, such as slaps, pointing of firearms or other weapons at characters (especially in close quarters), kicks and the use of furniture and other objects in fight scenes.” Strict limits were placed on the number of so-called “acts of violence” in the last episodes of the season (and thus the series).

James West rarely wears a gun in these episodes, and rather than the usual fisticuffs, fight sequences involved tossing, tackling or body blocking the villains. In December 1968, executives from ABC, CBS and NBC appeared before the President's Commission.

The most caustic of the commissioners, Rep. Hale Boggs (D-Louisiana), decried what he called “the Saturday morning theme of children's cartoon shows” that permit “the good guy to do anything in the name of justice.” He also indicted CBS for featuring sadism in its prime time programming (The WildWildWest was subsequently identified as one example).

The Congressman did, however, commend CBS for a 25% decline in violence programming in prime time compared to the other two networks. Three months later, in March 1969, Sen. John O. Pastor (D-Rhode Island) called the same network presidents before his Senate communications subcommittee for a public scolding on the same subject.

At Pastor's insistence, the networks promised tighter industry self-censorship and the Surgeon General began a $1 million study on the effects of television. The WildWildWest received its cancellation notice in mid-February, even before Pastor's committee convened.

Producer Bruce Danbury always claimed that “It was a sacrificial lamb … It went off with a 32 or 33 share which in those days was virtually break-even, but it always won its time period.” This is confirmed by an article by Associated Press reporter Joseph Combat: “Shows like ABC's 'Outcasts' and NBC's 'Outsider', which depended heavily on violence, were scrapped.

The networks played it safe thereafter: of the 22 new television shows that debuted in the fall of 1969, not one was a western or detective drama. Conrad denounced Pastor for many years but in other interviews he admitted that it probably was time to cancel the series because he felt that he and the stuntmen were pushing their luck.

TV critic Lawrence Laurent wrote, “The return of WildWildWest even for a summer re-run isn't surprising. CBS-TV was never really very eager to cancel this series, since over a four-year run that began in 1965 the WildWildWest had been a solid winner in the ratings.

Cancellation came mainly because CBS officials were concerned about the criticism over televised violence and to a lesser degree because Robert Conrad had grown slightly weary of the role of James West. Ever since last fall's ratings started rolling in, CBS has wished that it had kept WildWildWest.

That fall, CBS put the program into syndication, giving it new life on local stations across the country. One group, The Foundation to Improve Television (FIT), filed a suit on November 12, 1970, to prevent TOP in Washington, D.C., from airing The WildWildWest weekday afternoons at 4 pm.

The suit was brought in Washington, D.C., specifically to gain government and media attention. The suit said the series “contains fictionalized violence and horror harmful to the mental health and well-being of minor children”, and should not air before 9 pm.

TOP's vice president and general manager, John R. Corporal, was quoted as saying, “Since programs directed specifically at children are broadcast in the late afternoon by three other TV stations, it is our purpose to counter-program with programming not directed specifically at children.” US District Court Judge John J. Silica, who later presided over the trial of the Watergate burglars and ordered US President Richard Nixon to turn over White House recordings, dismissed the lawsuit in January 1971, referring FIT to take their complaint to the FCC.

FIT appealed, but a year and a half later the U.S. Court of Appeals upheld the district court decision dismissing the suit on the grounds that FIT had not exhausted the administrative remedies available to them. At that time, the show was in reruns on about 57 other local stations across the country, including FOR in New York and WILD in Chicago.

In October 1973 the Los Angeles-based National Association for Better Broadcasting (NAB) reached a landmark agreement with KT TV, a local station, to purge 42 violent cartoon programs, including Mighty Mouse, Maxilla Gorilla, Speed Racer, and Gigantic. Additionally, the NAB cited 81 syndicated live-action shows that “may have a detrimental influence on some children who are exposed to such programming without parental guidance or perspective” when they are telecast before 8:30 p.m.

The NAB hoped to use the cartoon ban and warning announcement as a model for similar agreements with other local stations. In the late 1980s the series was still seen on local stations in Boston, Hartford, Philadelphia, Pittsburgh and Los Angeles, among other cities.

Significantly, WON (Chicago), which carried the show at 10 a.m. on Sundays, became available nationally through cable television. In 1994, The WildWildWest began running on Saturdays at 10 a.m. on Turner Network Television (TNT), which preferred the color episodes to the black and white shows.

Hallmark Channel aired the series in 2005 as part of its slate of Saturday afternoon Westerns but dropped it after only a few weeks. In 2011 the series began running weekdays and/or weekends on MTV, then Sundays on the Heroes and Icons digital channel.

On January 1, 2018, MTV began running the series weekday afternoons again, starting with second season (color) episodes. Although it was touted as a special 40th anniversary edition, it appeared 41 years after the show's 1965 debut.

Robert Conrad recorded audio introductions for all 28 first-season episodes, plus a commentary track for the pilot. The set also featured audio interviews by Susan Keller (for her book, The WildWildWest : The Series), and 1970s era footage of Conrad and Martin on a daytime talk show.

The set also features a 1999 interview with Robert Conrad at the Miranda Country Music Festival in France. Mel Gibson was cast as James West, with Richard Donner set to direct from a screenplay by Shane Black.

In 1997, as the film was still being developed with other directors, writers and stars, Gilbert Alston, who wrote the TV pilot, sued Warner Bros. over the upcoming feature film based on the series he helped create. Alston died in 1999 before his suit was settled; however, Warner Bros. paid his family between $600,000 and $1.5 million.

In 1999, a theatrical feature-length film co-produced and directed by Barry Rosenfeld was released as WildWildWest (without the definite article used in the series title). Loosely based on the original series, the film re-imagined James West as a black man (played by Will Smith), and Artemis Gordon (played by Kevin Kline) was portrayed as egotistical and bitterly competitive with West.

No longer a dwarf, he was portrayed as a legless double amputee confined to a steam-powered wheelchair (similar to that employed by the villain in the episode “The Night of the Brain”). Loveless, whose first name was changed from Manuelito to Artist, was a bitter Southerner who sought revenge on the North after the American Civil War.

Robert Conrad was reportedly offered a cameo as President Grant but turned it down when the producers wanted him to read for the part. He was outspoken in his criticism of the film, which was now a comedic showcase for Will Smith with little in common with the original series.

He also criticized the casting of Branch as a double amputee, rather than a little-person actor, in the role of Loveless. “Michael Dunn did such a great job playing Dr. Loveless, and he was by far the best villain on the show,” Conrad said.

In a New York Post interview (July 3, 1999), Conrad stated that he disliked the film and that contractually he was owed a share of money on merchandising that he wasn't paid. So much pain and joy went into The Fresh Prince that my greatest desire would be that it's left alone.

In 1988, Arnett Press published The WildWildWest : The Series by Susan E. Keller (ISBN0-929360-00-1), 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.

In the 75th volume of the French comic book series Lucky Luke (L'Home de Washington), published in 2008, both James West and Artemis Gordon have a minor guest appearance, albeit the names have been changed to “James East” and “Artemis Gin”. When Robert Conrad hosted Saturday Night Live on NBC (January 23, 1982), he appeared in a parody of The WildWildWest.

Lincoln dispatches West and Gordon (Joe Piccolo) to find out what Grant drinks. They discover that Grant is held captive by Velvet Jones (Eddie Murphy).

On July 11, 2017, La-La Land Records released a limited edition 4-disc set of music from the series, featuring Richard Horowitz's theme, episode scores by Horowitz, Robert Drain, Dave Grus in, Richard Shores, Harry Geller, Walter Scarf, Jack Play and Fred Steiner, and Dimitri Tomlin's unused theme music. Ross Martin and Robert Conrad Note Pastor Flight Paper Co. 1966Secret “Sleeve Gun” Ray Plastics 1966–1969 Gold Key Comic Books (7 issues)Western Publishing Co. 1969 Lunch Box and Thermos Aladdin Co. Notes ^1 This item was not marketed with the series' name.

On October 5, 2010, Entertainment Weekly reported that Ron Moore and Near Shankar were developing a remake of The WildWildWest for television, but the project apparently stalled. In December 2013, Moore told Wired that WildWildWest and Star Trek were two of my great loves.

^ Quoted by columnist Vernon Scott, UPI, in the Milwaukee Sentinel, April 30, 1979, p. 24 ^ Furman, Bob, and Ron Plumb. ^ “Robert Conrad Digs Macho Man Roles,” The Hartford Court, March 25, 1979.

^ Television Reviews, Variety, May 16, 1979 ^ Philadelphia Inquirer Public Ledger; 03 Jan 1965, p. 211. ^ The New York Times, July 8, 1999 ^ Variety, May 19, 1965 ^ Chicago Tribune, May 27, 1965 ^ Boston Globe, Nov. 28, 1965 ^ Weaver, Tom.

“Civilization Takes Over 'Gilligan's' Lagoon : Television: The set of the 1960s sitcom is turned into an employee parking lot as CBS Studio Center adds production facilities”. ^ “Networks Act to Curb Violence on TV Screens”, Chicago Tribune, July 7, 1968.

^ “Conrad Returns Home,” The Ventura County Press Courier, April 29, 1979 ^ “' West Re-Runs Are No Surprise”, Washington Post, July 19, 1970 ^ “Judge Delays Suit to Curb Wild Wild West '” The New York Times, November 13, 1970. ^ Broadcasting, June 26, 1972 ^ “KT TV Yields to Arm-Twisting by NAB on Vivid Violence,” Variety, Oct. 3, 1973.

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