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The Wild Wild West

The Wild Wild West is an American Western, espionage, and science fiction television series that ran on the CBS television network for four seasons from September 17, 1965, to April 11, 1969. Two satirical comedy television film sequels were made with the original stars in 1979 and 1980 and the series was adapted for a theatrical film in 1999.

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 S. Grant (1869–1877), the series followed Secret Service agents James West (Robert Conrad) and Artemus Gordon (Ross Martin) as they foiled the plans of megalomaniacal villains to take over part or all of the United States, protected the President, and solved crimes. 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 Vernean technology has led several steampunk web sites to cite the show as a pioneering influence on the genre. This aspect was accentuated even more in the 1999 film adaptation.

Despite high ratings, the series was cancelled near the end of its fourth season as a concession to Congress over television violence.

Concept
The Wild Wild West told the story of two Secret Service agents: the fearless and handsome James West (played by Robert Conrad), and Artemus Gordon (played by Ross Martin), a brilliant gadgeteer 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". Thereafter, however, there is no pretense, and his reputation as the foremost Secret Service agent often precedes him. According to the later TV movies, West retires from the Service by 1880 and lives on a ranch in Mexico. When he retires, Gordon, who was a captain in the Civil War, returns to show business as the head of a troupe of traveling Shakespeare players.

The show incorporated classic Western elements with an espionage thriller, science fiction/alternate history ideas (in a vein similar to what would later be called steampunk), in one case horror ("The Night of the Man Eating House") and humor. Episodes were also inspired by Edgar Allan Poe, H. G. Wells and Jules Verne. In the tradition of James Bond, 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 "Night of the Casual Killer" in the first season). This followed other idiosyncratic naming conventions established by shows such as Wagon Train (1957–1965), where nearly every episode was titled "The (Name) Story" or "The Story of (Name)"; Rawhide (1959–1965), in which a majority of episode titles began with "Incident"; and The Man from U.N.C.L.E. (1964–1968), whose episodes were titled "The (Blank) Affair".

Leads
Before The Wild Wild West, Robert Conrad played private detective Tom Lopaka in ABC's Hawaiian Eye for four seasons (1959–63). In November 1964, he was making the film Young Dillinger (1965) with Nick Adams, Victor Buono and John Ashley (all of whom would later guest star on The Wild Wild West) when his agent sent him to CBS to audition for the West role. Conrad claimed to be the 17th actor to test for the part. Others tested included Robert Horton, Ray Danton and James "Skip" Ward. Conrad also claimed that John Derek left the audition without testing.

Conrad performed nearly all of his own stunts in the series. "For the first few episodes we tried stuntmen," Conrad explained, "but the setup time slowed production down, so I volunteered. Things started moving quicker when I took the jumps and the spills. We started meeting the budget." Early on, he was doubled by Louie Elias or Chuck O'Brien.

On January 24, 1968, however, during filming of "The Night of the Fugitives" near the end of the third season, Conrad fell from a chandelier onto the stage floor and suffered a concussion. "A little gymnastics — chandelier work," he later explained. "I didn't chalk up properly and I went 15 feet to the concrete and fractured my skull. I was in intensive care for 72 hours, with a six-inch lineal fracture of the skull and a high temporal concussion." As a result, production of the series ended two weeks early. Conrad spent weeks in the hospital and had a long convalescence slowed by constant dizziness. The episode was eventually completed and aired early in the fourth season, with footage of the fall left in. Conrad later told Percy Shain of the Boston Globe, "I have the whole scene on film. It's a constant reminder to be careful. It also bolstered my determination to make this my last year with the series. Four seasons are enough of this sort of thing." Thereafter, Conrad was doubled for the dangerous stunts, but still participated in fight scenes.

Prior to The Wild Wild West, Ross Martin co-starred in the CBS series Mr. Lucky from 1959 to 1960, portraying Mr. Lucky's sidekick, Andamo. The series was created by Blake Edwards, who also cast Martin as villains in his films Experiment in Terror (1962) and The Great Race (1964).

Martin once called his role as Artemus Gordon "a show-off's showcase" because it allowed him to portray over 100 different characters and perform dozens of different dialects during the course of the series. He sketched his ideas for his characterizations and worked with the makeup artists to execute the final look. Martin told Percy Shain 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 Muni and Lon Chaney. Sometimes I feel like a one man repertory company. I think I've proven to myself and to the industry that I am the No. 1 character lead in films today." The industry acknowledged Martin's work with an Emmy nomination in 1969.

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 Shain, "In the scene where I was hurt, my stand-in tried to finish it. When the shell ejected from the rifle, it caught him in the eye and burned it. We still haven't finished that scene. It will have to wait until I can move around again."

A few weeks later, after completing "The Night of Fire and Brimstone", Martin suffered a heart attack on August 17, 1968 (this was exactly two years after the show's creator, Michael Garrison, died). Martin's character was replaced temporarily by other agents played by Charles Aidman (four episodes as Jeremy Pike), Alan Hale, Jr. (as Ned Brown) and William Schallert (two episodes as Frank Harper), and West worked solo in two other episodes. Aidman said the producers had promised to rewrite the scripts for his new character, but this simply amounted to scratching out the name "Artemus Gordon" and penciling in "Jeremy Pike" (his character's name). Pat Paulsen (one episode as Agent Bosley Cranston) is frequently thought of as a Martin substitute, but he appeared in one of Aidman's episodes, and his character would have been present even if Martin had appeared. Martin returned in mid-December to work in the final three episodes to be filmed.

Villains
The show's most memorable recurring arch-villain was Dr. Miguelito Quixote Loveless, a brilliant but petulant and megalomaniacal dwarf portrayed by Michael Dunn. Initially he had two companions: the towering 7'2" Voltaire, played by Richard Kiel; and the beautiful Antoinette, played by Dunn's real-life singing partner, Phoebe Dorin. Voltaire disappeared without explanation after his third episode, but Kiel returned in a different role in "The Night of the Simian Terror". Antoinette vanished after her sixth episode due to demands by Dunn's jealous real-life wife.

According to the television film The Wild Wild West 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.)

Although several actors appeared in different villainous roles, only one other character had a second encounter with West and Gordon: Count Manzeppi, played flamboyantly by Victor Buono. Manzeppi was a diabolical genius of "black magic" and crime, who—like Dr. Loveless—had an escape plan at the end. Buono played a different villain in the pilot episode, and also returned in More Wild Wild West as "Dr. Henry Messenger", a parody of Henry Kissinger.

Agnes Moorehead won an Emmy for her role as Emma Valentine in "The Night of the Vicious Valentine". Other villains were portrayed by Ed Asner, Christopher Cary, Yvonne Craig, Robert Duvall, Anthony Eisley, Boris Karloff, Harvey Korman, Martin Landau, Delphi Lawrence, Robert Loggia, Ida Lupino, Burgess Meredith, Ricardo Montalbán, Leslie Nielsen, Ramon Novarro, Carroll O'Connor, Susan Oliver, Percy Rodrigues, Jo Van Fleet, Sam Wanamaker, William Windom, and H. M. Wynant.

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 the devices. Henry Sharp, the series' story consultant, would sketch the preliminaries of the designs (eccentrically numbering every sketch "fig. 37"), and give the sketch to a writer, who would build a story around it.

Recurring characters

 * Dr. Miguelito Quixote Loveless (Michael Dunn), ten episodes. The agents' nemesis.
 * Colonel Richmond (Douglas Henderson), ten episodes. West and Gordon's control officer in the Secret Service.
 * President Ulysses S. Grant (James Gregory in the pilot; Roy Engel thereafter), seven episodes.
 * Antoinette (Phoebe Dorin), six appearances. Loveless' female companion, often seen playing a piano or string instrument and singing duet with Loveless. Dorin and Dunn (Loveless) had a real-life nightclub act, "Michael Dunn and Phoebe", in which they sang and exchanged banter. According to Dorin, while filming the episode "The Night of the Murderous Spring", her costume became entangled in the machinery used to pull the boat she and Dunn were in underwater. Dunn did not hesitate to follow her down and help her escape.
 * Jeremy Pike (Charles Aidman), four episodes. One of several agents paired with Jim during Artemus' absence in the fourth season. Appears in the final Loveless episode, "The Night of Miguelito's Revenge."
 * Tennyson (Charles Davis), three episodes. West's butler/valet. Seen randomly in the first season because the episodes were not always broadcast in production order.
 * Voltaire (Richard Kiel), three episodes. Loveless' mostly silent, giant bodyguard. (Kiel also played Dimos Buckley in "The Night of the Simian Terror".)
 * Count Carlos Mario Vincenzo Robespierre Manzeppi (Victor Buono), two appearances. A master of dark magic and leader of a handpicked teams of assassins. (Buono also played Juan Manolo in "The Night of the Inferno," the first episode, and Henry Messenger in More Wild Wild West, the final production.)
 * Frank Harper (William Schallert): Another agent paired with Jim in the fourth season. He appears in the series' only two-part episode, "The Night of the Winged Terror". (Schallert played different characters in two other episodes.)

Creation, writing and filming
In 1954, director/producer Gregory Ratoff 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! series, with Barry Nelson playing American agent "Jimmy Bond" and Peter Lorre playing the villain, Le Chiffre. CBS also approached Fleming about developing a Bond TV series. Fleming later contributed ideas to NBC's The Man from U.N.C.L.E..

In 1955, Ratoff and Michael Garrison formed a production company to make a Casino Royale film, with Ratoff set to direct and 20th Century Fox set to distribute. Production stalled when Ratoff and Garrison could not obtain financing. In 1960, Hedda Hopper reported that Ratoff's film would star Peter Finch as Bond. But Ratoff 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 Cubby Broccoli make the film with Sean Connery. Feldman turned them down, and eventually produced the spoof Casino Royale in 1967. By then, Garrison and CBS had brought James Bond to television in a unique way.

The series' pilot episode, "The Night of the Inferno", was filmed in December 1964. It was produced by Garrison and, according to Robert Conrad, cost $685,000. The episode was scripted by Gilbert Ralston, who had written for numerous episodic TV series in the 1950s and 1960s. (Western novelist and screenwriter Clair Huffaker also worked on the concept. ) In a later 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." Ralston 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. It was his idea, for example, to have a secret agent named Jim West who would perform secret missions for President Ulysses S. Grant. Ralston later sued Warner Bros. over the 1999 theatrical film Wild Wild West, which was based on the series.

As indicated by Robert Conrad on his DVD commentary, the show went through several producers in its first season. This was apparently due to conflicts between the network and Garrison, who had no experience producing for television and had trouble staying on budget. 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. Rawhide lasted another 13 episodes before it was cancelled by CBS.

The network then hired Collier Young. In an interview, Young said he saw the series as The Rogues set in 1870 (The Rogues, which he had produced, was about con men who swindled swindlers, much like the 1970s series Switch). Young also claimed to have added the wry second "Wild" to the series title, which had been simply "The Wild West" in its early stages of production. Young's episodes (2–4) featured a butler named Tennyson who traveled with West and Gordon, but since the episodes were not broadcast in production order, the character popped up at different times during the first season. Conrad was not sorry to see Young go: "I don't mind. All that guy did creatively was put the second 'wild' in the title. CBS did the right thing."

Young's replacement, Fred Freiberger, 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. Miguelito Quixote Loveless. Phoebe Dorin, who played Loveless' assistant, Antoinette, recalled: "Michael Garrison came to see [our] nightclub act when he was in New York. Garrison said to himself, 'Michael Dunn would make the most extraordinary villain. People have never seen anything like him before, and he's a fabulous little actor and he's funny as hell.' And, Garrison felt, if Michael Dunn sang on every show, with the girl, it would be an extraordinary running villain. He came backstage and he told us who he was and he said he was going to do a television show called The Wild Wild West and we would be called. We thought, 'Yeah, yeah, we've heard all that before.' But he did call us and the show was a fantastic success. And that's how it started, because he saw the nightclub act." Loveless was introduced in "The Night the Wizard Shook The Earth," the show's sixth produced, but third televised episode. The character became an immediate hit and Dunn was contracted to appear in four episodes per season. Because of health problems, however, Dunn only appeared in 10 episodes instead of 16.

After 10 episodes (5–14), Freiberger and executive producer Michael Garrison were, according to Variety, "unceremoniously dumped," reputedly due to a behind-the-scenes power struggle. Garrison was replaced by Phillip Leacock, the executive producer of Gunsmoke, and Freiberger was supplanted by John Mantley, an associate producer on Gunsmoke. The exchange stunned both cast and crew. Garrison, who owned 40% of The Wild Wild West, knew nothing about the changes and had not been consulted. He turned the matter over to his attorneys. Freiberger said, "I was fired for accomplishing what I had been hired to do. I was hired to pull the show together when it was in chaos." Conrad said, "I was totally shocked by it. Let's face it, the show is healthy. I think Fred Freiberger is totally correct in his concept of the show. It's an administrative change, for what reason I don't know."

Mantley produced seven (15–21) episodes, then returned to his former position on Gunsmoke and Gene L. Coon took over as associate producer. 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. Garrison produced the last episode of season 1 and the initial episodes of season 2.

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. Each new producer tried to put his stamp on the show and I had a terrible struggle. I fought them line by line in every script. They knew they couldn't change the James West role very much, but it was open season on Artemus 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. CBS assigned Bruce Lansbury, brother of actress Angela Lansbury, to produce the show for the remainder of its run. In the early 1960s Lansbury 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 Wild Wild West, Lansbury was working with his twin brother, Edgar, producing legitimate theater on Broadway.

The first season's episodes were filmed in black and white and they were darker in tone. Cinematographer Ted Voightlander was nominated for an Emmy Award for his work on one of these episodes, "The Night of the Howling Light." Subsequent seasons were filmed in color and the show became noticeably campier.

The Wild Wild West was filmed at CBS Studio Center on Radford Avenue in Studio City in the San Fernando Valley. The 70-acre lot was formerly the home of Republic Studios, which specialized in low-budget films, including Westerns starring Roy Rogers and Gene Autry and Saturday morning serials (which The Wild Wild West appropriately echoed). CBS had a wall-to-wall lease on the lot starting in May 1963 and produced Gunsmoke and Rawhide there, as well as Gilligan's Island. The network bought the lot from Republic in February 1967 for $9.5 million. Beginning in 1971, MTM Enterprises (headed by actress Mary Tyler Moore and her then-husband Grant Tinker) became the Studio Center's primary tenant. In the mid-1980s the Western streets and sets were replaced with new sound stages and urban facades, including the New York streets seen in Seinfeld. In 1995, the lagoon set that was originally constructed for Gilligan's Island was paved over to create a parking lot.

Among iconic locations used for filming were Bronson Canyon ("Night of the Returning Dead" S02 E05) and Vasquez Rocks ("Night of the Cadre" S02 E26).

The TV movies used Old Tucson Studios and Apacheland Studios in Tucson, Arizona, and Gold Canyon, Arizona, respectively.

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: Sierra No. 3 was built in 1891, 15 to 20 years after the series was set. 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 the Virginia and Truckee Railroad in Nevada. They were among the 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 flopped horizontally without the number appearing reversed. Footage of the Inyo in motion and idling was shot around Menifee, California, and reused in virtually every episode. 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. Designed by art director Albert Heschong, the set reportedly cost $35,000 in 1965 (over $290,000 in 2021 dollars). The interior was redesigned with lighter wood when the show switched to color for the 1966–67 season.

The train interior was also used in at least one episode of Gunsmoke ("Death Train," aired January 27, 1967) and in at least two episodes of The Big Valley ("Last Train to the Fair," aired April 27, 1966, and "Days of Wrath," aired January 8, 1968). All three series were filmed at CBS Studio Center and shared other exterior and interior sets. Additionally, the train interior was used for an episode of Get Smart ("The King Lives?", aired January 6, 1968) and the short-lived Barbary Coast ("Funny Money," aired September 8, 1975).

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 cowcatcher (pilot) without a drop coupler. The Inyo is still operational and 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. The Reno, which resembles the Inyo, is located at Old Tucson Studios.

The 1999 Wild Wild West film adaptation used the Baltimore & Ohio 4–4–0 No. 25, one of the oldest operating steam locomotives in the U.S. Built in 1856 at the Mason Machine Works in Taunton, Massachusetts, it was later renamed The William Mason in honor of its manufacturer. For its role as "The Wanderer" in the film, the engine was sent to the steam shops at the Strasburg Rail Road for restoration and repainting. The locomotive is brought out for the B&O Train Museum in Baltimore's "Steam Days".

Both the Inyo and The William Mason appeared in the Disney film The Great Locomotive Chase (1956).

Theme music
The main title theme was written by Richard Markowitz, who previously composed the theme for the TV series The Rebel. He was brought in after the producers rejected two attempts by film composer Dimitri Tiomkin.

In an interview by Susan Kesler (for her book The Wild Wild West: The Series) included in the first season DVD boxed set, Markowitz recalled that the original Tiomkin theme "was very, kind of, traditional, it just seemed wrong." Markowitz explained his own approach: "By combining jazz with Americana, I think that's what nailed it. That took it away from the serious kind of thing that Tiomkin was trying to do...What I did essentially was write two themes: the rhythmic, contemporary theme, Fender bass and brushes, that vamp, for the cartoon effects and for West's getting himself out of trouble, and the heraldic western outdoor theme over that, so that the two worked together."

Session musicians who played on the theme were Tommy Morgan (harmonica); Bud Shank, Ronnie Lang, Plas Johnson and Gene Cipriano (woodwinds); Vince DeRosa and Henry Sigismonti (French horns); Uan Rasey, Ollie Mitchell and Tony Terran (trumpets); Dick Nash, Lloyd Ulyate, Chauncey Welsch and Kenny Shroyer (trombones); Tommy Tedesco and Bill Pitman (guitars); Carol Kaye (Fender bass); Joe Porcaro (brushes) and Gene Estes, Larry Bunker and Emil Richards (timpani, percussion).

Markowitz, however, was never credited for his theme in any episode; it is believed that this was due to legal difficulties between CBS and Tiomkin over the rejection of the latter's work. Markowitz did receive "music composed and conducted by" credits for episodes he had scored (such as "The Night of the Bars of Hell" and "The Night of the Raven") or where he supplied the majority of tracked-in cues (such as "The Night of the Grand Emir" and "The Night of the Gypsy Peril"). He finally received "theme by" credit on both of the TV movies, which were scored by Jeff Alexander rather than Markowitz (few personnel from the series were involved with the TV movies).

Graphics
The animated title sequence was another unique element of the series. Created by Michael Garrison Productions and DePatie-Freleng Enterprises, it was directed by Isadore "Friz" Freleng and animated by Ken Mundie, who designed the titles for the film The Great Race and the TV series Secret Agent, I Spy, Rawhide and Death Valley Days.

The screen was divided into four corner panels abutting a narrow central panel that contained a cartoon "hero". The hero looked more like a traditional cowboy than either West or Gordon, and from each corner panel encountered cliché western characters and situations that never appeared in the show. In the three seasons shot in color, the overall backdrop was an abstracted wash of the flag of the United States, with the upper left panel colored blue and the others containing horizontal red stripes.

The original animation sequence is:
 * The hero strikes a match, lights a cigar, and begins walking in profile to the right.
 * Behind the hero, in the lower left panel, a bandito backs out of a bank; the hero subdues him with a karate chop to the back.
 * In the upper right panel, a cardsharp tries to pull an ace of spades from his boot, but the hero draws his gun and the cardsharp drops the ace.
 * In the upper left panel, a gunman picks up and points a six-shooter at the hero, who drops his gun and puts his hands up. The hero shoots the gunman with his sleeve Derringer; the gunman's hand falls limp. 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. He pulls her close and kisses her. She draws a knife but, mesmerized by his kiss, turns away and slumps against the side of the frame. He tips his hat and walks away with his back to the camera. There were two versions of this vignette; this one appears during the first season. 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. Despite this, James West never hit a woman in any episode, although he grappled with many. The closest he came was when he slammed a door against the shotgun-holding evil Countess Zorana 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 hero walks away into the distance and the camera zooms into his panel. The title The Wild Wild West appears. The camera then swish pans to an illustration of the train, with Conrad's and Martin's names on the ends of different cars.

Each episode had four acts. At the end of each act, the scene, usually a cliffhanger moment, would freeze, and a sketch or photograph of the scene replaced the cartoon art in one of the corner panels. The style of 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 2 (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 unique mosaic of scenes. In the final season, however, a generic design was used under the end credits. Curiously, in this design, the bank robber is unconscious, the cardsharp has no card and the lady is on the ground, but the six-shooter in the upper left-hand panel has returned. The freeze-frame graphics were shot at a facility called Format Animation. 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 Cassinello (Nehemiah Persoff) at the end of the third act.

During the first season, the series title The Wild Wild West was set in the font Barnum, which resembles the newer font P. T. Barnum. In subsequent seasons, the title appeared in a hand-drawn version of the font Dolphin (which resembles newer 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 newer fonts named Tuscan Ornate and Romantiques). All episode titles, writer and director credits, guest cast and crew credits were set in Barnum. During commercial breaks, the title "The Wild Wild West" also appeared in Barnum.

This teaser part of the show was incorporated into The History Channel's Wild West Tech (2003–05).

Dates given in the series
The series is generally set during the presidency of Ulysses S. Grant from 1869 to 1877; occasional episodes indicate a more precise date:
 * "The Night of the Glowing Corpse" (S1E7) is set during the Franco-Prussian War of July 19, 1870 – May 10, 1871.
 * "The Night of the Eccentrics" (S2E1) takes place four years after the execution in 1867 of Emperor Maximilian I of Mexico, i.e. 1871. This is supported by a reference to President Benito Juárez, who stepped down in 1872.
 * In "The Night of the Eccentrics", Count Manzeppi hums "Ride of the Valkyries" which was first performed on June 26, 1870.
 * "The Night of the Man Eating House" (S2E12) states that Liston Day has been in solitary confinement for 30 years and later that he was arrested April 23, 1836. This would put it around 1866, three years before the Grant presidency began.
 * In "The Night of the Brain" (S2E21), 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." After the events described happen, they again get tomorrow's newspaper and we see the date: July 14, 1872.
 * "The Night of the Lord of Limbo" (S2E15) takes place seven years after the end of the Civil War, making it 1872.
 * "The Night of the Tartar" (S2E19) takes place five years after the 1867 purchase of Alaska [i.e., 1872]
 * "The Night of the Whirring Death" (S1E20) opens with the caption San Francisco 1874.
 * "The Night of the Returning Death" is set 13 years after the start of the Civil War [i.e., 1874]
 * In "The Night of the Flaming Ghost" (S1E18), 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" (S3E16), a cavalry officer resigns his commission as of April 6, 1874.
 * In "The Night of the Avaricious Actuary" (S4E11), the heading of a letter shown on screen is dated 1875.
 * In "The Night of the Underground Terror" (S3E19), the sadistic commandant of a prison camp is said to have escaped justice for 10 years, presumably from the end of the war in 1865.
 * In "The Night of the Samurai" (S3E6), Baron Saigo says Admiral Perry took the sword over 30 years earlier. Assuming the date of Perry's first visit to Japan (July 8, 1853), that would mean the episode takes place after 1883, or some six years after the end of the Grant presidency.
 * In "The Night that Terror Stalked the Town", Loveless has a headstone prepared for West, showing his birthdate as July 2, 1842.
 * In "The Night of the Kraken" (S4E6), there is an assassination attempt on Admiral David Farragut, who died in 1870.

Cancellation
Some episodes were considered violent for their time and that, rather than low ratings, ultimately was the series' downfall. In addition to gunplay, there were usually two fight sequences per episode. These were choreographed by stuntman and bit player Whitey Hughes and Conrad and performed by Conrad and a stock company of stuntmen, including Red West, Dick Cangey and Bob Herron (who doubled for Ross Martin).

After Conrad suffered a concussion falling from a chandelier in "The Night of the Fugitives," the network insisted that he defer to a stunt double (his chair on the set was newly inscribed: "Robert Conrad, ex-stuntman, retired by CBS, Jan. 24, 1968"). "[W]hen I came back for the fourth season, I was limited to what I could do for insurance reasons," Conrad explained. "So I agreed and gradually I did all the fights but couldn't do anything five feet off the ground and of course that went out the window." He was doubled by Jimmy George. 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 Herron.

It was hazardous work. Hughes recalled, "We had a lot of crashes. We used to say, 'Roll the cameras and call the ambulances!'" Conrad recalled in 1994, "The injuries started at the top. Robert Conrad: 6-inch fracture of the skull, high temporal concussion, partial paralysis. Ross Martin: broken leg. A broken skull for Red West. Broken leg for Jimmy George. Broken arm for Jack Skelly. And Michael Dunn: head injury and a spinal sprain. He did his own stunts. And on and on." As a result of the April 1968 assassination of Martin Luther King and the June 1968 assassination of Robert F. Kennedy, President Johnson created the National Commission on the Causes and Prevention of Violence. One of the questions it tackled was if violence on television, including graphic news coverage of the Vietnam War, was a contributing factor to violence in American society. The television networks, anticipating these allegations, moved to curtail violence on their entertainment programs before the September start of the 1968–69 television season. Television reporter Cynthia Lowrey, in an article published in August 1968, wrote that The Wild Wild West "is one of the action series being watched by network censors for scenes of excessive violence, even if the violence is all in fun."

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 Miguelito'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 ad-libs, 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 primetime programing (The Wild Wild West 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. Pastore (D-Rhode Island) called the same network presidents before his Senate communications subcommittee for a public scolding on the same subject. At Pastore's insistence, the networks promised tighter industry self-censorship and the Surgeon General began a $1 million study on the effects of television. Congress's concern was shared by the public: in a nationwide poll, 67.5% of 1,554 Americans agreed with the hypothesis that TV and movie violence prompted violence in real life.

Additionally, the National Association for Better Broadcasting (NABB), in a report eventually issued in November 1969, rated The Wild Wild West "as one of the most violent series on television."

After being excoriated by the two committees, networks scrambled to expunge violence from their programming. The Wild Wild West received its cancellation notice in mid-February, even before Pastore's committee convened. Producer Bruce Lansbury 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 Mohbat: "Shows like ABC's 'Outcasts' and NBC's 'Outsider', which depended heavily on violence, were scrapped. CBS killed 'The Wild, Wild West' despite high ratings because of criticism. It was seen by the network as a gesture of good intentions." 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; 14 were comedy or variety series.

Conrad denounced Pastore 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. He also believed the role had hurt his craft. "In so many roles I was a tough guy and I never advanced much," Conrad explained. "Wild Wild West was action adventure. I jumped off roofs and spent all my time with the stuntmen instead of other actors. I thought that's what the role demanded. That role had no dimension other than what it was—a caricature of a performance. It was a comic strip character."

Domestic and foreign syndication
The series was shown in the United Kingdom on the ITV network starting May 5, 1968. It was reasonably popular, but has not been seen on British terrestrial television since the early 1980s. In France the series was known locally as Les Mystères de l'Ouest, where it was successful since all four seasons were released in a DVD boxed set there before they were released in the U.S.

In the summer of 1970, CBS reran several episodes of The Wild Wild West on Mondays at 10 p.m. as a summer replacement for The Carol Burnett Show. These episodes were "The Night of the Bleak Island" (aired July 6); "The Night of the Big Blackmail" (July 13); "The Night of the Kraken" (July 20); "The Night of the Diva" (July 27); "The Night of the Simian Terror" (August 3); "The Night of the Bubbling Death" (August 11); "The Night of the Returning Dead" (August 17); "The Night of the Falcon" (August 24); "The Night of the Underground Terror" (August 31); and "The Night of the Sedgewick Curse" (September 7). Curiously, none of these featured the most frequent and popular villain, Dr. Loveless.

TV critic Lawrence Laurent wrote, "The return of Wild Wild West 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 Wild Wild West 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 Wild Wild West. None of the replacements have done nearly as well and, as a result, all of the Friday programs suffered."

That fall, CBS put the program into syndication, giving it new life on local stations across the country. This further antagonized the anti-violence lobby, since the program was now broadcast weekdays and often after school. One group, The Foundation to Improve Television (FIT), filed a suit on November 12, 1970, to prevent WTOP in Washington, D.C., from airing The Wild Wild West 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. WTOP's vice president and general manager, John R. Corporan, 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." U.S. District Court Judge John J. Sirica, who later presided over the trial of the Watergate burglars and ordered U.S. 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. By then, WTOP had stopped broadcasting the series altogether. At that time, the show was in reruns on about 57 other local stations across the country, including WOR in New York and WFLD in Chicago.

In October 1973, the Los Angeles-based National Association for Better Broadcasting (NABB) reached a landmark agreement with KTTV, a local station, to purge 42 violent cartoon programs, including Mighty Mouse, Magilla Gorilla, Speed Racer and Gigantor. Additionally, the NABB 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. This list included The Wild Wild West, The Avengers, Batman, The Man from U.N.C.L.E., Roy Rogers, Wanted: Dead or Alive and The Lone Ranger. In Los Angeles, such shows opened with a cautionary announcement: "Parents — we wish to advise that because of violence or other possible harmful elements, certain portions of the following program may not be suitable for young children." The NABB hoped to use the cartoon ban and warning announcement as a model for similar agreements with other local stations.

By then, The Wild Wild West was running on 99 local stations. Its ongoing popularity throughout the 1970s prompted two television movie sequels, The Wild Wild West Revisited (1979) and More Wild Wild West (1980) (see below). By the spring of 1985, the original series was still carried on 74 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, WGN (Chicago), which carried the show at 10 a.m. on Sundays, became available nationally through cable television.

In 1994 The Wild Wild West began running on Saturdays at 10 a.m. on Turner Network Television (TNT), which preferred the color episodes to the black and white ones. The series was dropped from WGN soon after. Hallmark Channel aired the series in 2005 as part of its slate of Saturday afternoon Westerns, but dropped it after only a few weeks.

While the series became scarce on television, each season was released on DVD, beginning with season 1 in 2006 and concluding with the final season early in 2008 (see below). In 2014, it was announced that the series was being prepped for Blu-ray.

In 2006 the series began running weekdays and/or weekends on MeTV, then Sundays on the Heroes & Icons digital channel. As of 2024, The Wild Wild West was airing on MeTV on Saturday mornings. As of 2015, the series aired in the United Kingdom on the Horror Channel.

Television films
Conrad and Martin reunited for two satirical comedy television film sequels, The Wild Wild West Revisited (broadcast May 9, 1979) and More Wild Wild West (broadcast October 7, 1980). Revisited introduced Paul Williams as Miguelito Loveless Jr., the son of the agents' nemesis. 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 in Arizona, where there are Western sets and a functioning steam train and tracks. Interiors were shot at CBS Studio Center. Ross Martin said, "We worked on a lot of the same sets at the studio, including the interiors of the old train. We used the same guns and gimmicks and wardrobes – with the waistlines let out a little bit. The script, unlike the old shows, is played strictly for comedy. It calls for us to be ten years older than when we were last seen. There are a lot more laughs than adventure."

More Wild Wild West was initially conceived as a rematch between the agents and Miguelito Jr., but Williams was on tour and unavailable for the film; his character was changed to Albert Paradine II and played by Jonathan Winters. This explains why the story begins with various clones of Paradine being murdered; the first film ends with word that Loveless had cloned himself five times. 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. Both films were directed by veteran comedy Western director Burt Kennedy and written by William Bowers (in the latter case with Tony Kayden, from a story by Bowers); neither Kennedy nor Bowers had worked on the original series. The Wild Wild West Revisited takes the agents to a town called Wagon Gap. This was a nod to the Abbott and Costello film, The Wistful Widow of Wagon Gap (1947), which was based on a treatment by Bowers and D. D. Beauchamp of a short story by Beauchamp.

Conrad once revealed that CBS intended to do yearly TV revivals of The Wild Wild West. Variety, in its review of the first TV movie, concurred: "A couple of more movies in this vein, sensibly spaced, could work in the future." Ross Martin's death in 1981, however, put an end to the idea. 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. They never came up to the level of what we had done before."

Home media
The first season of The Wild Wild West was released on DVD in North America on June 6, 2006, by CBS Home Entertainment (distributed by Paramount Home Entertainment). 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 Kesler (for her book, The Wild Wild West: The Series), and 1970s era footage of Conrad and Martin on a daytime talk show. The second season was released on DVD on March 20, 2007; the third season was released on November 20, 2007; and the fourth and final season was released on March 18, 2008. None of the later season sets contained bonus material.

A 27-disc complete series set was released on November 4, 2008. It contains all 104 episodes of the series, as well as both reunion telefilms.

On May 12, 2015, CBS Home Entertainment released a repackaged version of the complete series set, at a lower price, but did not include the bonus disc that was part of the original complete series set. On June 13, 2016, the bonus disc was released as a standalone item.

In France, where the series (known locally as Les Mystères de l'Ouest) was a big hit, all four seasons were released in a DVD boxed set before their U.S. release. The French set, released by TF1 Video, includes many of the extras on the U.S. season 1 set and many others. "The Night of the Inferno" is presented twice – as a regular episode in English with Conrad's audio commentary, and in a French-dubbed version. All of the episodes are presented in English with French subtitles and several episode titles differ in translation from the original English titles. For example, "The Night of the Gypsy Peril", "The Night of the Simian Terror" and "The Night of Jack O'Diamonds" respectively translate as "The Night of the White Elephant", "The Night of the Beast" and "The Night of the Thoroughbred". Both TV movies are included as extras, but only in French-dubbed versions. The set also features a 1999 interview with Robert Conrad at the Mirande Country Music Festival in France.

Theatrical film adaptation
Warner Bros. optioned the film rights to The Wild Wild West in 1992. Mel Gibson was cast as James West, with Richard Donner set to direct from a screenplay by Shane Black (Donner had directed three episodes of the original series). In 1997, as the film was still being developed with other directors, writers and stars, Gilbert Ralston, who wrote the TV pilot, sued Warner Bros. over the upcoming feature film based on the series he helped create. Ralston 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 Sonnenfeld was released as Wild Wild West (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 Artemus Gordon (played by Kevin Kline) was portrayed as egotistical and bitterly competitive with West. Significant changes were also made to Dr. Loveless (played by Kenneth Branagh). 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 Miguelito to Arliss, 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 was not opposed to casting a Black actor as Jim West: "The African-American casting of that role is probable and should not be an issue," Conrad said. "I think the casting of (Will) Smith is the issue. I appreciate his popularity. However, I'd prefer an actor with more athletic prowess. He's a good comedian but just not my choice to play my role. Best would be a Wesley Snipes body with a Denzel Washington head." Conrad was also offended by the racial overtones of the film. "There is a reference in it to a racial slur," Conrad said. "I hope it's not in the final version. I said, 'Why are we going in this direction. Why not just play James West black without explaining it?' He also criticized the casting of Branagh 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. "There are so many talented dwarfs but they wanted Kenneth Branagh." 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 was not paid. He also had a long-standing feud with producer Jon Peters. "He was dating my 17-year-old daughter," Conrad explained, "saying he was divorced when he wasn’t."

Conrad later took special delight in accepting the Golden Raspberry Awards for the film in 1999. It was awarded Worst Picture, Worst Director, Worst Screenplay, Worst Original Song (for the song "Wild Wild West" by Smith) and Worst Screen Couple.

In 2009, Will Smith apologized publicly to Conrad while doing promotion for Seven Pounds: "I made a mistake on Wild Wild West. That could have been better. ...No, it's funny because I could never understand why Robert Conrad was so upset with Wild Wild West. And now I get it. It's like, 'That's my baby! I put my blood, sweat and tears into that!' So I'm going to apologize to Mr. Conrad for that because I didn't realize. I was young and immature. So much pain and joy went into [my series] The Fresh Prince that my greatest desire would be that it's left alone."

In other media
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".

Books
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 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 2019, Epic Press published a new novel by Joseph Covino, Jr, paying tribute to the series with a novel faithful in both style and spirit, Night of the Nobility Cult: A Wild, Wild Western.

Comics
In 1990, Millennium Publications produced a four-issue comic book miniseries ("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 series. 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 miniseries was optioned for motion picture development.

In the 75th volume of the Belgian 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".

Television
When Robert Conrad hosted Saturday Night Live on NBC (January 23, 1982), he appeared in a parody of The Wild Wild West. President Lincoln states his famous quip that, if General U.S. Grant is a drunk, he should send whatever he is drinking to his other, less successful generals. Lincoln dispatches West and Gordon (Joe Piscopo) to find out what Grant drinks. They discover that Grant is held captive by Velvet Jones (Eddie Murphy).

Soundtrack album
On July 11, 2017, La-La Land Records released a limited edition 4-disc set of music from the series, featuring Richard Markowitz's theme, episode scores by Markowitz, Robert Drasnin, Dave Grusin, Richard Shores, Harry Geller, Walter Scharf, Jack Pleis and Fred Steiner and Dimitri Tiomkin's unused theme music.

Contemporary merchandise
Like many television series, The Wild Wild West had several merchandise tie-ins during its run:

Proposed revivals
After the success of the first TV movie, CBS planned to revive the show as a series of yearly specials. The death of Ross Martin in 1981 ended that discussion. On October 5, 2010, Entertainment Weekly reported that Ronald D. Moore and Naren Shankar were developing a remake of The Wild Wild West for television, but the project apparently stalled. In December 2013, Moore told Wired that "Wild Wild West and Star Trek were two of my great loves. I watched both in syndication in the '70s. Wild Wild West was really interesting, that combination of genres—a Western and secret agent, and they dabbled in the occult and paranormal. I really wanted to do a new version for CBS. I still think it's a great property. Someday I hope to go back to it."

A pastiche webseries titled Back to the Wild Wild West began production in November 2011, but apparently has been stalled.

title: The Wild Wild West


text:
Rodolphe Kreutzer

Rodolphe Kreutzer (15 November 1766 – 6 January 1831) was a French violinist, teacher, conductor, and composer of forty French operas, including La mort d'Abel (1810).

He is probably best known as the dedicatee of Beethoven's Violin Sonata No. 9, Op. 47 (1803), known as the Kreutzer Sonata, though he never played the work. Kreutzer made the acquaintance of Beethoven in 1798, when at Vienna in the service of the French ambassador, Jean-Baptiste Bernadotte (later King of Sweden and Norway). Beethoven originally dedicated the sonata to George Bridgetower, the violinist at its first performance, but after a quarrel he revised the dedication in favour of Kreutzer.

Biography
Kreutzer was born in Versailles, and was initially taught by his German father, who was a musician in the royal chapel, with later lessons from Anton Stamitz. He became one of the foremost violin virtuosos of his day, appearing as a soloist until 1810. He embedded with the Army of Italy under the command of Napoleon Bonaparte in 1797, charged with copying Italian musical manuscripts and returning them to France as trophies. He was a violin professor at the Conservatoire de Paris from its foundation in 1795 until 1826. He was co-author of the Conservatoire's violin method with Pierre Rode and Pierre Baillot, and the three are considered the founding trinity of the French school of violin playing. For a time, Kreutzer was leader of the Paris Opera, and from 1817 he conducted there, too. He died in Geneva and is buried in Paris at the Père Lachaise Cemetery.

Work
Kreutzer was well known for his style of bowing, his splendid tone, and the clearness of his execution. His compositions include nineteen violin concertos and forty operas. His best-known works, however, are the 42 études ou caprices (42 études or capricci, 1796) which are fundamental pedagogic studies.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Rodolphe Kreutzer


text:
Talk:Acts of Supremacy

Correction requested

 * The kind could be merciless or he could forfeit his crown
 * should be
 * The king could be merciless or he could forfeit his crown

Ronbarak (talk) 19:05, 27 January 2011 (UTC) - A typo of 'kind' instead of 'king' is not there. — Preceding unsigned comment added by RCNesland (talk • contribs) 17:22, 20 April 2015 (UTC)

I deleted a reference to the Episcopalian church, a U.S. offshoot of the Church of England, as confusingly anachronistic.I though a link to the text might be useful. Wetman 03:13, 16 Nov 2003 (UTC)

Separation of Church and State
Separation of Church and State in the UK? Since when? JackyR 13:51, 5 January 2006 (UTC)
 * An improvement. But how relevant are the US's (centuries later) actions to the article "Act of Supremacy"? Feels to me like the relevance is the other way round. I suggest:

Sound OK? JackyR 15:16, 5 January 2006 (UTC)
 * 1) pull the info out of this article completely
 * 2) make sure it is represented at some appropriate art. on US
 * 3) if US article is makes strong ref to Act of Supremacy, then add link to it as "See also" on this article.
 * My personal approach to Wiki-editing is to be a modifier and not a bold deleter of questionable material. But I can understand that this section actually is not very relevant to the Act of Supremacy and might appear better in Freedom of Religion or Separation of Church and State, should anyone be able to find a place for it there. Dabbler 15:24, 5 January 2006 (UTC)
 * Thanks for those articles. Neither seems to rely at all on "Act of Supremacy", so I have simply replaced the specific US ref with links to these articles, which are themselves broad and well-linked. JackyR 15:58, 5 January 2006 (UTC)
 * Ah, jolly good. That's a nice way to handle it. :-) JackyR 17:46, 5 January 2006 (UTC)

Well, it was your pointing out of the oddity in the first place that led to our collaboration. Thanks to you too! Dabbler 18:32, 5 January 2006 (UTC)

Act of Supremacy 1559
Do we really need two articles about the 1559 Act? Might be better to move the Act of Supremacy 1559 article over here, so everything is in one place, unless there is a good reason not to. Richard75 21:05, 28 March 2006 (UTC)

Fall-out from this Act
Does anyone have a reliable number for the executions that took place as a result of this Act? Since refusal to swear to it was considered treason, it was a capital crime. Grandma Roses (talk) 11:42, 4 January 2008 (UTC) The executions are certainly not the only "fall out" from this act. For one thing it forced the clergy to obey the civil laws of the state, as before they did not have to. I don't think it is proper to point out the executions as that would lead people to believe that leaving the church to be above civil law was the right thing to do. —Preceding unsigned comment added by 71.63.157.10 (talk) 16:45, 25 August 2009 (UTC)

Problematic 2nd paragraph of 1559 Act section
The second paragraph of the Second Act of Supremacy 1559 section deserves attention, in particular its first two sentences:

''The consolidation of church and state under Royal Supremacy, as established by the Tudors, instigated political and religious strife in the succeeding centuries. This strife, along with similar struggles in Europe, is one reason there is a constitutional separation of church and state in many jurisdictions now.[citation needed]''

I'm not an Anglican nor have an agenda regarding the church, but even to me these two sentences seem egregiously in violation of WP:NPOV and possibly WP:NOR. Not only that, but aside from these two unsupported claims about the long-term repercussions of these acts, the article does not at all deal with any history aside from the period of time immediately leading up to and immediately following the passage of these acts.

And factually, it is a vast oversimplification of the history of secularization of the state in Europe, purposefully ignoring the role that Catholicism played in those states that remained loyal to the Catholic church in the wake of the Protestant reformation (lending a pretense for the nascent French republic's antipathy towards Catholicism, for instance).

I suggest deletion of this paragraph as contributing nothing to the article. If I see no objections to this in the next couple days, I'll do it myself.--Scyldscefing (talk) 19:44, 15 January 2013 (UTC)

External links modified
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title: Talk:Acts of Supremacy


text:
User:T0ky0

My babel entry for japanese should be more like 0.3...

T0ky0 13:53, 20 September 2005 (UTC)

title: User:T0ky0


text:
User talk:Yarvin

Hello Yarvin, welcome to Wikipedia. Here are some useful links in case you haven't already found them;

 * How to edit a page
 * How to write a great article
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 * Manual of Style

If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. I hope you enjoy editing here and being a Wikipedian!

Angela 03:34, 16 Nov 2003 (UTC)

ArbCom elections are now open!
Hi, You appear to be eligible to vote in the current Arbitration Committee election. The Arbitration Committee is the panel of editors responsible for conducting the Wikipedia arbitration process. It has the authority to enact binding solutions for disputes between editors, primarily related to serious behavioural issues that the community has been unable to resolve. This includes the ability to impose site bans, topic bans, editing restrictions, and other measures needed to maintain our editing environment. The arbitration policy describes the Committee's roles and responsibilities in greater detail. If you wish to participate, you are welcome to review the candidates' statements and submit your choices on the voting page. For the Election committee, MediaWiki message delivery (talk) 22:12, 30 November 2015 (UTC)

title: User talk:Yarvin


text:
Tri-County Journal

The Tri-County Journal is owned by Pulitzer Publications, founded in 1878, the same owner as the St. Louis Post-Dispatch. It covers the local news in Pacific, Eureka, Robertsville, Villa Ridge, Labadie, Catawissa, St. Clair, and Gray Summit.

The Tri-County Journal was formerly delivered free of charge to residents of Jefferson, Franklin, and St. Louis counties on Tuesdays. The paper now requires a subscription.

title: Tri-County Journal


text:
Charles Cotesworth Pinckney

Charles Cotesworth Pinckney (February 25, 1746 – August 16, 1825) was an American statesman, military officer and Founding Father who served as United States Minister to France from 1796 to 1797. A delegate to the Constitutional Convention where he signed the Constitution of the United States, Pinckney was twice nominated by the Federalist Party as its presidential candidate in 1804 and 1808, losing both elections.

Born into a planter class family from South Carolina, Pinckney practiced law for several years and was elected to the colonial legislature. A supporter of independence from Great Britain, Pinckney served in the American Revolutionary War, rising to the rank of brigadier general. After the war, he won election to the South Carolina legislature, where he and his brother Thomas represented the landed slavocracy of the South Carolina Lowcountry. An advocate of a stronger federal government, Pinckney served as a delegate to the 1787 Philadelphia Convention, which wrote a new federal constitution. Pinckney's influence helped ensure that South Carolina would ratify the United States Constitution. A town and district named Pinckneyville in South Carolina were named after Charles in 1791.

Pinckney declined George Washington's first offer to serve in his administration, but in 1796 Pinckney accepted the position of minister to France. In what became known as the XYZ Affair, the French demanded a bribe before they would agree to meet with the U.S. delegation. Pinckney returned to the United States, accepting an appointment as a general during the Quasi-War with France. Though he had resisted joining either major party for much of the 1790s, Pinckney began to identify with the Federalist Party following his return from France. The Federalists chose him as their vice presidential nominee in the 1800 presidential election, hoping that his presence on the ticket could win support for the party in the American South. Though Alexander Hamilton schemed to elect Pinckney president under the electoral rules then in place, both Pinckney and incumbent Federalist President John Adams were defeated by the Democratic-Republican candidates.

Seeing little hope of defeating popular incumbent president Thomas Jefferson, the Federalists chose Pinckney as their presidential nominee for the 1804 election. Neither Pinckney nor the party pursued an active campaign, and Jefferson won in a landslide. The Federalists nominated Pinckney again in 1808, in the hope that Pinckney's military experience and Jefferson's economic policies would give the party a chance of winning. Though the 1808 presidential election was closer than the 1804 election had been, Democratic-Republican nominee James Madison nonetheless prevailed.

Early life and family

Charles Cotesworth Pinckney was born in Charleston, South Carolina on February 25, 1746, into the planter class. He was the son of Charles Pinckney, who would later serve as the chief justice of the Province of South Carolina, and Eliza Lucas, a celebrated planter and agriculturalist, who is credited with developing indigo cultivation in this area. His younger brother, Thomas Pinckney, later served as governor of South Carolina, as did his first cousin once removed, Charles Pinckney.

In 1753, Pinckney's father moved the family to London, England, where he served as the colony's agent. Both Charles and his brother Thomas were enrolled in the Westminster School, where they continued as students after the rest of the family returned to South Carolina in 1758. Pinckney enrolled in Christ Church, Oxford, in 1763 and began studying law at Middle Temple in 1764. After a short stint at a military academy in France, Pinckney completed his studies in 1769 and was called to the English bar. He briefly practiced law in England before establishing a legal practice in Charleston.

After returning to the American colonies in 1773, Pinckney married Sarah Middleton. Her father Henry Middleton later served as the second president of the Continental Congress, and her brother Arthur Middleton signed the Declaration of Independence. Sarah died in 1784. In 1786, Pinckney married again, to Mary Stead, who came from a wealthy family of planters in Georgia. Pinckney had three daughters.

Pinckney studied botany in France in 1769 for a year. For his assistance to the French botanist André Michaux, he was honored by having a plant species named for him: Pinckneya pubens.

Early political career
After returning to South Carolina from Europe, Pinckney began to practice law in Charleston. He was first elected to a seat in the colonial legislature in 1770. In 1773 he served as a regional attorney general. When war erupted between the thirteen American colonies and Great Britain in 1775, Pinckney stood with the American Patriots; in that year he was a member of the first South Carolina provincial congress, which helped South Carolina transition from being a British colony to being an independent state. During the American Revolutionary War, he served in the lower house of the state legislature and as a member of the South Carolina Senate, in addition to his military service.

Revolutionary War

Pinckney joined the colonial militia in 1772, and he helped organize South Carolina's resistance to British rule. In 1775, after the American Revolutionary War had broken out, Pinckney volunteered for military service as a full-time regular officer in George Washington's Continental Army. As a senior company commander with the rank of captain, Pinckney raised and led the elite Grenadiers of the 1st South Carolina Regiment. He participated in the successful defense of Charleston in the Battle of Sullivan's Island in June 1776, when British forces under General Sir Henry Clinton staged an amphibious attack on the state capital. Later in 1776 Pinckney took command of the regiment, with the rank of colonel, a position he retained to the end of the war.

After this, the British Army shifted its focus to the northern and mid-Atlantic states. Pinckney led his regiment north to join General Washington's troops near Philadelphia. Pinckney and his regiment participated in the Battle of Brandywine and the Battle of Germantown. Around this time he first met fellow officers Alexander Hamilton and James McHenry, who became future Federalist statesmen.

In 1778, Pinckney and his regiment, returning to the South, took part in a failed American expedition attempting to seize British East Florida. The expedition ended because of severe logistical difficulties and a British victory in the Battle of Alligator Creek Bridge. Later that year, the British Army shifted its focus to the southern theater, capturing Savannah, Georgia, in December 1778. In October 1779, the southern Army of Major General Benjamin Lincoln, with Pinckney leading one of its brigades, attempted to re-take the city in the Siege of Savannah. This attack was a disaster for the Americans, who suffered numerous casualties.

Pinckney participated in the 1780 defense of Charleston against British siege, but the city fell. Major General Lincoln surrendered his 5,000 men to the British on May 12, 1780, and Pinckney became a prisoner of war. As such, he demonstrated leadership, playing a major role in maintaining the troops' loyalty to the Patriot cause. During this time, he said, "If I had a vein that did not beat with the love of my Country, I myself would open it. If I had a drop of blood that could flow dishonorable, I myself would let it out." He was kept in close confinement until his release in 1782. In November 1783, he was commissioned a brevet brigadier general shortly before the southern regiments were disbanded. He was promoted to major general during his subsequent service in the South Carolina militia.

Constitutional Convention

With the conclusion of the Revolutionary War, Pinckney returned to his legal practice, becoming one of the most acclaimed attorneys in South Carolina. He also returned to the lower house of the South Carolina legislature, and he and his brother Thomas became major political powers in the state. He became an advocate of the landed elite of the South Carolina Lowcountry, who dominated the state's government during this period. Though close friends with fellow legislator Edward Rutledge, Pinckney opposed Rutledge's attempts to end the importation of slaves, arguing that South Carolina's economy required the continual infusion of new slaves. Pinckney also took the lead in negotiating the end to a border dispute with the state of Georgia, and he signed the Convention of Beaufort, which temporarily solved some of the disputes.

The Revolutionary War had convinced many in South Carolina, including Pinckney, that the defense of the state required the cooperation of the other colonies. As such, Pinckney advocated a stronger national government than that provided by the Articles of Confederation, and he represented South Carolina at the Constitutional Convention of 1787, where his younger cousin Charles Pinckney also served as a delegate. Pinckney advocated that African American slaves be counted as a basis of representation. According to a book review in The New York Times in January 2015:

"The Northwest Ordinance of July 1787 held that slaves 'may be lawfully reclaimed' from free states and territories, and soon after, a fugitive slave clause – Article IV, Section 2 – was woven into the Constitution at the insistence of the Southern delegates, leading South Carolina's Charles C. Pinckney to boast, 'We have obtained a right to recover our slaves in whatever part of America they may take refuge, which is a right we had not before.'"

Pinckney advocated for a strong national government (albeit one with a system of checks and balances) to replace the weak one of the time. He opposed as impractical the election of representatives by popular vote. He also opposed paying senators, who, he thought, should be men of independent wealth. Pinckney played a key role in requiring treaties to be ratified by the Senate and in the compromise that resulted in continued American participation in the international slave trade for at least twenty years. He also opposed placing a limitation on the size of a federal standing army.

Pinckney played a prominent role in securing the ratification of the Federal Constitution in the South Carolina convention of 1788, and in framing the South Carolina Constitution in the convention of 1790. At the ratification convention, Pinckney distinguished three types of government and said republics were where "the people at large, either collectively or by representation, form the legislature". After this, he announced his retirement from politics.

XYZ Affair

In 1789, President George Washington offered Pinckney his choice of the State Department or the War Department; Pinckney declined both. When Washington offered Pinckney the role of Secretary of State in 1795, Pinckney declined but accepted the post of minister to France in 1796. Relations with the French First Republic were then at a low ebb: the Jay Treaty between the U.S. and Great Britain had angered members of the ruling French Directory, and they had ordered the French Navy to step up seizures of American merchant vessels found to be trading with Britain, with whom France was at war. When Pinckney presented his credentials in November 1796, they were refused, with the Directory stating that no ambassador could be accepted until the outstanding crisis was resolved. Pinckney was outraged by the offense.

After Pinckney reported this to the recently inaugurated President John Adams in 1797, a commission composed of Pinckney, John Marshall, and Elbridge Gerry was established to treat with the French. Gerry and Marshall joined Pinckney at The Hague and traveled to Paris in October 1797. After a cursory preliminary meeting with the new French Foreign Minister Talleyrand, the commissioners were approached informally by a series of intermediaries who spelled out French demands. These included a large loan to France, which the commissioners had been instructed to refuse, and substantial bribes for Talleyrand and members of the Directory, which the commissioners found offensive. These exchanges became the basis for what became known as the "XYZ Affair" when documents concerning them were published in 1798.

Talleyrand, who was aware of political differences in the commission (Pinckney and Marshall were Federalists who favored Britain, and Gerry wavered politically between moderate Federalist ideas and the Jeffersonian Republicans, who favored France and were strongly hostile to Britain), exploited this division in the informal discussions. Pinckney and Marshall left France in April 1798; Gerry remained behind in an unofficial capacity, seeking to moderate French demands. The breakdown of negotiations led to what became known as the undeclared Quasi-War, pitting the two nation's navies against each other.

With a potential war looming, Congress authorized the expansion of the Army, and President Adams asked Washington to take command as commander-in-chief of the Army. As a condition for accepting the position, Washington insisted that Pinckney be offered a position as a general. Washington believed that Pinckney's military experience and political support in the South made him indispensable in defending against a possible invasion by the French. Many Federalists feared that Pinckney would chafe at serving under Hamilton, who had been appointed as Washington's second-in-command, but Pinckney pleasantly surprised the Federalists by accepting his appointment as a general without complaint. Pinckney led the Army's southern department from July 1798 to June 1800.

Presidential candidate
Pinckney and his political allies had resisted becoming closely allied with the Federalist or Democratic-Republican parties during the 1790s, but Pinckney began to identify as a Federalist following his return from France. With the support of Hamilton, Pinckney became the Federalist vice presidential nominee in the 1800 presidential election. Pinckney's military and political service had won him national stature, and Federalists hoped that Pinckney could win some southern votes against Democratic-Republican nominee Thomas Jefferson. Hamilton had even greater hopes, as he wished to displace Adams as president and viewed Pinckney as more amenable to his policies. In-fighting between supporters of Adams and Hamilton plagued the Federalists, and the Democratic-Republicans won the election. Pinckney refused to become involved in Hamilton's plans to make him president and promised not to accept the votes of any elector who was not also pledged to Adams.

Federalists saw little hope of defeating the popular Jefferson in the 1804 election; though the party remained strong in New England, Jefferson was widely expected to win the southern and mid-Atlantic states. With little hope of winning the presidency, the Federalists nominated Pinckney as their presidential candidate, but neither Pinckney nor the Federalists pursued an active presidential campaign against Jefferson. The Federalists hoped that Pinckney's military reputation and his status as a southerner would show that the Federalist Party remained a national party, but they knew that Pinckney had little chance of winning even his own home state. Jefferson won the election in a rout, taking 162 electoral votes compared to Pinckney's 14. Pinckney's defeat in South Carolina made him the first major party presidential nominee to lose his own home state.

Jefferson's second term proved more difficult than his first, as the British and French attacked American shipping as part of the Napoleonic Wars. With Jefferson's popularity waning, Federalists entertained stronger hopes of winning back the presidency in 1808 than they had in 1804. With the support of Jefferson, James Madison was put forward as the Democratic-Republican nominee. Some Federalists favored supporting a renegade Democratic-Republican in James Monroe or George Clinton, but at the Federalist nominating convention, the party again turned to Pinckney. With a potential war against France or Britain looming, the Federalists hoped that Pinckney's military experience would appeal to the nation. The Federalists won Delaware and most of New England, but Madison won the remaining states and won a commanding majority of the electoral college.

Final years and death
After the 1808 election, Pinckney focused on managing his plantations and developing his legal practice. From 1805 until his death in 1825, Pinckney was president-general of the Society of the Cincinnati. Pinckney was elected a member of the American Antiquarian Society in 1813. Pinckney was elected to the American Philosophical Society in 1789.

Pinckney died on August 16, 1825, and was buried in St. Michael's Churchyard in Charleston, South Carolina. His tombstone reads, "One of the founders of the American Republic. In war he was a companion in arms and friend of Washington. In peace he enjoyed his unchanging confidence."

Views on slavery
Pinckney was a life-long slave owner. He repeatedly espoused the belief that slavery was necessary to the economy of states like South Carolina and opposed emancipation. At the Constitutional Convention, he did agree to abolish the importation of slaves in 1808, but his rationale was based on how stopping this trade would increase the value of large existing slave holdings like his. In 1801, Pinckney owned about 250 slaves. When his daughter Eliza married, Pinckney gave her fifty slaves. On his death, he bequeathed his remaining slaves to his daughters and nephews.

In the South Carolina House of Representatives, on January 18, 1788, Pinckney offered several defenses for the lack of a bill of rights in the proposed U.S. Constitution. One was that bills of rights generally begin by declaring that all men are by nature born free. The reporter's summary of his observation concludes, "Now, we should make that declaration with a very bad grace, when a large part of our property consists in men who are actually born slaves."

Memorialization

 * Castle Pinckney in Charleston Harbor, completed about 1810, and an earlier fort on the same site, were named for Pinckney.
 * Pinckney Island National Wildlife Refuge, a national wildlife refuge on the site of the Pinckney family's plantation, was named for Pinckney.
 * A school in Fort Jackson, South Carolina, is called C. C. Pinckney Elementary.
 * A school in Mount Pleasant, South Carolina, is called Charles Pinckney Elementary School.
 * A school in Lawrence, Kansas, is called Pinckney Elementary.
 * In 1942, during World War II, a 422-foot liberty ship was built in Wilmington, North Carolina, and named SS Charles C. Pinckney in his honor.
 * Pinckney Street on Beacon Hill in Boston and in Madison, Wisconsin, were named in his honor.
 * Pinckneyville, Illinois, and Pinckney, Michigan, were named after him.
 * Pinckney Highway (SC 9) in Chester, South Carolina, was named in his honor.
 * Pinckneya, a monotypic genus of Rubiaceae, was named for him by L.C.M. Richard in A. Michaux's Flora Boreali-Americana.
 * In the Netflix animated comedy television series The Epic Tales of Captain Underpants, Charles Cotesworth Pinckney is often brought up as something of a running gag. Often during these gags, either George, Harold, or Mr. Krupp will yell "DARN YOU, CHARLES COTESWORTH PINCKNEY!" at a painting of him.

title: Charles Cotesworth Pinckney


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Charles Pinckney (South Carolina chief justice)

Charles Pinckney (August 13, 1699 – July 12, 1758) was a noted South Carolina politician and colonial agent. He was also the father of two candidates for Vice-President and President. For four presidential elections in a row, from 1796 to 1808, one of his sons would receive votes in the Electoral College.

Early life
Pinckney was born in Charleston South Carolina in 1699. He was the uncle of Colonel Charles Pinckney (1731–1784) and the great-uncle of Governor Charles Pinckney (1757–1824).

Career
Pinckney studied law in England, and had become a politically active leader in the colony. He was South Carolina's first native-born attorney, and served as advocate general of the Court of Vice-Admiralty, justice of the peace for Berkeley County, and attorney general. He was elected as a member of the Commons House of Assembly and Speaker of that body intermittently from 1736–1740, and he was a member of the Royal Provincial Council.

Pinckney also served as attorney general of the Province of South Carolina in 1733, speaker of the assembly in 1736, 1738 and 1740, chief justice of the province in 1752–1753, and agent for South Carolina in England in 1753–1758.

Personal life
In 1744, Pinckney married, as his second wife, Eliza Lucas (1722–1793), the daughter of Lt. Colonel George Lucas, of Dalzell's Regiment of Foot in the British Army. They were the parents of four children, three of whom lived to adulthood:

 * Charles Cotesworth Pinckney (1746–1825), a signer of the U.S. Constitution and the Federalist candidate for President in 1804 and 1808 and Vice-President in 1800.
 * George Lucas Pinckney (1747–1747), who died in infancy.
 * Harriott Pinckney (1748–1830), who married Daniel Horry and lived at Hampton Plantation in McClellanville, South Carolina.
 * Thomas Pinckney (1750–1828), who negotiated Pinckney's Treaty with Spain in 1795 and was the Federalist candidate for Vice-President in 1796.

Pinckney died on July 12, 1758 in Mount Pleasant, South Carolina.


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Charles Pinckney

Charles Pinckney may refer to:

 * Charles Pinckney (South Carolina chief justice) (died 1758), father of Charles Cotesworth Pinckney
 * Colonel Charles Pinckney (1731–1782), South Carolina politician, loyal to British during Revolutionary War, father of Charles Pinckney, the governor
 * Charles Pinckney (governor) (1757–1824), South Carolina governor, drafter of U.S. Constitution, second cousin of Charles Cotesworth Pinckney
 * Charles Cotesworth Pinckney (1746–1825), U.S. vice presidential candidate (1800), U.S. presidential candidate (1804 and 1808)

title: Charles Pinckney


text:
Talk:Charles Pinckney

Ordering of items
I am about to reorder the items, and I would like to explain my logic, because I suspect that otherwise it will be a matter of contention.

Per Manual of style (disambiguation pages), the recommended order for items is:

 * 1) Articles with a clarifier in parentheses (Anticipation (music))
 * 2) Articles with the item as part of the name (Computer keyboard as part of a Keyboard dab page)

This moves Charles Cotesworth Pinckney from first to third. This same section also reads, “In most cases, place the items in order of usage, with the most-used meanings appearing at the top and less common meanings below.” This also argues for moving C.C. Pinckney to third:  generally, when a person refers to “Charles Pinckney”, they are more likely to be referring to C.C. Pinckney's father or to Governor Pinckney than to C.C. Pinckney, who is almost always referred to as “Charles Cotesworth Pinckney” or “C.C. Pinckney”.

A simple check of “What links here” suffices to show that Charles Pinckney (governor) should precede Charles Pinckney (South Carolina chief justice).

— DLJessup (talk) 16:18, 20 February 2006 (UTC)

Family relationship
The bio pages on Charles Pinckney (governor) and Charles Cotesworth Pinckney give their family relationship as first cousins once removed, but here they are listed as second cousins. Which is correct? — Dodiad (talk) 10:22, 8 September 2018 (UTC)

title: Talk:Charles Pinckney