Written by Leigh Chapman
Directed by Irving Moore
Synopsis: Some of the nation's wealthiest men are being murdered in a methodical fashion. West and Gordon realize that all the men have been recently married, which leads them to society dame and matchmaker, Emma Valentine, who has a plot to take over the country.
Directed by Irving Moore
Synopsis: Some of the nation's wealthiest men are being murdered in a methodical fashion. West and Gordon realize that all the men have been recently married, which leads them to society dame and matchmaker, Emma Valentine, who has a plot to take over the country.
Trey: I like this episode a lot. It's got most of the ingredients I've previously outlined: high conception locations, colorful masterminds (and colorful henchmen) with dodgy plans, Artie in disguise, technology advanced for the sixties, barely lampshaded for the 1870s, and attractive ladies.
For some reason, the episodes with this sort of format vary in quality, but they always tend to be ones that allow Gordon pretty equally partnership with West, and this is no exception.
Jim: I'm a sucker for villains that utilize some theme in their crimes, so the premise of the Alphabet Murders really appeals to me.
The initial exchange between West and Valentine is interesting because you can almost see Robert Conrad "remember" he's supposed to be emoting as Moorehead steals the scene. Kidding aside, I'm amazed with how well she uses her body and facial movements during the scene. It makes me wish she had reappeared in an episode alongside Michael Dunn.
Trey: Morehead did get a Emmy nomination for this episode. Yes, it's a shame we didn't get that Loveless/Valentine team-up. The ending of this episode suggests they at least considered bringing her back.
Jim: I was also impressed with the colorful outfits the costume designer put on Moorehead (and her charges) in during the whole episode. It's interesting though, because such lavish dresses don't really seem to jive with Valentine's philosophies. She strikes me as favoring equestrian wear while waving a riding crop.
Trey: Ha! Well, it's funny, watching from 2021, her goals seem more sympathetic than they likely did in the '60s, even if we must still deplore her methods and (like Loveless) her desire for a dictatorship, however benevolent or enlightened. It is likely no coincidence this episode was written by woman.
Besides Moorehead, we should note the presence of Sherry Jackson, who we may recognize from the Star Trek episode "Shore Leave."
Jim: I thought I recognized her!
Trey: One element interesting element, and one that shows the evolution of my thinking about WWW, is the irrelevant inclusion of Valentine's dating computer! True, it's there to show her genius, but it doesn't really have much of a role to play besides that one scene.
Jim: Yeah, that dating computer is an odd element. I feel like it either should have been a more integral part of the plot or ditched altogether.
Trey: And prior to this rewatch I would have agreed with you! I'm not sure, now. It's inclusion makes the world of Wild Wild West not our world, but in a rather unobtrusive way. I like that sort of thing; more now than when I first saw this episode.
So, anyway, what's your pitch for a Valentine-Loveless team-up?
Jim: "The Night of the Loveless Valentine" West and Gordon are invited to a very special wedding!
Trey: Anyone at CBS reading this?
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