| 1 | New entries on the bottom. |
| 2 | |
| 3 | [[foldercontrol]] |
| 4 | |
| 5 | [[folder:Unexplained]] |
| 6 | |
| 7 | * In some episodes the characters work under the assumption that "if it has no other explanation, it's an artifact". However, now that Alphas is in the same universe, it could be that the warehouse agents would go to missions only to discover that there are no artifacts involved, only.. people with supernatural powers. And that can make really awkward situations for the agents. Someone got an idea, or it is just that Syfy screwed their own series' logic? |
| 8 | ** Already brought up on the ''Headscratchers.{{Alphas}}'' page. Basically, it's been established that Artie has protocols for determining whether or not an Artifact is responsible for weirdness. Presumably, those protocols include determining whether or not an Alpha is involved. Maybe there's an Artifact that keeps track of every Alpha in the world. |
| 9 | ** There is, even though [[spoiler:Dr. Rosen broke it]] it's not hard to believe the Regents might have copied it. |
| 10 | ** Answered in the Season 4 premerie. The football which circumnavigates the globe is an artifact scanner, and presumably is responsible for the pings that let the agents know where an artifact is acting up. |
| 11 | ** Website/TheOtherWiki also notes that the goo is made by Global Dynamics (Eureka). So it may very well be that all three organizations coordinate tracking methods and pass out pings appropriately. One could easily see it going like: W13 (is it something crazy and unexplained?) No? Go to -> GD (is it something crazy?) No? Go to -> Alphas (is it a person?). |
| 12 | |
| 13 | [[/folder]] |
| 14 | |
| 15 | [[folder:Number of agents]] |
| 16 | |
| 17 | * Okay. We have the top secret warehouse filled with lots of dangerous stuff which separate may be more dangerous than all of the nuclear warheads combined. And apparently there are a few agents that keep this place (2 field agents, 1 local agent, 1 19-year-old girl which in theory has no clearance and 1 hotel manager). And there is an oversized bureaucracy (Ms. Frederic + her bodyguard + around 10 of superiors). Why there is no 5 more people just to keep this place in check - for example doing monitoring. It is not as if hiring 5 top-secret agents would damage the US budget. |
| 18 | ** Its probably just that the less people who know about it the better. |
| 19 | ** Except the Regents outnumber the actual staff. And considering how many artifacts abound, it wouldn't it be prudent to have multiple teams out and about looking for things? To have multiple Arties and Claudias to help with research and such? To have people training to be the next Artie? Considering how deadly or quirky some of the artifacts could be, it would be equally prudent to have more than one person with an encyclopedia brain in order to handle things. |
| 20 | ** This is standard for TV--see OddlySmallOrganization. Torchwood and Sanctuary do the same thing. |
| 21 | ** The Regents justify this in their first appearance. If they let the government have any level of control, there'd be nothing left of the Warehouse. They recruit from the Secret Service, but otherwise normal people run the show in order to minimize the chance of abuse. |
| 22 | ** That's not really justification at all though since it's not like normal people are any better - most of the villains in the show are normal people with no government connections to begin with. Most of the people that have found them have been normal. In fact, the only government people involved have all been friendly and helpful. This isn't to say that it should be purely government run, but rather, trying to justify it with what comes across as a kneejerk "Government Baaaad/Evil" dismissive response doesn't work. Suffice to say, it's not government they worry about it's people - and they should recruit and cultivate connections (one way or another, whether as the warehouse or as some Non-Warehouse Organization) with anybody they can trust. However, the Eureka crossover episode and Artie episode perhaps suggests that it's perhaps more a line or at least, policy more than perhaps truth (Artie is ex-CIA). There's someone(s) high enough that they can get a secret non-existent group of scientists to help a secret non-existent warehouse with what amounts to tech support and arrange for the transfer of personnel. This means someone(s) has knowledge of both places and is in a position of power to work with both. Though to be fair to the show, the show isn't that kind of show so, Handwave I suppose. |
| 23 | ** Eureka is a case in point why the Regents don't allow government involvement. That place is turning out weapons left and right. Imagine if they got their fingers in the Warehouse cookie jar. Unimaginable horrors could be unleashed, arguably just as bad as what Eureka puts out, if not worse. Sure, what little government involvement there is now is with nice people, but only because they don't interact with anyone else. If they allowed government involvement on any other level than "we're renting this spot, thanks", it'd become like Eureka. Sure, evil people have been made through their contact with the Warehouse, but this is not something that would change with government involvement. It would actually be worse because a larger staff, with less work into careful selection, would breed more people like [=MacPhearson=]. The Regents are perfectly justified in their fears; Eureka is proof. |
| 24 | ** Eureka not proof. Eureka is funded by the military. The government is not the same entity. As well, Eureka does good things too and the majority of the people there are quite responsible; their 'weapons' are at worse less-than-lethal and we all know they could quite easily let the military use any one of their accidents as a weapon. As well, the majority of their projects are completely non-weapons. Let's not forget that NASA is also a government agency. MIT, Harvard, Stanford, all also receive grant money and funding from the government. As are many other services and agencies with very little malicious intent. While -some- bad might happen, it's a kneejerk reaction to say that it'd turn into 1984. It's not a black-and-white issue. This is not to say that it is not a valid fear but ultimately, bad people will do bad things whether or not they're part of the government; the government itself is just a concept not some evil corrupting force. |
| 25 | ** And what department do you think the Warehouse would be turned over to if it became a government-run operation? If the government gets involved, it would relegate the Warehouse to something, because it's a secret project. If you're going to hide spending, hiding it in military line items is the way to go. Yes, not all governmental administration is bad, but it would assuredly be placed under the discretion of the one that ''is'' liable to abuse it. That's why they can't trust the government to have control. |
| 26 | ** Who said it would be 'turned over to' any department as opposed to just being supported by another organization? And it'd be part of the IRS, Secret Service, and Treasury department - as it is now (in that they draw from there/use it as a cover) only without having to browbeat people just doing their job like Myka's old boss. There is, however, one good reason to be as divorced from a ruling body as they are - it makes it easier to create and change Warehouses as needed as being civilian and completely unrelated, they can ignore international law and such without causing (unofficial) incidents that would be bad for people as whole - nobody likes people from other nations coming in and bossing them around very much - and allow them to conduct business under faux covers. At worse, they'd be charged with art smuggling or what have you. Also, stop changing the goal posts. |
| 27 | ** What goal posts? I'm only trying to illustrate why the abuse would happen. It's highly unlikely that the Warehouse would be administered under the IRS, given the nature of its work. They may use the IRS as a cover, but then lots of secret professions no doubt set up covers in otherwise innocuous settings to deflect suspicion. Doesn't mean the cover job is who they answer to. Incidentally, the Secret Service is now part of Homeland Security, though to be fair it was part of the Treasury for the majority of Warehouse 13's operation. Your reason for the separation also fits. |
| 28 | ** Well, no one's managed to do any lasting damage, yet, so it seems they've found the ideal number of employees, no? Also, as an aside about the Government issue, I offer the following: As we saw with Warehouse 2, this organization existed long before any currently surviving government. Why should they change what's been working out splendidly for thousands of years? |
| 29 | ** Much of the mystery behind this is cleared up when it is revealed that the Regents do take an active role in containing artifacts - just not directly. |
| 30 | ** Also, regardng the amount of employees, in one of Artie's pictures w/ him and Mcpherson, there are about 20-30 agents in it. And when Myka and Pete go back in time, we see there're about 10-15 agents/researchers in the Warehouse. Maybe it's just that as time went by, the Warehouse agents got more and more efficient, thereby eliminating the need for larger numbers? Also, with the additions of season 3, we've got around six employees, (including Leena and not including Mrs. Fredericks) and by the finale we've got around 8-ish? (and then 5-ish again, in a horrifying burst of kill-em-all fury.)But beside the point, you have got to keep in mind that in the first episode, there was just Artie. Look how far we've come, guys! |
| 31 | ** The Warehouse staff could feasibly have been cut down due to technological changes. Think how much time they save with the electronic database of artifacts, Claudia pulling massive amounts of data off the Internet, the team being able to buy plane tickets, etc. |
| 32 | ** Based on what we saw in "Where and When" it looks like Warehouse 13 used to have a much larger staff of agents. Apparently at some point this staff was trimmed down to the bare minimum. Hell, before Pete and Myka were brought onboard it seems that Artie was both the manager of the Warehouse as well as the ONLY field agent. This is just speculation, but perhaps for some reason either the Regents or Mrs. Frederic began raising the bar on who they would accept as a Warehouse Agent. Gradually the existing Agents died, retired, went crazy, etc. without being replaced because no one they found could meet these new qualifications. Which means that either the people in charge of the Warehouse have loosened up their hiring policies a bit, or Pete and Myka are exceptional people even by normal Warehouse Agent standards. |
| 33 | ** It was implied that there ought to have been more agents, but Artie had seriously been letting things slide a lot. Artie got badly emotionally burned over the [=MacPherson=] affair and it basically amped up his already secretive and paranoid tendencies to the point that he just let things slip until Mrs Frederic forced his hand with the hiring of Myka and Pete. |
| 34 | |
| 35 | [[/folder]] |
| 36 | |
| 37 | [[folder:Entrance bomb]] |
| 38 | |
| 39 | * Why can the entrance bomb be turned on from the outside? I mean - no one puts the gate control outside the castle - you want the people in to keep people from outside... out. As there are greater chances that your agents are inside. It wouldn't allow [[spoiler: [=MacPherson=] to turn on the bomb and kill Artie]]. |
| 40 | ** By contrast, if things go to hell inside, you may want to have a way to seal the place off in case of emergency, and that includes blowing up the only viable exit. |
| 41 | ** However, this doesn't make any sense since in 2x1, they get out of the Warehouse just fine... by using the stairs! |
| 42 | ** The stairs are presumably open to snipers from inside the Warehouse or some other booby trap, think of it like 'VideoGame/DwarfFortress' you have a quick way in and out which you can remove with a leaver (i.e. a drawbridge or exploding tunnel of death) and a long winding way in which is filled with sharp pointy death or snipers. This allows you an entrance/exit with out compromising your security against external threats. Why its trigger-able from the OUTSIDE with out any type of code or other security feature is anybody's guess... |
| 43 | ** It does if you consider that not every threat knows how to use the stairs. |
| 44 | ** Except robots from Series/DoctorWho - which does not? |
| 45 | ** Some artifact running amok. |
| 46 | ** The greater threat though is people not artifacts. Most artifacts aren't going to wander off by themselves. Those that could probably aren't going to be stopped by an exploding bomb (Artie was vaporized and the Phoenix thingie put him and itself back together). The only explanation would be some sort of emergency stair internal to the warehouse erected for the sole purpose of exiting the warehouse after it's been sealed... |
| 47 | ** If you're referring to Daleks, they are not robots and [[NeverLiveItDown have been able to climb stairs since 1988]]. Granted, it would protect against Mechanoids or Quarks. |
| 48 | ** I'm not quite sure. I have read about it in book which was not in english and intended for audience not familiar with Series/DoctorWho (well - ok, the translation of book). I'm not familiar with all [[Series/DoctorWho Dr. Whoverse]] so it might been LostInTranslation. |
| 49 | |
| 50 | [[/folder]] |
| 51 | |
| 52 | [[folder:Classified job]] |
| 53 | |
| 54 | * Why, in "Nevermore", does Myka just not say that her job is classified (which it is)? It is not like she could say all about her job before so her parents should not be too surprised. |
| 55 | ** In some cases, simply saying that something is classified is classified and illegal. For instance, the vast majority of the documents handled by US document archives are little more than mundane details and such. However, they're classified since the very act and source of such information is sensitive. Knowing that Terrorist A had a ham sandwich is unimportant... but knowing that you got that information from the secret agent posing as his best friend? |
| 56 | ** Well. I'm not an agent (or do I ;) ) so I don't know (sounds logical) but it should not be surprise for her parents that she does not talk much about job. Or she could just continue Maskarade against her parents if she does. |
| 57 | ** It could also be a policy similar to the CIA. Anyone that works for the CIA can be jailed and charged (legally) for revealing that they are an agent. Anyone that reveals that someone else is an agent can be jailed and charged. The reason being a matter of security; having people outside the agency know who agents are puts the agents and anyone else they're in contact with at risk. It's the whole superhero secret identity thing. |
| 58 | |
| 59 | [[/folder]] |
| 60 | |
| 61 | [[folder:Backup circuit neutralizer]] |
| 62 | |
| 63 | * Why there is no backup circuit for the neutralizer? In case it gets blocked, like in "Breakdown". It's not as if it was not a standard procedure in such facilities. |
| 64 | ** I always thought that the Gooery was [[AntiMagic sort of an Artifact in and of itself]]. They don't make a second system for backup because they ''can't'' make a second system for backup. |
| 65 | ** Relevant to that, if the Gooery is as opaque as they make it out to be, why were the Eureka staff so easily able to make it better. Superscience aside, obviously. |
| 66 | |
| 67 | [[/folder]] |
| 68 | |
| 69 | [[folder:Mrs. Frederic's necklace]] |
| 70 | |
| 71 | * Why did they give Mrs. Frederic's necklace to [=MacPherson=]? it's not as if his life was more important then compromising Warehouse security. And even so, why they didn't take it off afterward? And how is bronzing people much better than killing them - especially since you can reverse the process? |
| 72 | ** It's especially annoying because they really ''don't'' want the process reversed. So they're not killing him, they're just stopping all brain and body activity for eternity, ''if they're lucky''. Because that's a much smarter and more humane plan. |
| 73 | ** And as seen in S2, it doesn't even stop brain activity. And, as the debronzing goes, it doesn't age them at all so it's as helpful as it is harmful. And what's worse, being trapped in your body for eternity or an execution and sending them to heaven/hell (as also implied by S2)? |
| 74 | ** Both options are not quite good and I guess it [[WhoWantsToLiveForever is matter of discussion (I guess it have to be boring after 10 days)]]. |
| 75 | ** If it wasn't boring, what would be the point of being stood in the corner to think about what they'd done? |
| 76 | ** Wells' comment about awakening in a different world sounds like an AuthorsSavingThrow to suggest that bronzing (contrary to what we were told) doesn't leave the person conscious. |
| 77 | ** Not at all. How exactly would she know about the modern world when the entirety of her time while bronze was spent in a box or on a shelf or something. She had zero company or interaction the entire time. |
| 78 | ** How is it an AuthorsSavingThrow? She still woke up in the future and just because that's what she used bronzing for, doesn't mean that's what it is ''intended'' for. She didn't know she'd be conscious the entire time and after she went in, she couldn't tell anyone that she was conscious. She didn't know what it would be like before she got in, and only knew what she had figured out logically. I'm pretty sure not a lot of bronzed people are debronzed, so she could have gone in thinking that she'd just wake up in the future and then found out later, uh-oh, I'm going to be semi-conscious this entire time. How are the two points mutually exclusive? |
| 79 | ** They didn't take it off because he'd die on the spot. As seen in season 2. |
| 80 | ** Here's what I think: they bronze people rather than kill them, so that they can still debronze them in the future if they need to get information from them or it turns out there was a misunderstanding and that person is actually innocent. It's a better idea than executing the person, only to later go, "Crap, wrong move". You can't undo death, but you can undo bronzing. |
| 81 | |
| 82 | [[/folder]] |
| 83 | |
| 84 | [[folder:US Secret Service in Britain]] |
| 85 | |
| 86 | * Why did Pete think announcing he was 'US Secret Service' would have any effect at all in Britain? Similarly how on earth did Myka manage to shut down the museum with no international jurisdiction? |
| 87 | ** As of Pete: "Americans..." |
| 88 | ** People assumed they were with the president? |
| 89 | ** One, because flashing a badge of any kind will often give you greater authority within that interaction (see ''Film/{{Chinatown}}''). Two, it might work. Three, the Secret Service is responsible for physical security for not just the President of the US, but also many other American political figures. Add to that fact that they are part of the Department of Homeland Security (formerly under the Treasury Department) and frequently investigate counterfeiting (often an international crime), and it might just be the most effective possible American agency to claim to be with when outside of the US. |
| 90 | |
| 91 | [[/folder]] |
| 92 | |
| 93 | [[folder:Claudia international]] |
| 94 | |
| 95 | * Why was Claudia not arrested - she travels by plane and was issued a 'wanted' document (sorry I don't know the English name). And how does CERN have enough antimatter to fuel anything (no, Creator/DanBrown is not a specialist)? |
| 96 | ** They never said Claudia had a warrant issued for her arrest, and this CERN obviously has an easier time making antimatter than its real-life counterpart. |
| 97 | ** My point is why they didn't issue a warrant issue. She might work for a BigBad which is said [[GodwinsLaw the he could be worst then Hitler]] (thus qualifing for bronzing). She is known to go to CERN (which apparently have antimatter). |
| 98 | ** They didn't issue a warrant because they were rather busy chasing three different things at once. Also, she does not regularly go to CERN. Her brother works there, which means she'd be in the area, not in the building. |
| 99 | ** I mean she was known to go to Switzerland/France (last time I checked it was on Switzerland/France border in suburbs of Geneva. It means that she have to travel though at least one ocean (probably one - Atlantic). After 9/11 it should not be a problem to find person travelling on cross-atlantic flight which made no alteration to her look. |
| 100 | ** Answered by how ''quickly'' Artie found her. She says it herself "Warehouse agents are stealth, we go under the radar." They might not have issued a warrant for her because they could find her ''themselves'' How many times have Pete and Myka issued a BOLO for a person with an artifact? |
| 101 | ** Also, Claudia has proven she is a hacker with impossible levels of skill, most likely a warrant issued for her would suddenly display a picture of a particularity ugly dog named Charles who was wanted for stealing a bone, if she had any reason to go near an airport... |
| 102 | |
| 103 | [[/folder]] |
| 104 | |
| 105 | [[folder:Escher Vault and the Dark Vault]] |
| 106 | |
| 107 | * If the Escher Vault is so difficult and impossible to get through... why aren't the artifacts in the Dark Vault put -there- in addition to the procedures at the Dark Vault?? |
| 108 | ** Because the artifacts in the Escher vault are personal effects, not dangerous items in and of themselves. |
| 109 | ** [[AWizardDidIt An artifact did it]] and they don't know how to combine artifacts. |
| 110 | ** Even though Dark Vault artifacts are dangerous, they still need to be accessible in case they start acting up. If something in the Escher Vault starting going crazy, it would take several minutes of careful walking before an agent could even get to it. |
| 111 | ** As far as they know, the personal effects aren't dangerous, or have powers, or else they'd be in regular storage or the Vault. |
| 112 | ** If the personal effects aren't dangerous or have powers... why the heavy security then? Warehouse personnel are certainly smart enough to have ways to counter things like artifacts acting up. The Dark Vault has backup generators for instance. It's not that dangerous things need to be accessible, it's the security surrounding non-dangerous things with no powers at all. |
| 113 | ** They're kept secure in such a manner because they're not dangerous ''by themselves''. They can't do any harm on their own, but if their original owners managed to get them back, they could potentially be very dangerous. The other artifacts need to be out in the open so any potential problems can be dealt with in a timely fashion. In the Escher Vault, it'd take five minutes just to find them, and you couldn't seriously set up a containment system in a place with constantly-changing architecture. |
| 114 | ** The effects of artifacts in the Dark Vault are neutralized by a constant flow of the purple goo. Running a pipe of the stuff into the Escher Vault would be impossible. |
| 115 | |
| 116 | [[/folder]] |
| 117 | |
| 118 | [[folder:Non-falling furniture]] |
| 119 | |
| 120 | * Why the furniture did not fall on ceiling when shielded from gravity? |
| 121 | ** Maybe it was like {{H.G. Wells}} electromagnetic shoes. |
| 122 | ** It ''does'' kinda make sense that she'd rig it up to only work on people not using the shoes, and leave everything else alone. |
| 123 | |
| 124 | [[/folder]] |
| 125 | |
| 126 | [[folder:[=MacPherson=] and Wells]] |
| 127 | |
| 128 | * Why, '''WHY IN GOD'S NAME,''' would [=MacPherson=] tell [[spoiler: H.G. Wells]] about the necklace around his neck? That was just asking to be betrayed. It just doesn't fit the [[TheChessmaster James MacPherson]] we knew from the first season. |
| 129 | ** Loves makes you dumb perhaps. He obviously digs the girl. |
| 130 | ** Perhaps he didnt, Perhaps she somehow knew from an external source, like research on bronzing in her own time, or perhaps it was a lucky guess. |
| 131 | |
| 132 | [[/folder]] |
| 133 | |
| 134 | [[folder:Artie's hacking]] |
| 135 | |
| 136 | * What the hell is the deal with Artie's haxor skills? In the pre Claudia episodes he is a regular hacker, being able to, kinda, track the intruder on their network (sure, it was a lure, but the lure itself was based upon his ability to track it back), and is seen very comfortably using all the computational resources of the Warehouse. Then, after Claudia arrives he became almost a computer illiterate, dumb enough to simply click on an unprotected link and get a lecture from Claudia about it. But things get really weird around the first episode with Claudia as a regular when Artie himself asks Myka for pictures, a lot of them if I recall, of the corpse they found, jump to a few minutes later, with Artie stating those same pictures he demanded are pretty much useless, only to be shown by Claudia how wrong he is in thinking pixels are inferior. Sure, Claudia needed a niche of her own in the warehouse, but still it was pretty jarring to see Artie being stripped of his haxor skills like that. |
| 137 | ** Artie has shown a penchant for liking more conventional media. His dislike of digital photographs could come under that. As for his hacking skills, it kinda helps that he has access to every database on the planet. To the specific issue of clicking the link, Artie was obviously caught up in the moment and didn't think it through. |
| 138 | ** Not to mention Claudia has tinkered with ''everything'' in the Warehouse, including adding her own code programs to the computer - he mentions it in 'Trials'. She's more efficient and uses both her own physical inventions and computer programming and the system that they use was updated by Fargo. IIRC, Artie was using an artifact to hack the Internet and/or an older system enhanced by an Artifact, Claudia just using a straight up and down computer system. Considering that she's the one who circumvented Warehouse security from the ''outside'', I'd say she generally made things safer. |
| 139 | |
| 140 | [[/folder]] |
| 141 | |
| 142 | [[folder:Definition of an artifact]] |
| 143 | |
| 144 | * Just what constitutes an artifact? Some of the items appear to be genuinely magical, while others are "just" highly advanced technology, and yet they are all affected by the neutralizer. Would the neutralizer also affect, say, an iPod? |
| 145 | ** When has the neutralizer ever affected straight technology? Anyway, artifacts are classified as anything beyond the normal realm of human understanding, even advanced tech. |
| 146 | ** But "advanced tech" and "beyond the realm of normal understanding" are totally subjective (why does the Farnsworth/Tesla/Wells stuff count but the atom bomb doesn't?). I'd say an easier handwave is that the "technological" artifacts use magical parts. |
| 147 | ** The atom bomb is something they couldn't have hidden. Things like the record and the Farnsworth are way beyond their time. |
| 148 | ** What I'm trying to point out is that these are all ''subjective'' definitions, meaning that there's still no reason why something physical (like the neutralizer) would affect all and only things that aren't "understood". If X years from now stuff like the "turns-images-into-matter camera" ''is'' understood, it wouldn't make sense for a substance to stop affecting it just based on what people know. |
| 149 | ** As I said, has the neutralizer ever affected straight technology? I can't remember an instance where they used it on something like that. |
| 150 | ** In the first episode, Artie says of the neutralizer. "...and it doesn't, always. Work, that is." On a side note, the gooery (and hence the neutralizer) seems to be an artifact itself, and one of the "magic" ones at that. [[AWizardDidIt So there's that]]. |
| 151 | ** Though it's occasionally all over the place especially in the way that artifacts gain their power (half seem made, other seem to gain power by proxy of someone extraordinary), in most cases, there's suggested to be at least some sort of scientific explanation for it (silver nitrate, jade, radiation, whatever). The difference between things like the Farnsworth and other ones are probably more about the level of understanding of humanity; they just don't understand enough about, say, the Man Ray camera to explain it beyond a trivial level. There may not be any real distinction, just a matter of usage and understanding. Until something is fully understood, the warehouse keeps it locked up. After all, there really hasn't been any attempt to goo 'regular' technology so we can't say that it wouldn't neutralize it. For something like the Farnsworth and the Tesla, it's probably a matter of retaining an advantage as both are apparently well understood (both by warehouse science and regular science). |
| 152 | ** Of course with the recent Eureka/W13 crossover... that just makes things more confusing since Eureka-tech is often as 'magical' (if handwaved) as W13 artifacts are 'scientific' (if handwaved). I suppose the neutralizer has the power of plot. |
| 153 | ** I'm just [[WildMassGuessing guessing]] but I think artifacts work by affecting electricity in some way since artifacts are affected by [[LightningCanDoAnything lightning]] and when some are used or neutralized, there's some kind of discharge. So yes, I'd say they might work on technology |
| 154 | ** Though now it begs to ask why Myka classified the grappling gun as an artifact. Unlike most of the stuff they have or use, this one is actually much more feasible (if requiring more tech than would have actually existed in the time) than unlimited range video/radios or self-charging stun guns and doesn't involve magi-tech/techno-magic. |
| 155 | ** Myka probably did it to keep herself from being tempted to keep it. |
| 156 | ** Both the Literature/WildCards books and the Literature/WhateleyUniverse stories feature “inventor” characters whose inventions are actually just channeling their creator’s supernatural power. They shouldn’t work under the normal laws of physics, but the inventor [[ClapYourHandsIfYouBelieve believes they should work]], so they do. What if certain people like Wells and Farnsworth in the Warehouse 13 universe have a similar ability? The resulting items might look vaguely scientific but under the hood they would be just like any other artifacts; [[MagicPoweredPseudoscience powered by magic]]. |
| 157 | ** Answered in No Pain, No Gain, even though artifacts are mostly "wikipedia page people" all it takes to create an artifact is "the meeting of an object, a person and a moment." There are new artifacts made everyday that the Warehouse doesn't take because they actually still belong to the people who made them. The Warehouse only goes after them when they cause trouble. |
| 158 | ** In my headcanon, there are at least two main categories of objects stored in the Warehouse: Mystical artifacts and Technological artifacts. Mystical artifacts are the "Person, Object, Event" kind, while Technological artifacts are inventions ahead of their time (like the Teslas, Farnsworths and grappling gun). The Goo would work on the mystical stuff, but not the tech. |
| 159 | |
| 160 | [[/folder]] |
| 161 | |
| 162 | [[folder:Bronzing]] |
| 163 | |
| 164 | * On Bronzing: Artie said they do this to someone "who might become the next Hitler". Okay, so what do they do, keep them in that state forever? Seriously, [[AndIMustScream based on what we later find out about the process]], it seems to me it would be considerably less cruel to just execute them and get it over with. |
| 165 | ** In a word, yes. They keep them like that until the end of time. Maybe they just aren't willing to take the risk that some random artifact could bring them back to life. |
| 166 | ** H.G. Wells specifically stated she agreed to be bronzed because she wanted to wake up in a better world. Which indicates there is supposed to be some sort of time limit to how long people are bronzed for. |
| 167 | ** Perhaps but Artie has stated that ghosts do not exist and there seems precious few artifacts that can bring someone back from the dead. Even the Phoenix works at the time of death and not after the fact. Out-of-universe, it's probably just to avoid having to deal with the good guys performing executions/killing in a relatively light hearted show. |
| 168 | ** It's scarily reminiscent of Wolfram and Hart's prison facility on Angel ("[[SchiffOneLiner Welcome to hell]]"). Except W&H are pure evil, so it makes sense that they'd treat their prisoners like that, but the ones in charge of the Warehouse are supposed to be the good guys. WhatTheHellHero? |
| 169 | ** On killing it's said that they do that so as to not stain the killer's soul. |
| 170 | ** It's worth noting that several of the artifacts were imbued with their powers due to exceptionally emotional murders (Lizzie Borden's compact makes an appearance, for one. The Hatfield and [=McCoy=] rifles are another) so its possible they don't want to inadvertently create another one. |
| 171 | ** For what it's worth, it is in-character for them to bronze their enemies, seeing as how it's their ''entire job'' to keep dangerous things safely tucked away until the world is ready to co-exist with them. |
| 172 | |
| 173 | [[/folder]] |
| 174 | |
| 175 | [[folder:Artie and Hugo]] |
| 176 | |
| 177 | * How come Artie was so adamant that Hugo be put back in his human body rather than into the computer? Immortality and the completion of his life's work versus becoming an old man with thirty years of his life missing? I think Hugo would have chosen the latter, especially as this is presumably what he had planned when he initially designed the machine. |
| 178 | ** Hugo was trying to copy his brain, not download it, and Artie really can't have an AI running the Warehouse. He restored Hugo to his proper body, rather than a machine which stole half his brain and wanted the rest. |
| 179 | ** Simple. Artie knows Hugo, and doesn't want someone with his personality in control of the Warehouse. |
| 180 | ** The LaserGuidedAmnesia was a bit of a DeusExMachina, too. I mean, they established that the Artifact transfers memory (Claudia's "Your whole life just flashed in front of my eyes." to Fargo). Hugo should have been able to remember being [[BrainUploading Hugo One]], and [[WhatTheHellHero called Artie out]] for [[ReversePolarity Reversing The Polarity]] and trapping him in an organic body that spent the last thirty years in a sanitarium and is nearing the end of its life. |
| 181 | ** True, but the left side was shut down in the computer and the right was essentially too screwed up to put anything in long term memory. Not even close to a DeusExMachina if you ask me. |
| 182 | ** "The human body fails eventually, computers are forever." Yeah right Hugo, tell that to my iMac, may God rest its central processor... |
| 183 | ** Computers PLURAL are forever, not any particular unit. You can always get a new computer and transfer your files. |
| 184 | ** That, and if he really wanted to be the AI after they got Hugo back together, they could always just put him back in and make it stick this time. |
| 185 | |
| 186 | [[/folder]] |
| 187 | |
| 188 | [[folder:Boiling Point]] |
| 189 | |
| 190 | * Not really bugging me but after taking a swim in Boiling Point, does Claudia now have some form of CharlesAtlasSuperpower, or did the anti-amino acids take care of that? |
| 191 | ** The amino acids likely negated the steroidal effects of the drink, thereby making Claudia normal. She doesn't visibly gain much if any muscle mass during her short exposure. |
| 192 | |
| 193 | [[/folder]] |
| 194 | |
| 195 | [[folder:Retired agent's memory]] |
| 196 | |
| 197 | * In the episode where Pete and Myka engage in MentalTimeTravel, how did the retired agent have a memory of her blackout before they had actually taken the trip back in time? (I watched it during the marathon yesterday and trying to figure that out made me dizzy.) |
| 198 | ** Because she already blacked out. See YouAlreadyChangedThePast. Time travel in this series is linked to cause and effect, except the effect is predating the cause. Rebecca told Wells about the effect: she blacked out. They find the video by Pete and Myka and learn more about the circumstances about the effect. Then they use the time machine, creating the cause of that effect. Causality cannot be broken. Using the time machine doesn't change history because history has already taken its use into account before it was ever used. |
| 199 | ** Okay, now I follow. Good explanation by the way. But following that logic, if history is accounting for the use of the time machine and as H.G. Wells puts it, "the ink in which our lives is written is indelible", then that means that, historically speaking, Pete and Myka already used the time machine to travel back and search for the artifact, which they later buried in the orchard. So shouldn't they have a memory of where they buried the knife before they even travel there? |
| 200 | ** No, because they didn't travel back until this episode. Their memory is linear, even if it doesn't exist in a linear state. Up until the moment they used the time machine, their minds had only experienced events from birth to that point. Upon using the time machine, their minds experience events in the past, until returning to their own bodies in the present. The memory of where the knife is buried doesn't exist until they use the time machine. |
| 201 | ** Okay, that makes sense. I think the next time I watch a time travel episode of something, I'm just going to adhere to BellisariosMaxim. |
| 202 | ** Think of it like this. Imagine a rollercoaster (or a stripe of paper or a plane) that makes a loop in the air. This is their memory. It's always 'going forward' but until they get to the point in their memory where something happens, they don't remember it no matter 'when' it is. |
| 203 | ** Relevant to this, [[http://en.wikipedia.org/wiki/Novikov_self-consistency_principle the Novikov Self-Consistency Principle]] |
| 204 | ** What's more bugging: W13 and Eureka share an universe. In Eureka mental time travel ''can'' change the past... |
| 205 | ** What happened in Eureka was physical time travel, not mental. |
| 206 | ** No, the first time was mental. The second was physical. Both were not stable time loops. W13 is a stable time loop. |
| 207 | ** Not only is the Eureka time machine built a century later than HG Wells' one, using the advanced technology available there, but it takes Henry about four years to actually build the thing. Presumably, he was able to overcome the problems that Helena found insuperable. |
| 208 | |
| 209 | [[/folder]] |
| 210 | |
| 211 | [[folder:Destroying the world]] |
| 212 | |
| 213 | * So we go from [[spoiler:I want my daughter back]] to [[spoiler:I want to bring up some volcanoes and kill innocent people]].... how? |
| 214 | ** After the time machine idea didn't pan out, she instead decided that HumansAreBastards. It can be surmised that much of her sob stories about searching for a resurrection artifact were a cover for her true motives. Little extreme, but people with access to that kind of power would be more likely to see it as a solution to their problems. |
| 215 | ** Now that I think about it, she never did say directly that she volunteered to be Bronzed to have a better chance of getting her daughter back. |
| 216 | |
| 217 | [[/folder]] |
| 218 | |
| 219 | [[folder:Debronzing]] |
| 220 | |
| 221 | * This is a relatively minor thing, but after [=MacPherson=] has been bronzed, someone (I think Artie), says it would be catastrophic if anyone found a way to reverse the bronzing process, then when [=McLeena=] goes to debronze [=MacPherson=], there's a DEBRONZE button right next to the bronze button. |
| 222 | ** He may have been suggesting that someone finding out how to do it without the fancy equipment or otherwise replicating the facilities W13 has. |
| 223 | ** I assume he meant it would be catastrophic if someone ''let all the dangerous maniacs loose'', not so much the debronzification itself. |
| 224 | |
| 225 | [[/folder]] |
| 226 | |
| 227 | [[folder:Different cover]] |
| 228 | |
| 229 | * Why don't the agents have a different cover (outside Univille, of course), like an FBI badge? Secret service is highly suspicious as people know that their job is basically protecting the president. On the other hand, FBI ''does'' investigate homicide cases and burglaries so it might not cause so much suspicion. |
| 230 | ** The Secret Service has other jobs as well. |
| 231 | ** Namely, anti-counterfeiting and fraud investigation (which was the reason it was created in the first place). It was even under the Department of the Treasury (as is the IRS, and if you remember, Pete says he works at an IRS warehouse) until the Department of Homeland Security was formed. |
| 232 | ** As you noted, the FBI has much broader jurisdiction than the USSS, which drastically increases the chances they will run into an FBI Agent in the field. Indeed they do, IIRC, during the 1st season episode with the bank robberies in Chicago. Pretending to be an FBI Agent and encountering a real one leads to a lot of questions they can't comfortably answer, whereas sticking with their USSS backgrounds is much safer. Especially considering their superior knows (in a broad sense) what they are up to and can cover for them. |
| 233 | ** It would also probably make the show a liiiiittle too similar to X-Files. |
| 234 | |
| 235 | [[/folder]] |
| 236 | |
| 237 | [[folder:Greats of history]] |
| 238 | |
| 239 | * So if it weren't for the artifacts would history greats still be great? |
| 240 | ** Artifacts usually exist ''because'' history's greats were great, so yes. |
| 241 | ** It's left deliberately unclear whether the famous owner was merely the most well-known user/victim of a particular artefact, or whether the artefact is imbued with the attributes of the famous owner. It may be a bit of both. |
| 242 | ** It canonically depends on the artifact, but overall, it is "a bit of both". Some are one, some are the other, some are bits of both. |
| 243 | ** In "Merge with Caution", Artie looks at Mata Hari's stockings and says "We don't know if she worked on it, or it worked on her." So, there's the canon proof of 'It depends.' |
| 244 | ** In "No Pain No Gain", Mrs. Fredericks says than an Artifact is created by the coming together of the right person, with the right object, at the right moment. So it seems that Artifacts are created by moments of greatness (or moments of great infamy). Using them to artifically create moments of greatness is what leads to disasters. |
| 245 | |
| 246 | [[/folder]] |
| 247 | |
| 248 | [[folder:Steve bronzed]] |
| 249 | |
| 250 | * Near the end of "Love Sick" Myka and Pete find Steve bronzed and then spend time just talking still trying to figure out what happened that they can't remember. We know from what happened to H.G.Wells that while bronzed, a person's mind is still active. Neither Pete nor Myka think "let's get him out of there quickly!". When they do release him they just act like nothing's wrong and laugh off him wondering what happened. THEY TRAPPED HIM WHERE HE COULDN'T MOVE FOR HOURS!!!! |
| 251 | ** HG might not have been honest about the part. Jinx clearly wasn't aware of what happened. |
| 252 | ** Perhaps one's perception of time is slowed while bronzed? HG would have logged enough days to get some time to think, but from Steve's perspective it would be nothing more than an odd sensation. |
| 253 | ** Personally, I think H.G. was just messing with the team when she said that she could still think while being Bronzed. |
| 254 | ** Except Artie confirmed that he was aware that Bronzing doesn't stop consciousness. |
| 255 | ** Season 4 also confirms that communication (facilitated by an artifact, but still) is still possible with someone who's been bronzed. Ergo, the bronzed people ''must'' be conscious on some level even in their bronze state. Perhaps the bronzing process causes temporary mental disorientation and Steve wasn't bronzed long enough to regain consciousness. |
| 256 | |
| 257 | [[/folder]] |
| 258 | |
| 259 | [[folder:Bronzing security]] |
| 260 | |
| 261 | * Okay, so in "Love Sick", apparently you need a DNA sample from a high-ranking worker, like Artie, to de-bronze somebody. However, you don't need one to actually bronze them in the first place. Why don't you need a DNA sample to bronze them, for exactly this sort of reason? And as far as I know, they didn't have Artie's toothbrush to bronze Steve, so as far as we know, you don't need to have a sample for bronzing somebody. |
| 262 | ** It's simple: a grunt can stuff someone in a cell, but only someone authorized can let them out. There's no harm in letting someone without clearance do the bronzing. It's implicitly assumed that whoever is being bronzed isn't a hapless rookie being tricked inside by his drunken coworkers. However, they cannot let him out because they are not in charge. If they could let Jinx out, they could let anyone out, including the dangerous ones. You can't trust that responsibility to field agents. |
| 263 | ** Exactly. Imagine if, in their drunken confusion, they decided to let a guy like ''Paracelsus'' out just because his name sounded funny to them. |
| 264 | ** Okay, but none of that explains why bronzing someone can be done without clearance. Whether or not DE-bronzing someone should require clearance was never in question. |
| 265 | ** Well, the security on de-bronzing appears to be new (Leena was able to de-bronze people, and no one questioned that Claudia could). Maybe they didn't realize they needed security on both ends? |
| 266 | |
| 267 | [[/folder]] |
| 268 | |
| 269 | [[folder:[=McPherson=] knowing HG]] |
| 270 | |
| 271 | * How exactly did [=McPherson=] know HG? He addresses her as "old friend" shortly after debronzing her, but she's apparently been stuck there since the 1890s. So when did they become acquainted? |
| 272 | ** Keyword: "apparently". How do we know [=McPherson=] didn't get wise to her plan at some point and debronzed her for a chat? |
| 273 | ** Season 4 confirms that it's possible to communicate with someone who's been bronzed via a certain radio artifact, and there may be other means as well. Perhaps [=MacPherson=] spent his off hours while he was still a Warehouse agent chatting with the bronzed HG. [[FridgeBrilliance And perhaps her influence was what corrupted him.]] |
| 274 | |
| 275 | [[/folder]] |
| 276 | |
| 277 | [[folder:Helena and Charles]] |
| 278 | |
| 279 | * Why does no one question the fact that Charles Wells, who does not have the initials H.G., published his books under the name H.G. Wells? In "3... 2... 1" Helena, who does have the initials H.G., says that she gave him all the ideas, and they just laugh her off. I know women weren't considered smart enough or whatever to write books at the time, but wouldn't anyone wonder why Charles was publishing under his sister's name? |
| 280 | ** All he has to do is say it's a pen name. Really, not many people are going to go digging into it. They're just books, after all. |
| 281 | ** It's still odd for a man to be running around using his sister's initials for writing. Based on his personality as seen in the show it also seems odd that someone who likes fame not take the chance to put their actual name on their work. |
| 282 | ** Simple, H.G. wanted ''some'' credit and threatened to stop sharing the science stuff with him if he refused to grant her that. |
| 283 | ** It wouldn't be a big stretch to say that HG also happens to be the initials of some distant relative that Helena shares initials with. Having the same initials isn't particularly notable. |
| 284 | ** While he was made out to ''look'' like an idiot in the flashback Helena had already said that her brother was a good writer and she had ''given'' him her invention ideas so he could put them in his books. It's obvious that he was a bit drunk at the time anyway. And as we all know, people (even nice ones) act pretty cocky when they're drunk. |
| 285 | |
| 286 | [[/folder]] |
| 287 | |
| 288 | [[folder:Jericho's horn]] |
| 289 | |
| 290 | * Given how destructive Jericho's horn was shown to be, wouldn't using it to propel a rocket just blast an enormous hole in the ground beneath it? It vaporised what's-his-name, but the floor around and under him wasn't even scratched. |
| 291 | ** That difference is the purpose of all the machinery surrounding the horn. |
| 292 | ** The horn was described as working on sonic frequencies, they just seem to be set to human (notice how most victims leave clothes behine). The real question is why, when in the first place the horn was used to bring down walls, it seemed to be most effective on organic matter. |
| 293 | ** It doesn't only affect organic matter, unless that car's engine front half were some how grown... Although given the strangeness that goes on in the Warehouse 13 universe finding out that agents were driving around in an organically grown car would not be out of place. |
| 294 | |
| 295 | [[/folder]] |
| 296 | |
| 297 | [[folder:Bomb inside force field]] |
| 298 | |
| 299 | * Why on Earth didn't HG put the bomb in the force field? |
| 300 | ** I was thinking that too, but then I figure that HG knew if you try to contain the bomb inside the small force field, the field would shatter. |
| 301 | ** That's quite plausible, but I just wish they'd just said that. Ah well, I guess we will have to wait until next season to find out. |
| 302 | ** The field wouldn't drop until the danger to the Warehouse would pass, the field should've held strong if the bomb was in it. Also the field was right next to the bomb, if she worried about the bomb destroying the field by proximity she probably would've thought it was useless putting the shield around the trio. |
| 303 | ** Having the bomb inside the bubble would've required absorbing many times more energy, since pretty much all of the explosion would hit the barrier; but they made it pretty clear that ''nothing'' can get through it, and that it works in both directions... |
| 304 | ** True, but that was clearly an exaggeration. When the artifact did detonate, it caused a shockwave that clearly rocked Leena's, which was several miles away. The people inside the Warehouse also felt and heard the effects of the cannon that was fired at it. The barrier was strong enough that the agents wouldn't have been able to break out, and that could mostly absorb the blast of a nuclear explosion, but a minuscule part of it probably would have just broken apart. |
| 305 | ** It's far more likely that nothing could breach the bubble from OUTSIDE, containing the explosion inside would have been far more taxing for the bubble then blocking an outside energy source. Which is most likely why H.G. did not contain the bomb inside the second bubble. |
| 306 | |
| 307 | [[/folder]] |
| 308 | |
| 309 | [[folder:Bomb in the Escher Vault]] |
| 310 | |
| 311 | * Why couldn't the bomb have been placed in the Escher Vault? The vault seems to have infinite space and at worst it would destroy the vault and its contents but not the entire warehouse. |
| 312 | ** Key word "seems". By no means WordOfGod, but as Escher's talent as an artist lay in making the impossible (i.e., infinite space in a finite enclosure) seem plausible by way of tricky perspectives and intersecting lines. |
| 313 | |
| 314 | [[/folder]] |
| 315 | |
| 316 | [[folder:Junks and lying]] |
| 317 | |
| 318 | * What happened to Jinks' inability to convincingly lie, even under emotional duress? Was he lying about not being able to lie early on, [[CrazyPrepared in case]] he needed to use his training as a DeepCoverAgent? |
| 319 | ** There's a difference in between thinking up a lie on the fly and being prepared to lie. When you're undercover it's more like living the lie. You almost have to believe that you are that person in that moment, just to be safe. Plus Jinks actually was isolated from everything he knew and lost his job, so it made it easier. |
| 320 | |
| 321 | [[/folder]] |
| 322 | |
| 323 | [[folder:Jinks and Sykes]] |
| 324 | |
| 325 | * Why did Jinks had to return to Sykes? He already knew that Sykes would be at the airport, and that Marcus and hacker are his only allies. Steve could suddenly attack Marcus, disable him and go to the airport with Pete and Myka. This all the bad things would be averted. Sykes endgame? Who needs FakeDefector if you can have BigBad himself? |
| 326 | ** From how quickly Marcus recovers from Leena hitting him over the head, it seems that disabling him might be trickier than that. The regents were afraid that Sykes would have things in place even in the eventuality of his own death or capture - as it turned out, after all, he had a bomb in his wheelchair - and were afraid that even if they could capture him he might still have something up his sleeve. |
| 327 | |
| 328 | [[/folder]] |
| 329 | |
| 330 | [[folder:Harrier Jump Jets]] |
| 331 | |
| 332 | * Why is there a row of Harrier Jump Jets (unsure if the jets are the RAF version or the USMC version) in the front of the warehouse? These can be seen in the opening title sequence during a camera pan where the camera's POV goes over the office's balcony and deeper into the warehouse. It may be necessary to do frame by frame to fully see the planes. |
| 333 | ** The Hindenburg (or a similar zeppelin), an old-school windmill, and various other random things are in there. It would take forever to explain the purpose of every sight gag. |
| 334 | ** Also note that just because something is X, doesn't make it an artifact. So it may not be that Harrier jets are artifacts so much as those ''particular'' jets are special for some reason. |
| 335 | |
| 336 | [[/folder]] |
| 337 | |
| 338 | [[folder:Sykes and the hacker]] |
| 339 | |
| 340 | * Sykes had a computer hacker working for him. It would have been trivial for the hacker to access a chess program and use that to try to solve the chess lock. They would have quickly seen that it required a trick solution. Instead Sykes uses the hacker as cannon fodder for the death trap. Sykes might be insane but he is not that stupid. |
| 341 | ** Well, Sykes was going to kill the hacker eventually anyway, and wanted to cause HG as much pain as possible (insane psychopath and whatnot). If Pete and Myka hadn't shown up, he probably would have done that when HG got in the chair. |
| 342 | ** Chess programs don't work the way you think they do. Generally, they store the known possible end games and work backwards far enough to have some idea of the a mid-game. The start game is basically attempting to get to a known mid-game. So depending on what program he used, he'd at best get a "Not possible to win" answer... which doesn't necessarily tell him much since it's possible the end game is not known or that it really is not possible to win. He wouldn't know. And even if he did know, he'd still not know what sort of trick answer is required. |
| 343 | ** The hacker was just to put pressure on H.G. Sykes even said after Tyler was killed that "maybe [she] needed a better incentive" before putting Myka on the chair. And Sykes knew that H.G. held the key to that riddle, not a computer. |
| 344 | ** Plus he didn't know what the lock would be, only who designed it and that Helena was his student. I don't know if the hacker had his equipment with him, but I doubt there was Wi-Fi in the Regents' Sanctum. |
| 345 | ** Don't forget that the scenario was most likely not winnable by its nature. H.G. only beats it by CHEATING after all. |
| 346 | |
| 347 | [[/folder]] |
| 348 | |
| 349 | [[folder:Helena's locket and Myka]] |
| 350 | |
| 351 | * When did Helena get the locket to leave for Myka in Hong Kong? Sykes kidnapped her as Emily Lake, who had no idea about the locket, and I don't think they would have made a pit stop at the Escher vault to pick it up between Skybrook and China. |
| 352 | ** HG had already gotten the locket out from the Escher Vault in "Time Will Tell", if I recall correctly. It isn't a stretch to have given the locket to Emily Lake. |
| 353 | ** But why would the Regents let her keep it? It seems like there's a risk of her regaining her memories, and even if the coin is infallible, I'm sure Emily would try to track down this mysterious girl, which would lead to lots of questions... It just seems simpler for them to confiscate the locket again. |
| 354 | ** Sykes gave the Janus Coin to Emily before they left for Hong Kong. H.G. was already back before they were even on the plane. Sykes may have also stolen her things, finding out wherever they were during the torture of one of the regents. She ''is'' redressed and her clothes changed on the way to Hong Kong. He's a psychopath, but a [[CrazyPrepared crazy prepared psychopath.]] |
| 355 | |
| 356 | [[/folder]] |
| 357 | |
| 358 | [[folder:Marcus and the box]] |
| 359 | |
| 360 | * Why, exactly, did Marcus bring the box containing the metronome with him to Leena's? |
| 361 | ** Probably because it needed to be kept close to him to work. |
| 362 | ** I think I heard Marcus say about the box that it was a "gift from a former employer", whatever that means... |
| 363 | ** I'm betting that Sykes basically gave Marcus the box in exchange for his services one last time. |
| 364 | |
| 365 | [[/folder]] |
| 366 | |
| 367 | [[folder:Shooting Sykes]] |
| 368 | |
| 369 | * Pete and Myka have Sykes at gunpoint. Sykes's only weapon is HG and her gun. Why, why on Earth, didn't either of them ''just shoot Sykes dead?'' He couldn't have told HG to shoot either of them then. Episode solved. |
| 370 | ** Not that Pete and Myka could possibly have known, but it's probably a good thing that they didn't. If they had, they would probably not have found the bomb, and the 7 million people who live in Hong Kong would have been killed by the nuke. |
| 371 | ** It's also possible that they're simply not used to shooting to kill; as Secret Service agents, they're trained to protect lives not take them. |
| 372 | ** Nope, Secret Service agents are trained only to draw their weapons when they are shooting to kill, otherwise a gun is kind of useless for what they are usually doing. Generally the type of people the Secret Service deal with are not going to be intimated by a gun pointed at them. ( i.e suicide bombers) If fact, if they were operating with any kind of sanity they would have shot H.G. until she went down and Sykes a few time as well. Probably even put a few into that poor dead kid. You know... to be sure. It's far more likely that the next point below was why they didn't fire. |
| 373 | ** Because Jane and the Regents insisted that until they knew exactly what Sykes wanted, they had to let things play out. Even while they were in the ancient Regent sanctum, nobody knew what Sykes was really after in there. This also explains why [[spoiler: Jinks kept up his cover until he was killed]]. |
| 374 | ** This scene is made doubly headscratching when Pete reveals that he had his Tesla tucked into a second holster behind his handgun. They obviously couldn't kill Sykes based on their orders, but Pete was just sitting there while Mycah and H.G. were playing their game of death and Sykes was watching. Zap him and figure it out later, which coincidentally is exactly what Mycah does in the next episode. |
| 375 | |
| 376 | [[/folder]] |
| 377 | |
| 378 | [[folder:Harriet Tubman's thimble]] |
| 379 | |
| 380 | * Harriet Tubman's thimble can bend an image, making someone appear as someone else. But how does it change their ''voice''? [=MacPherson=]'s goon pretending to be Artie, Myka pretending to be H.G. Wells, etc. It's all well and good if you just want to project a false image, but unless I'm missing something, they said nothing about the impostor's voice changing to match. |
| 381 | ** Basically... {{a wizard did it}}. If Alphas is super heroes, Eureka is sci fi, then W13 is magic. |
| 382 | |
| 383 | [[/folder]] |
| 384 | |
| 385 | [[folder:Christmas episodes]] |
| 386 | |
| 387 | * Uh...Are the Christmas episodes canon? |
| 388 | ** Probably not, as the Warehouse is clearly [[spoiler:not a massive burning pile of rubble in The Greatest Gift, yet Trailer the dog is still there]]. |
| 389 | ** Maybe they're canon, but take place some unspecified time during the preceding season, rather than being in order chronologically. |
| 390 | ** The Christmas episodes are shown out-of-sequence to coincide with the holiday season. |
| 391 | ** The Season 2 Christmas episode "Secret Santa" likely takes place between the events of S2 E8 "Merge With Caution" and S2 E9 "Vendetta", as the stockings from "Merge With Caution" are mentioned, but the events of "Vendetta" are not. The Season 3 Christmas episode "The Greatest Gift" takes place between the events of S3 E7 "Past Imperfect" and S3 E8 "The 40th Floor", because the episode mentions Steve as if he's still a Warehouse agent (he leaves the Warehouse in "The 40th Floor") and features Trailer (who joined in "Past Imperfect"). |
| 392 | |
| 393 | [[/folder]] |
| 394 | |
| 395 | [[folder:Windmill]] |
| 396 | |
| 397 | * What's the story behind the windmill? [[Theatre/ManOfLaMancha Is it Don Quixote's?]] |
| 398 | ** I assumed the windmill was THE [[Film/MoulinRouge Moulin Rouge.]] |
| 399 | ** A series of webisodes (brought to you by Toyota Prius) reveals that it is Cervantes's windmill, and it has Don Quixote's lance inside. It was originally used to power the warehouse, and taken offline when safer power sources became available. |
| 400 | |
| 401 | [[/folder]] |
| 402 | |
| 403 | [[folder:Sheriff's desires]] |
| 404 | |
| 405 | * In one of the early episodes (1x03), they visit a town in Colorado where everyone is acting out their latent desires. An old lady lost her husband so he hates doctors. A kid hates music class so he smashes instruments. Etc. So the Sheriff gets affected and he... takes hostages and straps on a suicide vest? What does that represent? On top of that, everyone else's outbursts were short - often only a few seconds. He must have been in a trance for hours to build that thing and drive to the church, which is bizarre enough, or else he had a suicide vest lying around, which is worse. |
| 406 | ** He was ranting about how a virus was supposedly affecting the town, and how he was going to save the world from it. I got the idea that he always had fancied himself an action hero who was destined to die saving the day, but being a small-town sheriff never gave him the opportunity. As for the vest, dynamite isn't hard to come by in some rural areas (people use it to blow up beaver dams, among other things), so it's possible he could have thrown it together quickly (but yeah, it did look rather intricate for that). |
| 407 | |
| 408 | [[/folder]] |
| 409 | |
| 410 | [[folder:Artie and the gun]] |
| 411 | |
| 412 | * Ok, just seen the last episode of season 2, and I have a question: when HG is about to use the trident, Artie says "I don't normally do this", pulls out a gun and shoots HG. At the end of the episode, he remarks "good thing my aim is not so good with a real gun", or something to that effect. And here's the question: *why* did he use a real gun? Surely he could have Tesla'd HG without using the revolver? |
| 413 | ** He just hates H.G. that much, I guess. And she ''was'' threatening the entire world with using the Minoan trident. |
| 414 | ** Wells' had already demonstrated that she had contingency plans in place. He may well have suspected she developed a counter to the tesla and decided to go the lethal route. She just thought ahead on that, too. |
| 415 | ** Agreed. MacPhearson figured out a way to negate the effects of the tesla last season, and since he and HG worked together it was reasonable to assume that HG had the same knowledge. |
| 416 | |
| 417 | [[/folder]] |
| 418 | |
| 419 | [[folder:Shared universe]] |
| 420 | |
| 421 | * Now that Series/{{Warehouse 13}} is known to share a universe with ''Series/{{Alphas}}'', it's pretty easy to see the agents' special abilities (like Pete's vibes) as being Alpha powers. But that couldn't have been the writers' original intent. If ''Alphas'' hadn't come along, would the agents' abilities have been explained as being artifact-related? From the pilot, I especially got the impression that Leena's aura powers were the result of some artifact's influence. |
| 422 | ** I think the original intent was for the "special abilities" to [[MaybemagicMaybeMundane remain ambiguous]]. Pete's "vibes" might be supernatural, or he might just get a lot of incredibly lucky hunches. |
| 423 | |
| 424 | [[/folder]] |
| 425 | |
| 426 | [[folder:Inherited vibes]] |
| 427 | |
| 428 | * If Pete [[spoiler:inherited his vibes from his mom]], and he apparently had a vibe which warned him that his dad would die, shouldn't [[spoiler:his mom have had a vibe of her own regarding ''her own husband'']]? And couldn't [[spoiler:she have had a better chance of stopping him]]? So why didn't [[spoiler:she]]? |
| 429 | ** Vibes are fickle and tend to only work in the immediate vicinity. If she went to work before him, she might not have been tipped off. |
| 430 | ** In "The Ones You Love" Pete had a vibe about [[spoiler:Leena's death]] and he was in another state. He said that he hadn't had a vibe that strong since his father died. Presumably, since he did inherit the ability from his mother, his mother would have felt the the same vibe about his father and at least the same strength. |
| 431 | ** Pete's mentioned that his vibes aren't always trustworthy, and he goes along with them because the one time he didn't, his dad died. Maybe Jane did get a vibe, but like Pete, they aren't always trustworthy, so she chose not to worry her husband with a potential false alarm. |
| 432 | |
| 433 | [[/folder]] |
| 434 | |
| 435 | [[folder:[=MacPherson=]'s plan]] |
| 436 | |
| 437 | * If H.G. Wells killed [=MacPherson=] because he was about to reveal the plan to the team, does it really follow that he had the same intentions as H.G. (i.e. getting into the Regents' good graces, finding Warehouse 2, stealing the part of the Minoan trident, destroying the world)? Because, judging from his dying speech to Artie, it doesn't look that way. |
| 438 | ** Maybe he wanted it for slightly less destructive blackmail purposes. Take out a city or two to force a concession. |
| 439 | |
| 440 | [[/folder]] |
| 441 | |
| 442 | [[folder:Charges]] |
| 443 | |
| 444 | * In "An Evil Within" (the one with Lovecraft's key), the bad guy gets carted off by the police in the end. But what could he be charged with? The police don't know anything about artifacts. |
| 445 | ** Murder and attempted murder. Probably the Regents or Mrs Frederick fudged the details on how, but he was still responsible. |
| 446 | ** If nothing else, he certainly caused people to die. The analogy being that the person falsely causing a panic is just as responsible for any damages that occur as the people that panic. |
| 447 | |
| 448 | [[/folder]] |
| 449 | |
| 450 | [[folder:Lie detector and sarcasm]] |
| 451 | |
| 452 | * Would Jinks' lie detector powers work for sarcasm? Does it go off, or does he just not recognize it as a lie? |
| 453 | ** Sarcasm is an obvious lie but a lie all the same, so it would probably set off the alarm but he'd ignore it since it's obvious. |
| 454 | ** Or to look at it another way, lie-detection powers usually tap into the liar's intent to knowingly deceive. Hence, sarcasm, honest mistakes and the like don't set it off because while they are untruths, they're not technically ''lies''. |
| 455 | ** It's possible that sarcasm does tip it off, but it's simply obvious to him that the person is being sarcastic, so he doesn't point it out. Sarcasm is technically lying, but with enough of an inflection that people around can tell what you really mean ("You're ''so'' smart" when talking to an idiot, for example), so it likely sets off his lie detection but he knows it's just sarcasm. The same thing probably happens with jokes - if someone started saying "A wizard, a goblin, and a vampire walked into a bar", because [[CaptainObvious that sort of thing has never happened]], Steve's lie detection powers would probably go off, but he has enough common sense to know that it's a joke. |
| 456 | |
| 457 | [[/folder]] |
| 458 | |
| 459 | [[folder:Marcus off the balcony]] |
| 460 | |
| 461 | * When Pete pushes Marcus off the balcony in one of the later episodes of Season 3, why doesn't that automatically kill Sykes? As was seen with Claudia and Steve, the users of the metronome are linked and feel each other's pain. Was Sykes even the one who brought Marcus back with the metronome in the first place? |
| 462 | ** I doubt Sykes would take that risk. |
| 463 | ** One might hazard that Sykes forced a previous agent of his to do so, knowing the risks. Seems like his MO. |
| 464 | ** My guess is that multiple people used the metronome on Marcus, and he's just going through other lives whenever he gets killed. |
| 465 | ** I don't know about multiple people; seems to me like someone brought Marcus back, died, and the metronome just kept him alive even after that. |
| 466 | |
| 467 | [[/folder]] |
| 468 | |
| 469 | [[folder:The watch]] |
| 470 | |
| 471 | * Re-watching the fourth season premiere made me think of a few things that weren't explained about [=MacPherson=]'s watch: What exactly made it start ticking when [[spoiler:the Warehouse was destroyed]]? Is the watch connected to the Warehouse somehow? If the astrolabe was meant to be kept secret by the Brotherhood, then why wouldn't they keep the watch as well if it gave hints as to its location? |
| 472 | ** Considering [=MacPherson=] used to be a Warehouse agent, it could be that the watch was always connected to the warehouse, or got connected at some point. As for the astrolabe...well, we've seen how some artifacts are connected to each other, but in different locations. The Brotherhood could have had the astrolabe without knowing the watch held clues to its location. For all we know, the watch was more of a homing device. |
| 473 | * How did Robespierre use the astrolabe to "turn French public opinion against the king" if all it does is reverse 24 hours? |
| 474 | ** It's possible that the astrolobe goes back farther than 24 hours. A day was all Artie needed to save the Warehouse. [[spoiler: The hallucination of]] Brother Adrian pestered Artie much longer than 24 for hours to use the astrolobe again. |
| 475 | ** It's possible Robespierre used it to sabotage a critical moment that would have otherwise went well for him, or lead others to expose a secret that would have otherwise remained hidden. Without knowing when he did it, it would be hard to pin down how. |
| 476 | |
| 477 | [[/folder]] |
| 478 | |
| 479 | [[folder:Salsa lessons]] |
| 480 | |
| 481 | * Am I the only one who wants to know why is that secretary of state learning salsa lessons? the news reporter says that the answer might surprise us, but we never get to find out!!!! |
| 482 | ** It's a fluff piece. Presumably, it's a lead-in to a story about a charity event or some research showing the benefits of salsa dancing. The whole point of the line is to show the media didn't yet consider the sweating sickness quite noteworthy. |
| 483 | |
| 484 | [[/folder]] |
| 485 | |
| 486 | [[folder:Jawbone]] |
| 487 | |
| 488 | * Exactly ''how'' did the jawbone of a prehistoric hyena become an Artifact? The process of creating an Artifact has been only vaguely described, but it has something to with with the coming together of a person, an object, and an event. For the jawbone, who's the person in that equation? The hyena? |
| 489 | ** Some...ancient caveman shaman, maybe? Does it really matter? |
| 490 | ** Didn't they explain that in the episode? It was infused with the fear of its cavemen victims. As to what made that particular hyena's jawbone an artifact and not one or more others...just chalk it up to one of life's little mysteries. That does raise the question of why certain artifacts are totally unique. There's lots of amazing people in the world, but not all of them achieved totally unique goals. What makes Muhammad Ali so special when Art I. Fact from Arlesey, England accomplished the same thing. |
| 491 | ** As Mrs. Frederic explained, an artifact is created by the combination of a person, an object, and an event. Presumably all three of these things must be unique and/or extraordinary in some way, hence the reason why some people create artifacts and others don't. It also seems that ''fame'' is another important factor in artifact creation. It can't be a coincidence that 99% of the artifacts we see on the show belonged to or were associated with a person or group who achieved great fame/infamy. So perhaps the reason Ali created an artifact (assuming he didn't just find an artifact and use it) while Art I. Fact did not, despite accomplishing a similar feat, is because Ali was the more famous of the two. Or, it could also be possible that Art I. Fact DID create an artifact, but it hasn't come up on the Warehouse's radar yet. Mrs. Frederic also said that Warehouse agents only retrieve artifacts when they pose an immediate threat. A few generations down the line, when Art I. Fact's magic belt or whatever falls into the wrong hands, ''then'' the Warehouse sends agents to retrieve it. |
| 492 | ** Fame doesn't affect artifact creation (though there probably is an element of chance involved; that's why not every Joe Blow has created artifacts). Fame affects whether people seek it out. If you want an artifact that'll let you live forever, you'll look for something linked to Mathuselah, not Miss Galina from Siberia, even though both would work exactly as well. That's, I believe, why the vast majority of artifacts featured are from famous events or people: We don't see famous artifacts because they are somehow stronger, we see famous artifacts because their fame make people seek them, use them and abuse them, and also because artifacts tend to put people in a position to become famous. |
| 493 | ** Be that as it may, I still think fame must have some role in artifact creation. After all, Mrs. Frederic never actually said that fame/infamy was ''irrelevant'' to the process. She simply said that it isn't strictly necessary. |
| 494 | ** Fame certainly helps, because of the tendency of famous people usually being ordinary people who have done extraordinary things, hence why they are famous. |
| 495 | |
| 496 | [[/folder]] |
| 497 | |
| 498 | [[folder:Artifact security]] |
| 499 | |
| 500 | * It occurs to me that a lot of the "artifact gone out of control" scenarios, and even entire episode plots, could have been completely averted if the artifacts weren't just sitting out on unsecured shelves. If someone so much as slips on a puddle of water and topples over into a shelf they can activate God knows how many incredibly dangerous artifacts at once. Why aren't ''all'' these artifacts sealed up in boxes? Why aren't the shelves covered by some sort of screen so people can't accidentally brush up against a deadly artifact? |
| 501 | ** In the very first episode, Arty complains the he's requisitioned exactly that multiple times, but the sheer logistics of it - due to the raw size of the Warehouse - makes it impossible. I figure that nobody thought of it at first, and now the Warehouse is simply too big to deal with it. There are, however, emergency neutralization sprinklers that can hit multiple shelves at once in the case of a mass activation, and that would have ended "Implosion" immediately if the Gooery had been online. At the very least, the worst artifacts are secured in places like the Dark Vault. |
| 502 | ** If that's the case, wouldn't "taking inventory" be a pointless exercise? |
| 503 | |
| 504 | [[/folder]] |
| 505 | |
| 506 | [[folder:Closing the roof]] |
| 507 | |
| 508 | * In "The Sky's the Limit" when Pete was in danger of flying away at any moment, why didn't they close the sun roof? |
| 509 | |
| 510 | [[/folder]] |
| 511 | |
| 512 | [[folder:Destroying artifacts]] |
| 513 | |
| 514 | * Why do they not destroy the artifacts? I've only watched the first season, but is a reason ever given? They do not use the artifacts for anything. They do not study them. The artifacts are barely cataloged. All they do is sit on shelves gathering dust. What is the point of storing them? If you are determined to save them for possible future use what about the ones in the Dark Vault that do not have any possible practical use? Why do they not destroy those? |
| 515 | ** Stubbornness, mostly. In theory every artifact could be useful for ''something'' at some point in the future, no matter how unlikely it seems. Better to keep them intact and in storage, just in case. And some artifacts may simply be indestructible. |
| 516 | ** Alternate theory: According to the laws of physics energy can not be created or destroyed, only moved or changed. The pilot episode establishes that many artifacts are linked by something called "tangential energy". Logically, destroying an artifact would unleash that energy, with unknown effects. Perhaps it would coalesce into another even ''more'' dangerous artifact. Or perhaps it would explode catastrophically. By preserving artifacts instead of destroying them the energy remains trapped in a recognizable and controllable form. |
| 517 | ** I just assumed that someone had tried it with an otherwise innocuous artifact, and then it went ''really'' badly. |
| 518 | ** The final season addresses this with Claudia's sister Claire. When the artifact she discovers gets destroyed, its energies are left trapped inside Claire, driving her mad and making her lash out destructively, and the only way to remove them now that the artifact is gone is to put them in another person. So it would seem the alternate theory above is true--and that it's not just that destroying the artifact would release that energy, it would do so into a person and could not be put back into another artifact or an ordinary object. While not confirmed, this would seem to be true of all/most artifacts. |
| 519 | |
| 520 | [[/folder]] |
| 521 | |
| 522 | [[folder:Asian son]] |
| 523 | |
| 524 | * How did two white English people have a son who is clearly Asian? |
| 525 | ** Adoption? |
| 526 | |
| 527 | [[/folder]] |
| 528 | |
| 529 | [[folder:Teslas timeline]] |
| 530 | |
| 531 | * If the Tesla's were invented in HG's day (by, I assume, Nikola Tesla) then what was that thing HG used to blast Pete and Myka at the end of "Buried"? (I assume it was something she found in Warehouse 2) |
| 532 | ** It looked Ancient Egypt-y, so I'm pretty sure she did find it in Warehouse 2. It could be a sort of proto-Tesla whose design was passed down through the Warehouse Caretakers and later refined by Nikola Tesla into the weapon we know today. |
| 533 | ** I figured it was just her own Tesla from back in her Warehouse 12 days and she had it on her the whole time. There was no indication she found it in the Warehouse. |
| 534 | |
| 535 | [[/folder]] |
| 536 | |
| 537 | [[folder:Zipline]] |
| 538 | |
| 539 | * Who thought that a zipline was the best way to get around the warehouse? It's the dumbest thing I've ever seen! It's a one-way trip, it's high enough that you can get yourself severely injured getting down (as Artie proved early on), any amount of forward momentum might sent you flying into a shelf (which knowing the warehouse, will start a domino effect and topple everything), and it only lets you travel in a straight line. A much better option would have been a series of criss-crossing catwalks and a golfcart, with a bunch of ladders or a small lift attached to the cart, or something to that effect. |
| 540 | ** That would probably be a better system, but if Artie can't even get the Regents to spring for mesh screens to cover the shelves he's never going to convince them to install a system of catwalks and elevators. The zipline seems like a kludge solution. Artie needed a way to get around the Warehouse quickly and that was the best he could come up with, given that at the time he was literally running the whole damn place single-handedly. |
| 541 | ** I thought they can set where the zipline goes, I figured at each destination they can set theres a way to get down uninjured. |
| 542 | |
| 543 | [[/folder]] |
| 544 | |
| 545 | [[folder:Claudia's sister]] |
| 546 | |
| 547 | * I can't help but wonder about Claudia's previously unknown sister. If she was infected with dangerous energies in an artifact, why didn't Artie just use Gandhi's Dhoti to free her from it's influence like he did on Walter Sykes? I mean it's obvious Warehouse 13 had been in possession of the Dhoti for a while. Wouldn't it have been the perfect way to help Claire? |
| 548 | ** We don't know that the Dhoti's effects are permanent. The only thing we know for sure is that it was enough to defuse his hate-bomb. For all we know if Sykes had lived the evil from Collodi's Bracelet might have resurfaced. We also don't know what kind of ''negative'' effects the Dhoti might have. I think the show also mention's Gandhi's Sandals, which calm you down so much they stop your heart. The Dhoti might have a similarly fatal side-effect. |
| 549 | ** The Dhoti got rid of the evil in Walter's heart. I highly doubt it would get rid of Claire's powers, since those are activated by intense emotions, not any actual evil intent. The Dhoti instills peace to counter hatred; at most it'd calm Claire down temporarily until something else set her off. |
| 550 | |
| 551 | [[/folder]] |
| 552 | |
| 553 | [[folder:Artie's speaking]] |
| 554 | |
| 555 | * Why does Artie always speak out of one side of his mouth? |
| 556 | ** That's just how Saul Rubinek talks. |
| 557 | ** Okay, so why does he do that? |
| 558 | ** He's got a mild case of Bell's Palsy. Basically he has a pinched cranial nerve which causes slight facial paralysis. You'll notice one of his eyes is often partially closed for the same reason. |
| 559 | |
| 560 | [[/folder]] |
| 561 | |
| 562 | [[folder:PPZ]] |
| 563 | |
| 564 | * PPZ seems to be a pretty progressive fraternity. Two guys just start dancing together and nobody gives them a hard time? |
| 565 | ** Yes. |
| 566 | [[/folder]] |
| 567 | |
| 568 | [[folder:Disco ball]] |
| 569 | |
| 570 | * So the Studio 54 disco ball creates a light and music show when activated. Why, knowing full well that artifacts have a tendency to activate by themselves even after being bagged, did Artie allow that to be stored anywhere near Lewis Carroll's mirror, a highly dangerous artifact triggered by light? |
| 571 | ** Lewis Carroll's mirror was where it was in that episode because Pete was playing with it. There's no indication that it's always stored nearby. |
| 572 | ** Not to mention it's normally covered and probably boxed up. And there's no indication that Alice ever tried the body-switching thing before, so they may not even have known that Alice could get out if the mirror was hit with a bright light. |
| 573 | |
| 574 | [[/folder]] |
| 575 | |
| 576 | [[folder:One Must Die]] |
| 577 | * In "Burried", why are the words "One Must Die" on the wall at Warehouse 2 before the Body trial? If the Warehouse had been found earlier, by Warehouse 2 agents, would someone just have to commit suicide rather than performing the Art of the Way? I don't object to having someone die to up the stakes, but why have it required by the Warehouse trap? |
| 578 | ** It may not have been a choice on their part. There was evidently something mystical behind how the warehouse and all the trials worked. In Warehouse 13 terms, that normally means an artifact (or more than one) and most artifacts have a drawback of some kind. It’s possible that sacrificing someone was a necessary part of however the system worked. |
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