* When does Larry ''sleep''? He's never shown having just woken up or groggy or anything.
** Well, the older guards in the first museum did say that the tablet gave them new vibrancy and energy. Maybe, since Larry's younger, it's just giving him health and energy to avoid the problems of sleep deprivation or whatever.
* Prior to Larry's arrival, the museum had a team of three night guards. After the first movie the exhibits can probably take care of the museum by themselves when Larry's not there, but [=McPhee=] and the trustees don't know that; do they think the building's standing empty and unguarded any night that Larry's not working? (Even if they think he works 7 nights a week and never takes sick leave or vacations, he quits between the first and second movie and doesn't work there for almost two years, but there's no mention of a replacement guard.)


* One might get annoyed at how the real-life historical figures are {{Flanderized}} to their most (in)famous trait, but that's often how real-life museums portray them. The wax mannequins represent the museums' view of history.
** A few of them actually complain about this.
** Also, the first movie implies that the exhibits absorb knowledge and information from around where they are, such as how the mummy can speak English because of his time in Cambridge. The Roosevelt statue in particular essentially admits he's just playing a part, presumably based on what he's gleaned from guides' and visitors' conversations over the years.
*** Which, if it's true, would be bad news for Rebecca, who isn't going to get anything useful out of Sacajawea for her dissertation.
*** In the Italian adaptation of the second movie is implied that the exhibits are somehow fully aware of critical pieces of information about modern times: Napoleon is able to keep tabs on one of his [[PlayedForLaughs potential modern descendants]] and relate about him to Larry even if he simply couldn't have had no way to know about their relationship.
** Amelia Earhart claims to have always been aware of her fictional nature, and the bust-Roosevelt shows no surprise about the existance of a wax-Roosevelt with arms, and legs and an horse. Thus, it can be supposed that the same magic keeping them alive gives them awareness of their nature and roles.
** In the third movie, Lancelot is shown having trouble accepting that he is in fact not real, and doesn't really grasp it until his nose melts. This would seem to disprove this earlier line of thought, except for one major difference between him and Teddy and Amelia...He's a ''fictional character''. There is no real person for him to be comparing himself to, or somehow draw magical memories from, all he knows is the story that has been told about him, and that's his reality
** I interpreted it in a somewhat animistic way, with EVERYTHING that's meant to represent a person or animal of some sort being self-aware, no matter their state; it's just that the tablet gives them animation. This leads naturally into AndIMustScream and would easily explain why some of the exhibits grow frustrated with their lot in life.
* Jedediah is able to drive the remote controlled car from inside. How is this possible? The tablet brought it to life too! His gun may not have worked, but the triggering mechanism did; we heard it click when he tried to shoot Larry. Likewise whatever they used to set off the ineffectual dynamite. And the car has a working motor inside; all that's needed are working controls.
* Why would an ancient Egyptian artifact reanimate both the dead and lifeless statues? According to their mythology, a person's ''sheut'' or "shadow or image" is just as much an essential part of a person as their soul. So reanimating an image of Teddy Roosevelt would make as much sense to the ancient Egyptians as it would to reanimate their body: both are equally important and both are considered part of that person.
* Why do all the Exhibits malfunction in different ways in the third movie? Like how Teddy goes into stuttering speech, but Sacajawea just freezes. Well at the end Teddy has throw away line about he's made of wax and she's made of polyurethane. It's meant as a joke, but it could also be the explanation, the different materials they are made out of react differently as they "shut down".
** This also applies to those ''not'' made from artificial materials: Akhmenrah progressively mummifies as the corrosion progresses, while Dexter, a stuffed monkey, [[spoiler:suffers a heart attack and dies.]]
* On the main page it is mentioned how it seems strange that Akh would be so OK with his friends from New York leaving to become statues again. There are other reasons given (all good), but then this troper remembered the Cambridge line from the first movie. Akhmenrah and his tablet have been moved from museum to museum before. While the other exhibits probably have been to, they weren't moved with the tablet, and so wouldn't remember the experience, but Akh would remember all of it, so knows more than the rest of them how museum loan systems and exhibit travel works, and so knew that it wasn't ''goodbye forever'' so much as ''goodbye for now''


* In the sequel all paintings and presumably pictures are brought to life as well as the exhibits. Fine and dandy if you're kissing a girl or sailing in stormy seas, but what about the Holocaust exhibits?
** [[OffscreenMomentOfAwesome We'd probably have loads of angry detainess]] [[NoHoldsBarredBeatdown beating the crap]] out of their guards, and any other Nazis would be getting attacked as well.
* Remember how Ahkmenrah spent most of the first movie locked inside a stone coffin, screaming his head off? How long has he been in there? And on that note, how many centuries did he spend coming back to life in his own tomb, knowing that he'd be dead again come sunrise?
** Well, Teddy did say that the tablet and Ahkmenrah arrived at that museum in [[AndIMustScream 1952]]...
* In the third movie, so, so much about the Roman exhibits.
** The British Museum has plaster casts taken from the ash in Pompeii, which preserve the forms of humans and animals as they were at the time of death, suffocating or writhing in agony. How will they feel when suddenly brought to life?
** Themes of violence and sexuality, including sexual assault, are present in a lot of Roman art. From the bas reliefs shown in the movie, it's clear that the violence continues when the artifacts are brought to life. Does this mean the sexual assaults will too? Every night, as long as the tablet is at the museum?
** This is somewhat lessened by the fact that Ahkmenrah is a mummified corpse until the tablet revives him every night, meaning it's likely the casts would be similar, and considering Attila has undergone character growth and become a pretty nice guy to be around, it's likely the things brought to life by the tablet ''don't'' just follow what they were created and are fully capable of undergoing character growth.
* In the third movie, why don't Ahkmenrah's parents show any concern over Kamenrah, Ahkmenrah's brother from the second movie? His father gushes over how he loved Ahkmenrah enough to force the priests to give them a form of immortality, but there's no mention of their OTHER child.