Browse content similar to 30/08/2010. Check below for episodes and series from the same categories and more!
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Hello, I'm Robert Webb. | 0:00:13 | 0:00:15 | |
Welcome to Great TV Mistakes. | 0:00:15 | 0:00:18 | |
Now, I know what you're saying - "But people in telly don't make mistakes. | 0:00:18 | 0:00:22 | |
"They're all perfect, like you, Rob." | 0:00:22 | 0:00:24 | |
Not true. Everyone makes mistakes. | 0:00:24 | 0:00:26 | |
You just called me Rob, for instance. | 0:00:26 | 0:00:29 | |
And no-one but no-one calls me Rob unless I give them permission. Understand?! | 0:00:29 | 0:00:33 | |
Don't worry. People in telly are just like you. | 0:00:33 | 0:00:36 | |
They mess up. A crew member appears in the back of shot, a prop changes colour, | 0:00:36 | 0:00:40 | |
someone commissions another series of My Family. | 0:00:40 | 0:00:43 | |
Mistakes get made, and that's where we come in. | 0:00:43 | 0:00:45 | |
We find these embarrassing errors and make a show out of them. | 0:00:45 | 0:00:49 | |
Some people might call that schadenfreude. I just call it funny. | 0:00:49 | 0:00:53 | |
Enjoy. | 0:00:53 | 0:00:54 | |
Coming up - mistakes from: | 0:00:54 | 0:00:56 | |
..and many, many more! | 0:01:04 | 0:01:06 | |
To misquote the great Salt-N-Pepa, let's talk about sets. | 0:01:06 | 0:01:11 | |
Set designers do an incredible job, and I hate to spoil the magic of television, but sometimes what | 0:01:13 | 0:01:18 | |
appears to be real is actually made of elaborately painted wood, much like Amanda Holden's face. | 0:01:18 | 0:01:24 | |
This wall behind me, that's not brick, that's papier mache, | 0:01:24 | 0:01:27 | |
expertly knocked together by the Great TV Mistakes set designers. | 0:01:27 | 0:01:30 | |
Trust me, there's nothing we in television can't convincingly recreate. | 0:01:30 | 0:01:34 | |
The inside of the White House, the outside of a spaceship, | 0:01:34 | 0:01:37 | |
even an entire 15th century English village. | 0:01:37 | 0:01:40 | |
Everything, in fact, except Daphne in Frasier's Mancunian accent, | 0:01:40 | 0:01:45 | |
And all of these shocking set-related howlers. | 0:01:45 | 0:01:47 | |
Hey, Magnum's in Friends. | 0:01:49 | 0:01:51 | |
Look at the size of the bloke. They're having to widen the shot just to squeeze him in. | 0:01:51 | 0:01:54 | |
A bit too wide, if you ask me. | 0:01:54 | 0:01:57 | |
That is the edge of the set. Unless there's always been an enormous hole in Joey and Chandler's wall. | 0:01:57 | 0:02:03 | |
In which case, why does everyone still use the door? | 0:02:03 | 0:02:06 | |
Well, we had a table in college. | 0:02:06 | 0:02:08 | |
Filming historical storylines is always a challenge. | 0:02:11 | 0:02:15 | |
Take this episode of Doctor Who, set in Victorian London with Charles Dickens and some zombies. | 0:02:15 | 0:02:20 | |
But forget about them, because that is an electric light switch. | 0:02:20 | 0:02:25 | |
Edison didn't test the first light bulb until nine years after Charles Dickens' death. | 0:02:25 | 0:02:29 | |
If that isn't a mistake, my name isn't Robert Webb. | 0:02:29 | 0:02:32 | |
Which it is. | 0:02:32 | 0:02:35 | |
It's Doctor Who, '70s-style. And problems with the TARDIS have forced him to get these alien builders in. | 0:02:40 | 0:02:46 | |
See the alien builder on the left, keep your eyes on his feet. | 0:02:46 | 0:02:50 | |
D'oh! That's torn it, literally. | 0:02:50 | 0:02:52 | |
Light, too much light! | 0:02:52 | 0:02:56 | |
Yeah, he's got his space boat caught under the Axminster. You idiot. | 0:02:56 | 0:02:59 | |
I know what you're thinking, how's he going to get his foot out from under the carpet? | 0:02:59 | 0:03:04 | |
Pick it up or just kick the carpet out of the way? | 0:03:04 | 0:03:07 | |
And he... Yeah, he just kicks it out of the way. Nice one. | 0:03:07 | 0:03:11 | |
Goddamn alien cowboy builders! | 0:03:11 | 0:03:13 | |
The IT Crowd, and Jen's up on the top floor. | 0:03:15 | 0:03:18 | |
I feel like I'm on top of the world. | 0:03:18 | 0:03:21 | |
Well, the top floor anyway, which is... | 0:03:21 | 0:03:24 | |
Floor 34. | 0:03:24 | 0:03:25 | |
Yes, floor 34. | 0:03:25 | 0:03:27 | |
-OK, where am I going? -All the way down to the basement. | 0:03:27 | 0:03:32 | |
From floor 34. But, hang on. | 0:03:32 | 0:03:36 | |
That lift's only got 31 buttons, meaning there's only 31 floors. | 0:03:36 | 0:03:40 | |
This doesn't make any sense. | 0:03:40 | 0:03:41 | |
I'm beginning to think these people don't take their pretend lift buttons seriously. | 0:03:41 | 0:03:46 | |
A brilliantly silly sequence from Wonder Woman now, starring | 0:03:48 | 0:03:51 | |
killer ape Gargantua | 0:03:51 | 0:03:53 | |
and this bloke in specs, who kicks off a classic dust-up | 0:03:53 | 0:03:57 | |
by throwing a balsawood coffee table like a massive girl. | 0:03:57 | 0:04:01 | |
Then, after some more "acting", he goes running for the door and that large red emergency button. | 0:04:01 | 0:04:07 | |
Gargantua throws a poorly constructed dummy across the room and, hey, it's a military rozzer. | 0:04:07 | 0:04:13 | |
He tries to press the button, misses is, but it goes off anyway. He's out of the game. | 0:04:13 | 0:04:18 | |
But here comes his mate, who's elderly. | 0:04:18 | 0:04:21 | |
He ignores the emergency button, cos it's not there any more, | 0:04:21 | 0:04:23 | |
and bounces off Gargantua like a septuagenarian pinball. | 0:04:23 | 0:04:27 | |
Yes, there was an error there but I'll be damned if I could spot it. | 0:04:27 | 0:04:30 | |
Here's pathologist turned serial killer, Dexter, | 0:04:32 | 0:04:36 | |
examining a dead body. Now, hold it there. | 0:04:36 | 0:04:39 | |
Time check. 11 minutes past 4. | 0:04:39 | 0:04:41 | |
And play. | 0:04:41 | 0:04:43 | |
Dexter takes a quick shufti at the cadaver. | 0:04:43 | 0:04:46 | |
And hold again. Ooh, it's 4:17. | 0:04:46 | 0:04:49 | |
That little look took six minutes. | 0:04:49 | 0:04:51 | |
Doesn't time fly when you're sniffing at a corpse. | 0:04:51 | 0:04:55 | |
Here's Lucy Lawless as Xena | 0:04:59 | 0:05:01 | |
in the best fighting form of her life, taking on baddie Deiphobus | 0:05:01 | 0:05:04 | |
Go, Xena! She's hard as a rock. | 0:05:04 | 0:05:07 | |
In fact, much harder than a rock. | 0:05:07 | 0:05:09 | |
Especially THAT rock. Boing! | 0:05:09 | 0:05:12 | |
Doing! | 0:05:13 | 0:05:15 | |
Hmm, did they have foam in ancient Greece? | 0:05:15 | 0:05:19 | |
Remember the time that you almost drowned... | 0:05:21 | 0:05:23 | |
Now, I don't want to suggest that they knocked some of these sets up in an afternoon, | 0:05:23 | 0:05:27 | |
cos often they don't have that long, But there is something a bit crap about this clip from Xena, | 0:05:27 | 0:05:32 | |
in which we see a Greek fortress, which history tells us were made of stone. | 0:05:32 | 0:05:37 | |
Stone, that geology tells us isn't known for its wobbly properties. | 0:05:37 | 0:05:41 | |
But look, over he goes, with a wibble and a wobble and a half pipe twist | 0:05:41 | 0:05:45 | |
that gymnastics tells us is an 8.5. I bet you can't do that again. | 0:05:45 | 0:05:49 | |
Wibble wobble, wibble wobble. Oh, he can. | 0:05:49 | 0:05:53 | |
That was the one I was trying to get a look at, not that Australian hayseed. | 0:05:55 | 0:06:00 | |
All's not well at Fawlty Towers, for a change. | 0:06:00 | 0:06:03 | |
Try as he might, Basil just can't get through to wife Sybil, for a change. | 0:06:03 | 0:06:08 | |
She's so annoyed and slams the door, along with half the wall. | 0:06:08 | 0:06:12 | |
That is some very unstable brickwork. Will somebody please call a builder? | 0:06:12 | 0:06:16 | |
And not Mr O'Reilly. Little joke for the fans there. | 0:06:16 | 0:06:19 | |
Just in case you're not one, O'Reilly is Basil's regular builder, very cheap and less than competent. | 0:06:22 | 0:06:29 | |
Look, he's blocked up the door to the dining room, blocked solid. | 0:06:29 | 0:06:33 | |
Well, not entirely. | 0:06:33 | 0:06:35 | |
No one puts up a wobblier wall than Basil Fawlty's builder. | 0:06:35 | 0:06:39 | |
Apart from a BBC set designer. | 0:06:39 | 0:06:41 | |
Sometimes not even a cheap set can ruin a scene, if the scene is a classic. | 0:06:44 | 0:06:49 | |
Basil's trying to catch one of the guests with a girl in his room but he's got the wrong window. | 0:06:49 | 0:06:54 | |
Keep your eyes on the pane of "glass". | 0:06:54 | 0:06:57 | |
It's plastic. And smeary, scratched plastic at that. | 0:06:59 | 0:07:03 | |
All in all, a gold star for BBC comedy and a brown smear for programme finance. | 0:07:03 | 0:07:08 | |
In this clip from Only Fools, Del and Rodney are round at Denzil's, | 0:07:14 | 0:07:17 | |
possibly the only flat in Peckham in worse shape than the Trotters'. | 0:07:17 | 0:07:20 | |
I'll make you wish your mum had had a headache... | 0:07:20 | 0:07:23 | |
When his wife storms out, though, watch what happens to the wall, and the budgie. | 0:07:23 | 0:07:28 | |
Ooh, he didn't see that coming. | 0:07:28 | 0:07:30 | |
Obviously never stayed at Fawlty Towers. | 0:07:30 | 0:07:32 | |
All right then, tonight, I'll be there. | 0:07:34 | 0:07:36 | |
It's Blackadder II, and Queenie and Edmond are staking a wager with Lord Melchett. | 0:07:36 | 0:07:41 | |
Namely, how long can Stephen Fry last before going "Mehhh"? | 0:07:41 | 0:07:45 | |
Watch what happens when Rowan waltzes out and, in his own words, the wall goes wibble. | 0:07:46 | 0:07:52 | |
I know what Stephen Fry would have said if he had seen that. | 0:07:52 | 0:07:55 | |
"Mehhhhh!" | 0:07:55 | 0:07:56 | |
-Where have you been? -Where haven't I been? Woof! | 0:07:58 | 0:08:01 | |
Blackadder was a studio show, so you'd expect the build quality of the sets to be a bit dodgy. | 0:08:01 | 0:08:06 | |
As we know, that's just part of British sitcom law, | 0:08:06 | 0:08:09 | |
although in the case of these doors, | 0:08:09 | 0:08:11 | |
surely even balsawood would have been a better choice than polystyrene. | 0:08:11 | 0:08:15 | |
Will Smith is living it up in his uncle's mansion, a cardboard mansion. | 0:08:20 | 0:08:25 | |
Boom, shake the room! | 0:08:25 | 0:08:27 | |
I hope that's not a supporting wall. | 0:08:27 | 0:08:29 | |
Did you move my hairdryer? | 0:08:34 | 0:08:35 | |
Over in the city of sex, Miranda's cleaner is about to open her bedside drawer. | 0:08:35 | 0:08:40 | |
Oh, she's found a massive vibrator. | 0:08:40 | 0:08:42 | |
'Magda had discovered Miranda's goody drawer.' | 0:08:42 | 0:08:47 | |
Slam it shut! Got it. Oh, Wait a second, now it's open again. Oh, get a grip, people. | 0:08:47 | 0:08:51 | |
Someone's sloppy, between-takes work just left Miranda's lady toys on show for all to see. | 0:08:51 | 0:08:57 | |
Mind you, who'd fancy that? | 0:08:57 | 0:08:59 | |
Band of Brothers. Here's Captain Nixon looking pretty fed up. | 0:09:02 | 0:09:06 | |
So fed up, he's going to throw a bin through that shop window. | 0:09:06 | 0:09:10 | |
Hold it. | 0:09:10 | 0:09:11 | |
That's a nasty-looking shard of broken glass. | 0:09:11 | 0:09:14 | |
No, don't go through the window, you'll cut yourself on that nasty looking shard of... | 0:09:15 | 0:09:20 | |
Oh, it's all gone. That is a mistake. At ease everyone. | 0:09:20 | 0:09:24 | |
Right, they leave me no choice. | 0:09:29 | 0:09:31 | |
A classic Thunderbirds car chase. | 0:09:31 | 0:09:33 | |
Watch what happens when the baddies' car spins off the road. | 0:09:33 | 0:09:37 | |
Timber! | 0:09:37 | 0:09:39 | |
Either the biggest squirrel in the world is in those trees | 0:09:39 | 0:09:42 | |
or the set guy just ran out of glue. | 0:09:42 | 0:09:44 | |
I think he makes half of it up. | 0:09:46 | 0:09:49 | |
Doctor Who's been on the telly for 47 years and 42 of those have been spent in corridors. | 0:09:49 | 0:09:55 | |
That's because corridors are cheap and impossible to get wrong, mostly. | 0:09:55 | 0:09:59 | |
Freeze the shot. | 0:09:59 | 0:10:01 | |
Notice the sign on the left for Torchwood. | 0:10:01 | 0:10:04 | |
Now, spin forward, and it's Billie's turn to try and fill some airtime. | 0:10:04 | 0:10:08 | |
That's it, Billie, create a bit of tension. Keep the dads watching. | 0:10:09 | 0:10:12 | |
And look at that. | 0:10:12 | 0:10:14 | |
The sign's gone all bigger with loads of added signery that just wasn't there a moment ago. | 0:10:14 | 0:10:19 | |
"Will the set designer please report to base where an arse-kicking is waiting? Thank you." | 0:10:21 | 0:10:27 | |
You think you can kill a cop and get away with it? | 0:10:31 | 0:10:34 | |
Why not? I've done it before. | 0:10:34 | 0:10:36 | |
Star Trek: The Next Generation, | 0:10:36 | 0:10:38 | |
and Captain Picard and Data have got all mixed up with some '30s gangster types on the holodeck. | 0:10:38 | 0:10:44 | |
Meanwhile, outside in the corridor, we can clearly see there's | 0:10:46 | 0:10:49 | |
absolutely no second corridor leading off to the side. | 0:10:49 | 0:10:53 | |
Except when the gangsters step outside, there is. | 0:10:53 | 0:10:58 | |
In space, no-one can hear you scream, "That was rubbish!" | 0:10:58 | 0:11:02 | |
But what I said was a statement of fact. | 0:11:04 | 0:11:05 | |
Now, I won't condone theft, but everyone knows it's traditional | 0:11:05 | 0:11:09 | |
when checking out of a hotel to snatch a towel. | 0:11:09 | 0:11:13 | |
But apparently in deep space it's equally common when being discharged from sick bay, to nick a pillow. | 0:11:13 | 0:11:19 | |
Two pillows in this shot, | 0:11:19 | 0:11:21 | |
one pillow in this. | 0:11:21 | 0:11:23 | |
Don't play the innocent with me, young man. | 0:11:23 | 0:11:25 | |
I know what you're hiding in your space trousers. | 0:11:25 | 0:11:28 | |
-It's not going to work. -Excellent, John, you're evolving. | 0:11:30 | 0:11:33 | |
Here's one for fans of Lost, assuming there are any left. | 0:11:33 | 0:11:38 | |
In this scene, Locke is required to throw a plastic tray at a stone wall, | 0:11:38 | 0:11:43 | |
but see how the plastic tray makes the stone wall tremble. | 0:11:43 | 0:11:46 | |
Normally, I'd say that was a TV mistake but this is Lost, | 0:11:49 | 0:11:52 | |
so you know, anything's possible. I blame the polar bears. | 0:11:52 | 0:11:55 | |
Hi, just so you know, we didn't mean... | 0:11:58 | 0:12:01 | |
Back to Friends, which was, of course, always filmed in front of | 0:12:01 | 0:12:04 | |
a live studio audience, and a very wobbly set. | 0:12:04 | 0:12:07 | |
Hmm, about as convincing as that bloke's beard. | 0:12:09 | 0:12:13 | |
Merry Christmas! | 0:12:15 | 0:12:16 | |
This is an episode of Friends called The One With The Self-Opening Door. | 0:12:16 | 0:12:20 | |
Oh God, you're the best! | 0:12:20 | 0:12:22 | |
Door closed... | 0:12:22 | 0:12:24 | |
Door open. If that isn't final proof of the existence of the supernatural, I don't know what is. | 0:12:26 | 0:12:34 | |
Ronnie Barker in the excellent Porridge and the inmates of Slade are out | 0:12:36 | 0:12:41 | |
for the day, under the supervision of Mr Barraclough in an old church. | 0:12:41 | 0:12:45 | |
Well, the outside bits were filmed in an old church, but the interiors certainly weren't. | 0:12:45 | 0:12:51 | |
Want proof? Just look what happens when Melvyn leans on a column. | 0:12:51 | 0:12:55 | |
Yes, it wobbles in a way that most Saxon stonework just doesn't, | 0:12:55 | 0:13:01 | |
shaking like Amy Winehouse before the pubs open. | 0:13:01 | 0:13:04 | |
TV is divided into on and off-screen talent. And for good reason. | 0:13:06 | 0:13:11 | |
I'm on-screen talent, because I'm beautiful and incredibly clever. | 0:13:11 | 0:13:15 | |
The camera people, make-up assistants and wardrobe - | 0:13:15 | 0:13:17 | |
flunkies, are off-screen talent, because they're ugly. | 0:13:17 | 0:13:21 | |
Trust me, you do not want to see these people. | 0:13:21 | 0:13:23 | |
I'm facing some of them right now and just looking at them is giving me such violent | 0:13:23 | 0:13:27 | |
stomach cramps it's a wonder I don't vomit all over the camera. | 0:13:27 | 0:13:30 | |
So, hold on to your lunches, cos our first set of clips are | 0:13:30 | 0:13:34 | |
littered with off-screen bods making fleeting on screen appearances. | 0:13:34 | 0:13:38 | |
Not so much in a knowing, ironic, Alfred Hitchcock kind of a way, more a sort of "Oi, bacon-face, shift!" | 0:13:38 | 0:13:44 | |
sort of a way. Eww... | 0:13:44 | 0:13:46 | |
Hey, look, those crafty ancient Greeks are attacking Troy | 0:13:48 | 0:13:52 | |
after sneaking into the city in the belly of the Trojan horse. | 0:13:52 | 0:13:56 | |
There they are, in their rubber helmets. | 0:13:56 | 0:13:58 | |
But, according to this episode of Xena, they weren't alone. | 0:14:00 | 0:14:04 | |
It's your job to fight her first. | 0:14:04 | 0:14:06 | |
Oh no, cos also stowed away in the horse's bumhole was... | 0:14:06 | 0:14:09 | |
This bloke! There he is, squatting on the battlements. You numpty. | 0:14:09 | 0:14:14 | |
Here's Sarah Michelle Gellar walking through a creepy wood late at night | 0:14:16 | 0:14:22 | |
Careful, Buffy, watch out for vampires! | 0:14:22 | 0:14:26 | |
Oh my God, what's that?! | 0:14:26 | 0:14:27 | |
It's a monster with a huge...! | 0:14:27 | 0:14:29 | |
Microphone. Oh dear, it's the boom operator. | 0:14:29 | 0:14:32 | |
Thunderbirds, and ignore this foreign baddie. | 0:14:34 | 0:14:38 | |
Damn those Welsh Iraqi pilots. | 0:14:40 | 0:14:42 | |
Watch Tintin, held in the vice-like grip of this serial killer turned puppeteer. | 0:14:42 | 0:14:47 | |
His nails aren't normally that dirty, he'd just finished burying another body. | 0:14:47 | 0:14:50 | |
So what did you do that made Dad cut you off? | 0:14:53 | 0:14:56 | |
OK, team, no clues. | 0:14:56 | 0:14:57 | |
See if you can spot the mistake in this clip from Friends. | 0:14:57 | 0:15:01 | |
Yeah, but it wasn't for me, it was for a friend. | 0:15:01 | 0:15:04 | |
Boy, did we make friends with the wrong sister. | 0:15:04 | 0:15:06 | |
You missed it, didn't you? Forget the pretty actors, look at the pretty cameraman. | 0:15:06 | 0:15:11 | |
It's amazing what you miss when you're laughing. And when you're not. | 0:15:11 | 0:15:15 | |
It's gourmet night at Fawlty Towers and a very funny scene featuring | 0:15:19 | 0:15:23 | |
a fine example of the easily missable TV mistake. | 0:15:23 | 0:15:26 | |
Missed it, didn't you? Here it is again. | 0:15:28 | 0:15:30 | |
This time, forget the action and concentrate on the BBC techie bloke squatting behind the double doors. | 0:15:30 | 0:15:36 | |
A classic mistake from a classic comedy that just got funnier with age. | 0:15:36 | 0:15:41 | |
If only the same could be said for John Cleese. | 0:15:41 | 0:15:43 | |
I mean, look at that! | 0:15:43 | 0:15:45 | |
-Can I help? -Yes, go and kill yourself! | 0:15:45 | 0:15:48 | |
Sam and Dean from Supernatural are having trouble with a couple of amateur ghost hunters. | 0:15:49 | 0:15:54 | |
Question is, what's behind that door? | 0:15:54 | 0:15:57 | |
Guys, you want to go open that door for us? | 0:15:57 | 0:16:02 | |
Everyone's terrified and armed to the teeth - must be the Jehovah's Witnesses. | 0:16:02 | 0:16:08 | |
It's a ghost, or at least a ghost who can be hurt by bullets. | 0:16:08 | 0:16:14 | |
I can't decide what's worse about this clip, the ghost who's afraid of bullets | 0:16:14 | 0:16:18 | |
or the cameraman who doesn't know where to stand. | 0:16:18 | 0:16:20 | |
Hmm, it's the cameraman. | 0:16:20 | 0:16:23 | |
Its Charmed, the series about a bunch of friendly witches. Or am I thinking of Loose Women? | 0:16:26 | 0:16:32 | |
Anyway, ignore this trespasser and instead feast your eyes on | 0:16:32 | 0:16:35 | |
the director sitting in the next room listening to his iPod. | 0:16:35 | 0:16:40 | |
You're supposed to sit behind the camera, not in front of the pointy end. See that book? | 0:16:40 | 0:16:43 | |
As soon as they turn the camera off, they're going to hit him with that. | 0:16:43 | 0:16:48 | |
Its Doctor Who from 1975, back when children everywhere could | 0:16:48 | 0:16:54 | |
be found hiding behind the sofa, avoiding gaffes like this. | 0:16:54 | 0:16:57 | |
Keep your eyes on the baddie's bottom, or rather what's under it. | 0:16:57 | 0:17:02 | |
-I can move! -Oh dear. | 0:17:02 | 0:17:04 | |
That floor assistant's thinking "If I move my hand away slowly, no-one will see a thing." | 0:17:06 | 0:17:12 | |
But we did. | 0:17:12 | 0:17:13 | |
Here's Blackadder staging an elaborate con trick, but not the one | 0:17:15 | 0:17:20 | |
where he gets massive laughs from repeatedly saying the world "Bob." | 0:17:20 | 0:17:23 | |
No, he's pretending he's built a time machine. | 0:17:23 | 0:17:26 | |
Of course, it's not real, and you can tell cos it's made of wood | 0:17:26 | 0:17:29 | |
and bits of old junk and requires one of the crew to push the door shut. | 0:17:29 | 0:17:36 | |
Well done, Balders, this is very impressive. | 0:17:36 | 0:17:40 | |
The maybe of Mike Delphino. | 0:17:40 | 0:17:42 | |
It's Desperate Housewives, and Susan's just broken into a neighbour's house | 0:17:42 | 0:17:47 | |
to return a Pyrex jug, but finds time to take a moment alone with just her thoughts for company. | 0:17:47 | 0:17:52 | |
And that bloke crawling behind the sofa. | 0:17:52 | 0:17:57 | |
Yes, it's the guy who just set fire to the curtains, | 0:17:57 | 0:17:59 | |
whose idea of keeping out of shot is crawling across the screen on his hands and knees. | 0:17:59 | 0:18:05 | |
Wait for it. You're... Fired! | 0:18:05 | 0:18:07 | |
Ha-ha! Sorry. | 0:18:07 | 0:18:09 | |
Here's a clip from Scrubs, the American sitcom set in a hospital. | 0:18:13 | 0:18:17 | |
It's a bit like Casualty but with fewer laughs. | 0:18:17 | 0:18:20 | |
Here, Dr Turk is about to bite into a sarnie when all of a sudden, there's an emergency. | 0:18:20 | 0:18:24 | |
Thankfully, someone's there to lend a hand. | 0:18:24 | 0:18:27 | |
That's either a member of the crew holding the door open | 0:18:27 | 0:18:30 | |
or one of the patients has fallen out of bed again. | 0:18:30 | 0:18:33 | |
-Make those dreams happen. -Yes. | 0:18:35 | 0:18:38 | |
You can always tell when a TV series is working, | 0:18:38 | 0:18:40 | |
cos everyone on screen looks like they're really enjoying themselves. | 0:18:40 | 0:18:44 | |
Take Arrested Development, a show which is obviously so much fun | 0:18:44 | 0:18:46 | |
even the crew like to get on, just once... Boo! | 0:18:46 | 0:18:51 | |
Or twice. Boo! | 0:18:52 | 0:18:55 | |
-An emotional farewell scene in Lost as Charlie says goodbye to Hurley. -That's uncool, man. | 0:18:57 | 0:19:03 | |
But for once, try to keep your eyes off the unfolding drama and Hurley's boobs, | 0:19:03 | 0:19:08 | |
and on the cameraman clearly visible to the left of shot. | 0:19:08 | 0:19:11 | |
You can see his sandals, his camera and if you really squint, his P45. | 0:19:11 | 0:19:16 | |
Wait! | 0:19:16 | 0:19:18 | |
Its 24, and everything, as always, is very, very tense. | 0:19:20 | 0:19:25 | |
A tense Tony is ignoring a call from a tense Nina. | 0:19:25 | 0:19:27 | |
Come on, Sammy, pick up. | 0:19:27 | 0:19:29 | |
Unbeknown to tense Nina, there's someone else in the barn with her. | 0:19:29 | 0:19:33 | |
And here he comes, wandering in from the right. | 0:19:33 | 0:19:36 | |
A cameraman. | 0:19:36 | 0:19:38 | |
And if you want to know how he's feeling, I'll tell you. Tense. | 0:19:38 | 0:19:42 | |
Jennifer Aniston's fantasising about what it would be like to kiss David Schwimmer. | 0:19:44 | 0:19:49 | |
It's what they call a dream sequence. | 0:19:49 | 0:19:51 | |
-It's what I call a nightmare. -Wow! | 0:19:51 | 0:19:53 | |
Ignore this bloke, he's part of the story, but who's he? | 0:19:53 | 0:19:57 | |
Remember, we're on a balcony, so who's the levitating fat-arsed numpty with the utility belt? | 0:19:57 | 0:20:02 | |
Yes, it's one of the Friends crew. | 0:20:02 | 0:20:05 | |
Whenever there's a conversation about the world's hardest jobs, | 0:20:09 | 0:20:13 | |
the same professions come up time and time again. | 0:20:13 | 0:20:16 | |
Trauma surgeon, soldier, air traffic controller, and of course, actor. | 0:20:16 | 0:20:21 | |
And out of these jobs, actor is surely the hardest. | 0:20:21 | 0:20:25 | |
Actors do a very difficult job. | 0:20:25 | 0:20:27 | |
If we're not learning lines, then we're signing autographs or doing | 0:20:27 | 0:20:30 | |
stuff for free with wonky kids, we're having to stand up in front | 0:20:30 | 0:20:33 | |
of loads of strangers and say words that sometimes we don't even understand. | 0:20:33 | 0:20:38 | |
Consequently, every now and again, through no fault of our own, stuff does go a bit wrong. | 0:20:38 | 0:20:45 | |
I'm sorry, the party got a little out of hand. | 0:20:47 | 0:20:49 | |
People your age, they have finished college... | 0:20:49 | 0:20:51 | |
Oh, the poor little rich girls of The OC. | 0:20:51 | 0:20:53 | |
Here's Hayley, tidying up after another crazy party. | 0:20:53 | 0:20:58 | |
Well, I say tidying up, but what Amanda Rugetti is actually doing | 0:20:58 | 0:21:03 | |
is picking up tiny pieces of invisible rubbish. | 0:21:03 | 0:21:06 | |
Look, she's dropping little bits of air into that bin bag. | 0:21:06 | 0:21:09 | |
That, ladies and gentlemen, is what you call method acting... | 0:21:11 | 0:21:15 | |
if your method is piss-poor. | 0:21:15 | 0:21:18 | |
You know, this scene was filmed eight years ago | 0:21:18 | 0:21:20 | |
but unsurprisingly, she only finished tidying the room last Thursday. | 0:21:20 | 0:21:24 | |
Oh, we're back in The OC | 0:21:24 | 0:21:26 | |
and here comes Mischa Barton, sulking her way into the room. | 0:21:26 | 0:21:30 | |
"Nuh, nuh, nuh, I'm Mischa Barton." | 0:21:30 | 0:21:33 | |
And she dumps her jacket down on the right, and then moments later, | 0:21:33 | 0:21:38 | |
there it is on the left. | 0:21:38 | 0:21:39 | |
That's not going to improve her mood. | 0:21:39 | 0:21:42 | |
To Albert Square and that live anniversary episode. | 0:21:45 | 0:21:48 | |
And Stace and Bradley are talkin' abaht 'fings with Max and Scott when Scott forgets his lines. | 0:21:48 | 0:21:55 | |
You held the fact from the pl... Look, it's a motive, you've held it against the public... | 0:21:55 | 0:21:59 | |
-Look, we all have... -Well, I'll explain that. | 0:21:59 | 0:22:01 | |
Oh dear, no retakes here. | 0:22:01 | 0:22:04 | |
This is live. | 0:22:04 | 0:22:06 | |
Oh, he's gone again. Oh, tricky business this live telly. | 0:22:06 | 0:22:09 | |
Bless him. I'd leave it, Scott, it ain't worth it! | 0:22:09 | 0:22:12 | |
It's a classic Phil-Mitchell-in-a-rage scene and Ian's on the receiving end. | 0:22:14 | 0:22:19 | |
But when you want someone to cease doing something, what do you say? | 0:22:19 | 0:22:22 | |
Is it A, stop, or B, slop? | 0:22:22 | 0:22:25 | |
-Slop. -What? -Slop. -I'll give you one more guess. | 0:22:25 | 0:22:29 | |
-Slop. -I'm sorry, Ian, the answer was looking for was A, stop. | 0:22:29 | 0:22:34 | |
Received and acknowledged, sir. Picard out. | 0:22:36 | 0:22:40 | |
Jean Luc Picard, ever the stern- faced model of professionalism. | 0:22:40 | 0:22:43 | |
Except when he goes through the turbo lift doors and has a quick girn. You missed it, didn't you? | 0:22:43 | 0:22:49 | |
Don't worry, here it is again. | 0:22:49 | 0:22:51 | |
He just boldly girned where no man has girned before. | 0:22:54 | 0:22:58 | |
In this clip from Buffy, fiendish but foxy teacher Miss French is making herself a sandwich. | 0:23:00 | 0:23:06 | |
She's a sucker for fresh ingredients. | 0:23:06 | 0:23:08 | |
I think I have one of those myself from a motorway services. | 0:23:08 | 0:23:11 | |
But there's something very wrong here. | 0:23:11 | 0:23:13 | |
Besides a lady chewing live insects. | 0:23:13 | 0:23:15 | |
Because when she starts eating, her sleeves are up, then she opens the box, her sleeves are down. | 0:23:15 | 0:23:21 | |
And finally, they're back up again. | 0:23:21 | 0:23:24 | |
Add to that the insect sandwich and all the vampire business and you've | 0:23:24 | 0:23:27 | |
got a scene that's more disturbing than Andrew Lloyd Webber's smile. | 0:23:27 | 0:23:31 | |
-More odd goings on in Buffy. -The werewolf! | 0:23:34 | 0:23:37 | |
A werewolf has gone AWOL and they need to find him/it quickly. | 0:23:37 | 0:23:41 | |
But Giles isn't wearing his glasses. | 0:23:41 | 0:23:43 | |
Oh, he is. Problem solved. | 0:23:43 | 0:23:45 | |
Problem unsolved! And solved again. | 0:23:45 | 0:23:49 | |
I think we're sorted. That werewolf is history. My mistake! The glasses are. | 0:23:49 | 0:23:53 | |
Gray's Anatomy and Patrick Dempsey takes his earphones out cos he's | 0:23:55 | 0:23:59 | |
being talked at by a lady. | 0:23:59 | 0:24:01 | |
-But he pretends he still can't hear her anyway. -Am I invisible? I'm feeling strangely invisible. | 0:24:01 | 0:24:06 | |
-Also inaudible. -What? -And who can blame him, she really is banging on. | 0:24:06 | 0:24:11 | |
-So I guess dinner shopping is out? -Yeah. -Might as well wrap the headphones up. | 0:24:11 | 0:24:16 | |
-Sorry. -No you're not. I'm just trying to figure out why you're not. | 0:24:16 | 0:24:18 | |
And up. A very long wire. | 0:24:18 | 0:24:20 | |
And put them away. | 0:24:20 | 0:24:23 | |
-Yeah, I know. -D'oh! Hang on, they're still round his neck. | 0:24:23 | 0:24:26 | |
Unless that's his spare set? | 0:24:26 | 0:24:28 | |
Pat, there's only so much Peter Andre a man can listen to. | 0:24:28 | 0:24:32 | |
When it comes to bad dead acting, you'd have to go back a long way to find a poorer example than this. | 0:24:35 | 0:24:41 | |
Centuries back, to be precise. In this clip from Xena, everyone thinks the great warrior princess is dead. | 0:24:41 | 0:24:48 | |
Though quite why is anyone's guess. | 0:24:48 | 0:24:49 | |
Clue one, blood is still coursing through her jugular ten to the dozen. | 0:24:49 | 0:24:55 | |
Clue two, in a moment, she clearly blinks. | 0:24:55 | 0:24:58 | |
And clue three, this is season one. | 0:24:58 | 0:25:00 | |
-There's another five series of this rubbish. -We've got to get out of here. | 0:25:00 | 0:25:04 | |
Yes, no, no, I did not book this one. | 0:25:06 | 0:25:09 | |
This clip from Arrested Development will delight fans of continuity errors and flowers alike. | 0:25:09 | 0:25:15 | |
There's the vicious and sexy Lindsey, who's just got back with some shopping. | 0:25:15 | 0:25:20 | |
We see her take out this bunch of posies and put them on the counter. | 0:25:20 | 0:25:24 | |
So far so good. Jason Bateman does some talking. | 0:25:24 | 0:25:27 | |
Back to Linds and this enormous vase that she's about to dump the flowers into. When... | 0:25:27 | 0:25:34 | |
They're suddenly back in the bag again. | 0:25:34 | 0:25:36 | |
Yeah, that is a TV mistake and I'll be honest, I'm disappointed by that. | 0:25:36 | 0:25:42 | |
And so's he. | 0:25:42 | 0:25:43 | |
Band of Brothers, and Sergeant Major Schwimmer is furious with one of his soldiers. | 0:25:49 | 0:25:54 | |
Christiansen, why is there no water in your canteen?! | 0:25:54 | 0:25:58 | |
It's not just about the water. Look, this soldier's gun keeps jumping from one shoulder to the other. | 0:25:58 | 0:26:04 | |
There it is on the right. | 0:26:04 | 0:26:06 | |
-And there it is on the left. -You will repeat all 12 miles...! | 0:26:06 | 0:26:10 | |
And back again. That's dangerous with a loaded weapon. | 0:26:10 | 0:26:13 | |
He was a good man, your father. | 0:26:15 | 0:26:18 | |
Here's Uncle Junior in The Sopranos and he's hopping mad. | 0:26:18 | 0:26:22 | |
He must have lost the remote or worse, forgot to tape Minder. | 0:26:22 | 0:26:26 | |
Whatever, it's made him so angry that his glasses momentarily disappear. | 0:26:26 | 0:26:32 | |
Just don't anyone tell him he accidentally put a red sock in with the whites. | 0:26:32 | 0:26:36 | |
Kate must have a tiny vagina. | 0:26:38 | 0:26:41 | |
Here we are in that city where there's all that sex. | 0:26:41 | 0:26:44 | |
And the girls are in the khazi doing lady things. | 0:26:44 | 0:26:47 | |
Sometimes you just know. | 0:26:47 | 0:26:49 | |
With the right match, its fate. | 0:26:49 | 0:26:50 | |
Sarah Jessica Parker's sorting her hair out. | 0:26:50 | 0:26:53 | |
She's tying it out in a scrunchie, but that's SJP hair, so it'll need special restraints. | 0:26:53 | 0:26:59 | |
So she straps it down twice with the same scrunchie. | 0:26:59 | 0:27:03 | |
But spin on, cos it was all worth it. | 0:27:03 | 0:27:05 | |
Now she looks lovely | 0:27:05 | 0:27:06 | |
and not at all like a Yorkshire terrier with a Croydon facelift. Super. | 0:27:06 | 0:27:10 | |
Oh, look, it's only 10. How nice. | 0:27:12 | 0:27:14 | |
-There's no coffee. -The Gilmore Girls, and Lorelai is chatting to | 0:27:14 | 0:27:17 | |
Luke as he tries to fix a toaster by shoving a screwdriver into it. | 0:27:17 | 0:27:20 | |
In a minute, he's going to try and fix the waste disposal | 0:27:20 | 0:27:24 | |
by sticking his winkie into it. | 0:27:24 | 0:27:26 | |
See how he goes to get coffee, leaving the screwdriver in the hole, | 0:27:26 | 0:27:30 | |
and when he returns, screwdriver gone. | 0:27:30 | 0:27:33 | |
Oh, there it is by the side of the toaster. | 0:27:33 | 0:27:36 | |
Right, where's that waste disposal? | 0:27:36 | 0:27:40 | |
Here's Sam and here's his brother, Dean. | 0:27:40 | 0:27:44 | |
Ignore the girl. The ghostbusting siblings from Supernatural. | 0:27:44 | 0:27:48 | |
Dean is played by an actor called Jenson - ignore the girl - and Sam by an actor called Jared. | 0:27:48 | 0:27:54 | |
Are we all clear? Dean is played by Jenson and Sam is played by Jared. | 0:27:54 | 0:28:00 | |
How do I know? Well, in this scene, when they're all meant to be acting, | 0:28:00 | 0:28:03 | |
Dean doesn't call Sam "Sam", he calls him Jared. | 0:28:03 | 0:28:05 | |
Jared, check it out. | 0:28:05 | 0:28:06 | |
Yeah, "Jared, check it out. | 0:28:06 | 0:28:08 | |
"I just ballsed up the scene by calling you by your real name." | 0:28:08 | 0:28:12 | |
Yes, more dumbarsery from the Brothers Grimm. | 0:28:15 | 0:28:19 | |
In this scene, they're supposed to be acting all angry cos they've just been outwitted by this lady. | 0:28:19 | 0:28:23 | |
Although, I reckon a pigeon could outwit these two. | 0:28:23 | 0:28:28 | |
Anyway, the script might be calling for fury but all Jared can manage is a poorly concealed snigger. | 0:28:28 | 0:28:33 | |
-Son of a bitch! -Remember, this was presumably the best take, the one they actually used. | 0:28:33 | 0:28:39 | |
Makes you wonder how bad the others were. He probably weed himself. | 0:28:39 | 0:28:42 | |
Pride and Prejudice, and I've got to say, Jennifer Ehle makes playing the piano look effortless. | 0:28:44 | 0:28:49 | |
Colin's Impressed. He always uses his fingers. | 0:28:49 | 0:28:52 | |
Not Jen, though, her hands and arms are barely moving. | 0:28:52 | 0:28:55 | |
Do you know, I think she's miming. | 0:28:55 | 0:28:58 | |
-I know you find great enjoyment in professing opinions which are not your own. -And in miming. | 0:28:58 | 0:29:03 | |
Either that or she's just brilliant at playing the piano. | 0:29:03 | 0:29:06 | |
It's the first thing though, isn't it? | 0:29:06 | 0:29:08 | |
Generous of him, is it not? | 0:29:08 | 0:29:09 | |
What do you think about this? | 0:29:11 | 0:29:13 | |
Here's Tasha and Troy, surely two of Star Trek: The Next Generation's least favourite characters. | 0:29:13 | 0:29:19 | |
-It's not for you. -Tasha is covered in scarves. Fast forward but they're | 0:29:19 | 0:29:23 | |
made from some weird futuristic space fabric which just disappears. | 0:29:23 | 0:29:28 | |
-Never mind. -Oh, but I do mind. | 0:29:28 | 0:29:31 | |
They're scarves, Jim, but not as we know it. | 0:29:31 | 0:29:33 | |
Before Dexter was Dexter from Dexter, | 0:29:35 | 0:29:38 | |
he was David from Six Feet Under, and if you thought that was confusing, I'd try not to look too | 0:29:38 | 0:29:42 | |
closely at his dance teacher's bag, which is strapped over his left shoulder. | 0:29:42 | 0:29:47 | |
Sometimes. You get the idea. | 0:29:47 | 0:29:50 | |
They don't half have some trouble with bag straps in Six Feet Under, and props in general. | 0:29:52 | 0:29:58 | |
Just watch these two. | 0:29:58 | 0:29:59 | |
So, who do you think plays Parker in the movie of her life? | 0:29:59 | 0:30:03 | |
Sandy Bullock or Julia Roberts? | 0:30:03 | 0:30:05 | |
They both pull their rucksacks on twice and she loses her water bottle. | 0:30:05 | 0:30:11 | |
They're just not taking this camping thing seriously. | 0:30:11 | 0:30:15 | |
-Anyway, I just wanted to say how wonderful... -Back to Friends, and a special guest appearance | 0:30:17 | 0:30:21 | |
by Susan Sarandon, the thinking person's MILF, playing a hard drinking, chain smoking actress. | 0:30:21 | 0:30:27 | |
Ever the pro, Susan manages to cram both into this scene. | 0:30:27 | 0:30:31 | |
Chain smoker. | 0:30:31 | 0:30:32 | |
Hard drinker. | 0:30:32 | 0:30:35 | |
Chain smoker. | 0:30:35 | 0:30:36 | |
I hope my fingers are than nimble when I'm 80. | 0:30:36 | 0:30:39 | |
TV shows are a huge investment of time, money and effort, | 0:30:41 | 0:30:44 | |
but you can spend months and months getting something right, | 0:30:44 | 0:30:48 | |
hiring the very best actors, camera persons, writers and crew, | 0:30:48 | 0:30:52 | |
only to have the whole thing ruined by some extra in the background being a tit. | 0:30:52 | 0:30:57 | |
These people are a menace, wandering in and out of the back of every shot, | 0:30:57 | 0:31:00 | |
trying to be ordinary members of the public, who are the only things worse than extras. | 0:31:00 | 0:31:05 | |
Nothing causes more trouble on set than members of the public. | 0:31:05 | 0:31:08 | |
I hate them all. Apart from you, obviously. | 0:31:08 | 0:31:13 | |
Some classic muscle Mary slow mo running now from legendary | 0:31:16 | 0:31:19 | |
beachfront twaddle merchants Baywatch. | 0:31:19 | 0:31:22 | |
See their toned torsos as they pound along the sand, | 0:31:22 | 0:31:25 | |
see their hair blown by the gentle Pacific breeze, | 0:31:25 | 0:31:29 | |
see the kid in the background pulling a moonie. | 0:31:29 | 0:31:32 | |
That's worth a second look. | 0:31:32 | 0:31:34 | |
Everyone's a critic. | 0:31:35 | 0:31:37 | |
You don't even have to. I'm sure you were pretty freaked out. | 0:31:39 | 0:31:42 | |
Totally. | 0:31:42 | 0:31:44 | |
See this woman with the tartan top? | 0:31:44 | 0:31:46 | |
Now remember her, cos this lady is about to take the art | 0:31:46 | 0:31:49 | |
of the attention seeking TV extra to a whole new dimension. | 0:31:49 | 0:31:52 | |
This is Buffy's high school, of course, and she is presumably the most mature student. | 0:31:52 | 0:31:58 | |
I...think you're the coolest. | 0:31:58 | 0:31:59 | |
There she is again, drawing attention to herself with that big red bag. | 0:31:59 | 0:32:04 | |
Now, spin on. And there she is again, walking in the opposite direction. | 0:32:04 | 0:32:09 | |
No, she's not. She's over there, walking up some stairs, | 0:32:09 | 0:32:12 | |
drawing attention to herself just like those extras aren't supposed to. | 0:32:12 | 0:32:16 | |
Back for more stair climbing, this time without the bag. Clever. | 0:32:16 | 0:32:20 | |
Still going up the stairs. | 0:32:20 | 0:32:22 | |
Mind you, at least we know where she is. No we don't. | 0:32:22 | 0:32:25 | |
Buffy, now she's behind you. | 0:32:25 | 0:32:27 | |
"Right, I've had enough of this," said the director, "Get that woman out of my sight. | 0:32:27 | 0:32:33 | |
"Nobody lets her back on this set." | 0:32:33 | 0:32:36 | |
Whoa, how did that happen? | 0:32:36 | 0:32:38 | |
Crafty cow, she's taken off her horrible tartan jacket and given the red bag to someone else. | 0:32:38 | 0:32:43 | |
Damn you, nightmare tartan extra lady! | 0:32:43 | 0:32:47 | |
Still, the jacket's gone, the bag's gone, and, finally, so is she. | 0:32:47 | 0:32:51 | |
Or not. | 0:32:51 | 0:32:53 | |
Ever get the feeling you're being followed? | 0:32:55 | 0:32:59 | |
In this episode of Buffy, the lovely Eliza Dushku certainly does, and with good reason. | 0:32:59 | 0:33:05 | |
The winners of the 2002 Most American Couple award | 0:33:05 | 0:33:08 | |
walk behind her once, which is fine. Nothing wrong there. | 0:33:08 | 0:33:11 | |
But twice is pushing it. | 0:33:13 | 0:33:15 | |
That's borderline harassment. | 0:33:15 | 0:33:17 | |
Three times is frankly unacceptable. | 0:33:21 | 0:33:23 | |
That's a restraining order right there. | 0:33:23 | 0:33:26 | |
They won't be trying that again... from the same direction. | 0:33:26 | 0:33:30 | |
For Pete's sake, leave lovely Eliza alone! | 0:33:30 | 0:33:33 | |
They'll be hiding in that bush outside her house next, and that's mine. | 0:33:33 | 0:33:36 | |
Sex And The City, a show about four single young women. | 0:33:39 | 0:33:44 | |
Well, three young women and the one who plays Samantha. | 0:33:44 | 0:33:47 | |
But let's rewind and look at those two extras on the left of picture sitting side by side. | 0:33:47 | 0:33:53 | |
Now, spin on and clearly one of them has dropped a massive guff | 0:33:53 | 0:33:57 | |
because next time we see them, they're sitting miles away from each other in separate rows. | 0:33:57 | 0:34:02 | |
Poor Sam. Must have been a pretty serious guff. Someone open a window! | 0:34:02 | 0:34:06 | |
OK, listen everyone, we've got to get out of here. | 0:34:09 | 0:34:11 | |
Back to the doctor, and here, Mickey is attempting to save a room full of headphone wearing children. | 0:34:11 | 0:34:17 | |
But they're all zombiefied. | 0:34:17 | 0:34:19 | |
Mickey must have a background in IT cos he resorts to the tried and tested solution | 0:34:19 | 0:34:23 | |
of just yanking out the plug and hoping for the best. | 0:34:23 | 0:34:26 | |
Magically, it works, and removes the kids' headphones. | 0:34:26 | 0:34:31 | |
And off they go, trudging out of a doomed building smirking. | 0:34:31 | 0:34:35 | |
Good work, kids, you're hired. | 0:34:35 | 0:34:37 | |
This is where I was born. | 0:34:39 | 0:34:42 | |
And this is where I died. | 0:34:42 | 0:34:45 | |
More Doctor Who, and Billie's on the bus in contemplative mood. | 0:34:45 | 0:34:49 | |
The first 19 years of my life, nothing happened. | 0:34:49 | 0:34:52 | |
But keep your eyes on the extra who sits in the row behind her. | 0:34:52 | 0:34:56 | |
Not ever. | 0:34:56 | 0:34:57 | |
Oh, Billie, come on. | 0:34:57 | 0:34:58 | |
Incredible things are happening all around you. | 0:34:58 | 0:35:00 | |
That bloke just jumped back through time and space simply to get a better seat. | 0:35:00 | 0:35:04 | |
Pay attention, girl. | 0:35:04 | 0:35:06 | |
It's the X-Files, and as Mulder and Scully head | 0:35:10 | 0:35:13 | |
out into the car park, what seems to be a perfectly ordinary passer by suddenly disappears. | 0:35:13 | 0:35:19 | |
Where did she go? | 0:35:19 | 0:35:21 | |
Abducted by aliens right in front of Mulder's nose and he's missed it. | 0:35:21 | 0:35:25 | |
The X-Files, and Scully has a mysterious dead body to investigate. | 0:35:27 | 0:35:32 | |
In this case, the mystery is why they chose the most fidgety man in North America to play the corpse. | 0:35:32 | 0:35:38 | |
See how the faintest prod from Scully makes the big wuss blink. | 0:35:38 | 0:35:43 | |
Not so much dead man's body, more big girl's blouse. | 0:35:43 | 0:35:46 | |
But just in case anyone missed that, moments later, | 0:35:46 | 0:35:50 | |
he leaves everyone at home in no doubt that this is just acting as Scully unwisely decides to | 0:35:50 | 0:35:56 | |
balance this heavy plastic ruler on his tummy-wummy. "Ow, it's cold!" | 0:35:56 | 0:36:02 | |
We've got a breather! | 0:36:02 | 0:36:03 | |
I love Lost. It's top-notch allegorical surrealist drama with a satirical subtext. | 0:36:07 | 0:36:13 | |
Plus, it's got that funny fat bloke with a beard in it. | 0:36:13 | 0:36:15 | |
Yeah, he's gone boobs like a lady. | 0:36:15 | 0:36:19 | |
In fact, the only problem with this show is that it makes no sense. | 0:36:19 | 0:36:24 | |
That, and their decision to use an extra with chronic asthma | 0:36:24 | 0:36:26 | |
to play a corpse and then put him in the front of shot. | 0:36:26 | 0:36:29 | |
Just look at this. | 0:36:29 | 0:36:34 | |
Mind you, that fat bloke's funny. Oh dear... | 0:36:38 | 0:36:42 | |
I mean, dogs can find pot and bombs so... | 0:36:44 | 0:36:46 | |
Time for more weird goings on in Lost, and look out for the lovely | 0:36:46 | 0:36:50 | |
couple walking past in the background. There they go. | 0:36:50 | 0:36:53 | |
Probably off to catch some fish. | 0:36:53 | 0:36:55 | |
Wish they'd walk past again. Oh, lovely. | 0:36:55 | 0:36:57 | |
That's the trouble with being marooned on a desert island, nothing to do but walk round in circles. | 0:36:57 | 0:37:02 | |
Oh, brilliant, it's Blackadder. | 0:37:05 | 0:37:07 | |
Oh, crap, it's series one. | 0:37:07 | 0:37:10 | |
Never mind, the set designer, wardrobe and prop departments | 0:37:10 | 0:37:12 | |
have all gone to a lot of trouble with this one. | 0:37:12 | 0:37:15 | |
Sadly, all their hard work is about to be ruined | 0:37:15 | 0:37:19 | |
as one of the extras suddenly stops playing dead, looks up and starts having a bit of a look around. | 0:37:19 | 0:37:24 | |
"Where's that Rowan Atkinson? | 0:37:24 | 0:37:26 | |
"I'm going to get a picture with him later." | 0:37:26 | 0:37:29 | |
This clip from Sex And The City proves that not all New Yorkers are used to seeing TV crews. | 0:37:31 | 0:37:36 | |
This lady simply can't believe her eyes and has to peer over her specs to check they aren't deceiving her. | 0:37:36 | 0:37:42 | |
Yes, it's a camera crew. | 0:37:42 | 0:37:45 | |
But best of all, if we rewind, here comes my personal favourite. | 0:37:45 | 0:37:49 | |
Look at the wonder in her eyes. | 0:37:49 | 0:37:51 | |
"Thems is some telly people." | 0:37:51 | 0:37:54 | |
And so ends one deeply unremarkable woman's brief glimpse of celebrity. | 0:37:54 | 0:37:59 | |
Here's another spot from Friends. | 0:38:03 | 0:38:05 | |
Phoebe is returning a dog. | 0:38:05 | 0:38:07 | |
But look in the background at the neighbour getting out of the car and walking up to her house. | 0:38:07 | 0:38:12 | |
Twice. | 0:38:14 | 0:38:15 | |
Fair play to her, though. | 0:38:15 | 0:38:17 | |
She's got that whole neighbour repeatedly walking up to her house thing down to a tee. | 0:38:17 | 0:38:21 | |
Bad news for 24's Jack Bauer. | 0:38:24 | 0:38:26 | |
His daughter's been kidnapped and the series is suddenly very short staffed. | 0:38:26 | 0:38:30 | |
Look at this hospital orderly. | 0:38:30 | 0:38:33 | |
He's here. | 0:38:33 | 0:38:35 | |
He's there. | 0:38:35 | 0:38:38 | |
He's everywhere. | 0:38:38 | 0:38:42 | |
If you work in this hospital, you have to be in three places at once. | 0:38:42 | 0:38:46 | |
Just like the NHS. | 0:38:46 | 0:38:48 | |
Dawson's Creek. Gretchen's about to have a heart-to-heart with Dawson. | 0:38:50 | 0:38:54 | |
But I'm more concerned with the partner swapping swingers in the background. | 0:38:54 | 0:38:58 | |
Look, first there's an old man and an old woman in a denim jacket. | 0:38:58 | 0:39:03 | |
And a young man in a blue shirt and chinos with a blonde girl. | 0:39:03 | 0:39:06 | |
Then, moments later, the young man with the blue shirt wanders past again with another woman! | 0:39:06 | 0:39:12 | |
He just picked her up! What a floozy. But he's not done yet. | 0:39:12 | 0:39:15 | |
Now, he's back with the blonde girl and they're heading for the water. | 0:39:15 | 0:39:19 | |
What's going on? He must have finished with that other woman and | 0:39:19 | 0:39:22 | |
got back with the first one, which is nice, because I always liked her. | 0:39:22 | 0:39:25 | |
I'm glad they made up. | 0:39:25 | 0:39:28 | |
Shut up, Dawson! Look, the old fella's back with the older woman. | 0:39:28 | 0:39:31 | |
Thank heavens for that. | 0:39:31 | 0:39:34 | |
Aye-aye. There's the younger man with the blonde again, this time | 0:39:34 | 0:39:37 | |
walking away from the water from the right, heading up the hill. | 0:39:37 | 0:39:41 | |
What have they been up to? | 0:39:41 | 0:39:42 | |
I don't know, but I'm betting it was rude and watery. | 0:39:42 | 0:39:47 | |
Now, whenever I'm on the telly, which is a lot, I take great care over my hair and make-up. | 0:39:47 | 0:39:53 | |
That's not vanity. It's necessity. | 0:39:53 | 0:39:55 | |
You see, we need make-up experts to compensate for the "bleaching out" effects | 0:39:55 | 0:40:00 | |
caused by the powerful lights we use, | 0:40:00 | 0:40:02 | |
and hair experts to compensate for the "loss of hair" effects | 0:40:02 | 0:40:06 | |
caused by the powerful hairspray that we use. | 0:40:06 | 0:40:09 | |
The girls and, what might loosely be described as guys of the hair and make-up department | 0:40:09 | 0:40:14 | |
are important, albeit tiny cogs in the great TV wheel. | 0:40:14 | 0:40:17 | |
I call them my little miracle workers. | 0:40:17 | 0:40:20 | |
That's because I enjoy patronising my colleagues. | 0:40:20 | 0:40:23 | |
Of course, they, too, make mistakes. | 0:40:23 | 0:40:25 | |
Mistakes like these. | 0:40:25 | 0:40:27 | |
Someone's locked David Banner in this fiendish Oriental torture contraption. Which he won't like. | 0:40:30 | 0:40:35 | |
It'll send him all green and hulky. | 0:40:35 | 0:40:37 | |
He's so excited he's passed out. | 0:40:37 | 0:40:39 | |
Wow, that's what Vin Diesel would look like if you smeared him in mushy peas. | 0:40:39 | 0:40:44 | |
Oh, he's making that solid carbon steel look like plywood, which it is. | 0:40:44 | 0:40:49 | |
Hold up, he's got tights on! | 0:40:49 | 0:40:51 | |
The Hulk's wearing panty hose to stop his pinkies getting all hurty. | 0:40:51 | 0:40:55 | |
Oh, bless. | 0:40:55 | 0:40:57 | |
It's Skins. Young people doing cool things, like drugs and snogging, and dribbling ketchup down their chins. | 0:41:01 | 0:41:06 | |
Wow, it's so real. | 0:41:06 | 0:41:09 | |
Hey, that ketchup dribble just changed. | 0:41:09 | 0:41:14 | |
-Well, I think you're going to like this, Sid. -I'm not. He's re dribbled. | 0:41:14 | 0:41:16 | |
Three dribbles, one chin? Something's got to give. | 0:41:16 | 0:41:20 | |
And, sure enough, now it's gone completely. | 0:41:21 | 0:41:24 | |
Now it's back! | 0:41:24 | 0:41:26 | |
Oh, he's dropped his knife. | 0:41:28 | 0:41:31 | |
Now they've started snogging and, look, the old dribble's back again. | 0:41:31 | 0:41:34 | |
Oh, I'm lost. I'm just lost and so is the make up department. | 0:41:34 | 0:41:37 | |
Look, I take it back. That's not cool, it's a TV mistake. | 0:41:37 | 0:41:40 | |
-You're looking, aren't you? -No. | 0:41:42 | 0:41:45 | |
Straight back to Skins, and look, there's Dev Patel before he won the Slumdog lottery | 0:41:45 | 0:41:50 | |
and he's having a wee up that tree. | 0:41:50 | 0:41:52 | |
In fact, did you know, it was his weeing up a tree acting | 0:41:52 | 0:41:55 | |
that won him the role in the film in the first place? | 0:41:55 | 0:41:56 | |
Of course you didn't, because it's not true. | 0:41:56 | 0:41:59 | |
And neither is this. | 0:41:59 | 0:42:01 | |
Look, the car with the spliffed-up teens rolls into the canal. | 0:42:01 | 0:42:06 | |
And everyone inside goes into the water apart from Dev. | 0:42:06 | 0:42:09 | |
But then, in the next scene, Dev is wet through just like the others. Why is he all wet? | 0:42:11 | 0:42:17 | |
He didn't go in the water, he was weeing up that tree! You know what? | 0:42:17 | 0:42:20 | |
I bet he just jumped in the canal to be one of the gang. Cor, teenagers! | 0:42:20 | 0:42:24 | |
They'll do anything to fit in. | 0:42:24 | 0:42:26 | |
More Skins now, and more wee-wee. | 0:42:28 | 0:42:32 | |
And the age-old conundrum, how do you do a wee with a stiffy? | 0:42:32 | 0:42:36 | |
Here's Chris calculating a combination of angles that | 0:42:36 | 0:42:39 | |
even Ronnie O'Sullivan would struggle with. | 0:42:39 | 0:42:42 | |
And, oh, he wees up his own nose | 0:42:42 | 0:42:45 | |
but when he stands up again, it's all gone. | 0:42:45 | 0:42:48 | |
Now, that is one young man with wonderfully absorbent skin. | 0:42:48 | 0:42:52 | |
In this next clip, pay attention, if you will, to be cute smear of grease on Deborah Messing's cheek. | 0:42:55 | 0:43:01 | |
That just changed into a completely different smear of grease! | 0:43:01 | 0:43:05 | |
-OK, this is not a problem. -I'll be the judge of that! | 0:43:05 | 0:43:08 | |
Yep, there's another. | 0:43:08 | 0:43:09 | |
Now it's the same mark, just a bit darker. | 0:43:09 | 0:43:13 | |
Guess that's why they call it a "to go" cup. | 0:43:13 | 0:43:16 | |
-You OK? -And now it's all smudged. | 0:43:16 | 0:43:19 | |
Hey, you know what they should have called this show, don't you? | 0:43:19 | 0:43:22 | |
Will & Grease. Yeah. | 0:43:22 | 0:43:25 | |
-Here's Will from Will & Grace sitting on a sofa. -Surprise! | 0:43:28 | 0:43:33 | |
He's gay, so he's naked, obviously. | 0:43:33 | 0:43:36 | |
Or is he? Are those flesh coloured pants I see? | 0:43:36 | 0:43:40 | |
Well, they are flesh coloured pants but only if your flesh is a sort of deathly greyish white. | 0:43:40 | 0:43:47 | |
Maybe those pants belong to Amy Winehouse? Oh, God, what a horrible thought. | 0:43:47 | 0:43:50 | |
I think a little bit of sick just came up then. | 0:43:50 | 0:43:53 | |
Although Eric McCormack wasn't really naked in this scene, | 0:43:53 | 0:43:56 | |
I can confirm that he did genuinely slam his penis in that book. | 0:43:56 | 0:44:00 | |
A powerful moment from 24. Sorry, did I say powerful? | 0:44:04 | 0:44:07 | |
I meant incomprehensible. | 0:44:07 | 0:44:09 | |
Mum wants troubled teenager to shoot his already dead girlfriend. | 0:44:09 | 0:44:13 | |
Well, nobody said relationships were easy, especially when one of you's murdered. | 0:44:13 | 0:44:17 | |
But he's not used to handing a gun, so why not let Mum do it? | 0:44:17 | 0:44:22 | |
There you go. Right in the waist. | 0:44:22 | 0:44:25 | |
Oh, here comes Dad and he's so proud. | 0:44:26 | 0:44:29 | |
In their strange fictional foreign culture, shooting | 0:44:29 | 0:44:32 | |
your already dead girlfriend in the belly button is a rite of passage. | 0:44:32 | 0:44:36 | |
Hang on! The bullet wound's moved up to her ribcage. What a brilliant trick. | 0:44:36 | 0:44:41 | |
The reason I'm asking is cos we didn't get the bill. | 0:44:43 | 0:44:46 | |
It's The Sopranos and Tony's turned up for a chat with Uncle Junior, who's been shaving. | 0:44:46 | 0:44:51 | |
Although, as you can see, he's washed all the shaving foam off, apart from that bit near his ear. | 0:44:51 | 0:44:56 | |
-But, spin forward and... whoa! -You've got shaving cream all over you. | 0:44:56 | 0:45:01 | |
Where in the name of Don Corleone did all that foam come from? | 0:45:01 | 0:45:03 | |
That's what's known in Mafia circles as omerta, which is Italian for "bad continuity error". | 0:45:03 | 0:45:10 | |
Nothing makes temperamental Adriana from The Sopranos more temperamental | 0:45:14 | 0:45:18 | |
than receiving a phone call when she's having her hair done. | 0:45:18 | 0:45:21 | |
-Unless it's two phone calls. -Adriana, you got a call. | 0:45:21 | 0:45:25 | |
Stay calm, love. | 0:45:25 | 0:45:27 | |
Remember what happens when you really lose your temper. | 0:45:27 | 0:45:31 | |
Yes, your hair falls out. | 0:45:31 | 0:45:32 | |
With the price of the cut and the colour, that just cost her 300. | 0:45:32 | 0:45:35 | |
301 with the tin foil. | 0:45:35 | 0:45:38 | |
Oh, it's Buffy the Vampire Slayer. | 0:45:42 | 0:45:44 | |
So called because half the viewers want to see her in the buffy. | 0:45:44 | 0:45:47 | |
Ak-ak-ak-a! | 0:45:47 | 0:45:49 | |
Here's the slightly lovely Sarah Michelle Gellar facing a hideous ghoul from beyond the grave. | 0:45:49 | 0:45:54 | |
He's been underground for centuries. He's in a pretty bad way. | 0:45:54 | 0:45:57 | |
I mean, just look at the state of those fingernails. | 0:45:57 | 0:46:00 | |
They're so bad, one's practically falling off. | 0:46:00 | 0:46:03 | |
That's because it's a fake! | 0:46:03 | 0:46:05 | |
Buffy the Vampire Slayer's make-up department, I trusted you! | 0:46:05 | 0:46:09 | |
Everybody thinks being a pro is just NBA. | 0:46:12 | 0:46:16 | |
One Tree Hill and Hayley and Skills are having a chat about being from California. | 0:46:16 | 0:46:21 | |
So when y'all roll through on the world tour, | 0:46:21 | 0:46:24 | |
we can remember this day, sit back and laugh about it. | 0:46:24 | 0:46:26 | |
He's a bit annoying. Hayley's very pregnant. | 0:46:26 | 0:46:29 | |
Or is she? That's no baby! That's just a cushion shoved up her top! | 0:46:29 | 0:46:33 | |
Some people will do anything to jump the housing queue. | 0:46:33 | 0:46:36 | |
In this bloodthirsty clip from Heroes, Claire's pony tail is over her shoulder one minute, | 0:46:38 | 0:46:44 | |
and then not the next. A small oversight, admittedly. | 0:46:44 | 0:46:46 | |
But noticeable if you happen to be very bored, borderline OCD and terrified of ponytails. | 0:46:46 | 0:46:53 | |
Which I was when I watched this clip. I'm fine now. | 0:46:53 | 0:46:56 | |
She's got a tongue like an electric eel and she likes the taste of a man's tonsils. | 0:47:01 | 0:47:05 | |
A classic scene from Blackadder II in which Flashheart storms into | 0:47:05 | 0:47:08 | |
Edmund's wedding, steals the bride and the scene. | 0:47:08 | 0:47:12 | |
No-one does upstagery quite like Rik Mayall. | 0:47:12 | 0:47:15 | |
Apart from that fake moustache that's threatening to fall off his face at any moment. | 0:47:15 | 0:47:19 | |
I've got a plan and it's as hot as my pants. | 0:47:19 | 0:47:22 | |
Mmm. Mmm. Of course, a lot of people come up to me and say, "Robert, what is a prop?" | 0:47:27 | 0:47:32 | |
And I say, "I don't know who you are, | 0:47:32 | 0:47:34 | |
"but if you don't get out of my bath I'll shoot you down like a dog." | 0:47:34 | 0:47:37 | |
I'm joking, of course. I don't even own a gun. Or a bath. | 0:47:37 | 0:47:41 | |
As an actor, I don't need to because I live my life surrounded by props. | 0:47:41 | 0:47:44 | |
This lamp. This chair. | 0:47:44 | 0:47:46 | |
This table. Basically, props are just the things we all have in our homes, | 0:47:46 | 0:47:50 | |
except in our case, they really are our property rather than stuff you've got on credit. | 0:47:50 | 0:47:55 | |
Unfortunately, this doesn't make them any less likely to cause trouble. | 0:47:55 | 0:48:00 | |
Band of Brothers and this soldier is looking concerned. | 0:48:03 | 0:48:06 | |
He's seen the next scene. | 0:48:06 | 0:48:08 | |
A stealth raid across a river and an elementary mistake from the soldier in the foreground. | 0:48:08 | 0:48:13 | |
Did you spot it? | 0:48:13 | 0:48:14 | |
Let's go back and have another look. | 0:48:14 | 0:48:17 | |
He's rowing with no oar. | 0:48:17 | 0:48:19 | |
Which, I suppose, will at least make their approach much, much quieter. | 0:48:19 | 0:48:23 | |
But, and I'm no military expert, much, much slower. | 0:48:23 | 0:48:27 | |
Here's Nicholas Hoult as Tony in Skins who's learning how to write. | 0:48:30 | 0:48:35 | |
He's written Tony. He's written his name. Well done, Tony. | 0:48:35 | 0:48:39 | |
Although, if we spin forward... | 0:48:39 | 0:48:42 | |
That doesn't say Tony. It says Tohy. | 0:48:42 | 0:48:45 | |
Let's see the first one again. | 0:48:45 | 0:48:48 | |
And the second one. | 0:48:48 | 0:48:51 | |
Now, both together. | 0:48:51 | 0:48:53 | |
You see, I might be wrong but I think that's a different piece of paper | 0:48:53 | 0:48:56 | |
with the word Tony written by a different person. | 0:48:56 | 0:48:58 | |
The prop's department are trying to make you look stupid, Tony. I mean Tohy. | 0:48:58 | 0:49:02 | |
Hannah Montana, that little singing sensation. | 0:49:04 | 0:49:08 | |
The sensation being nausea. | 0:49:08 | 0:49:11 | |
But get a load of this continuity howler as wacky goofball Jackson walks into his room. | 0:49:11 | 0:49:19 | |
He pats the muscle man standee. | 0:49:20 | 0:49:22 | |
Grabs his towel. And suddenly the muscle man's behind the door. | 0:49:22 | 0:49:26 | |
It's a good thing I straightened up. | 0:49:26 | 0:49:28 | |
But not now. Whoops, Hannah's going to be furious about that. | 0:49:28 | 0:49:32 | |
She'll probably throw a pop sock at the director. A rolled-up one. | 0:49:32 | 0:49:36 | |
To be fair to the makers of 24, they only have one day to make each series. | 0:49:40 | 0:49:43 | |
And that's with no sleep at all. | 0:49:43 | 0:49:46 | |
It's like being a junior doctor, but with a lower body count. | 0:49:46 | 0:49:49 | |
Here's Jack in rare stand-easy mode. | 0:49:49 | 0:49:51 | |
-We're resuming our approach. Good work. -Cheers, Jack. | 0:49:51 | 0:49:54 | |
Time to sheath that dangerous weapon in your bottom holster. | 0:49:54 | 0:49:58 | |
But, fast forward a few seconds and, crikey, Jack's now so relaxed he's putting his gun away again. | 0:49:58 | 0:50:05 | |
It's either another TV gaffe, or that young man has got two guns hidden in his pants. | 0:50:05 | 0:50:10 | |
If, like me, you're a fan of scenes where actors mistakenly | 0:50:13 | 0:50:16 | |
put their pistols away twice, then you'll love this clip from the soon to be remade Hawaii Five-O. | 0:50:16 | 0:50:23 | |
The team are at a tense siege situation | 0:50:23 | 0:50:26 | |
but nothing gets in the way of Steve McGarrett's tea break. | 0:50:26 | 0:50:28 | |
So, at ease, Lieutenant. You can put your gun back in your holster. | 0:50:28 | 0:50:32 | |
No need for firearms at elevenses. | 0:50:32 | 0:50:35 | |
I wonder if you can use a bucket like that to build sandcastles. | 0:50:35 | 0:50:38 | |
Anyway, here he comes and there goes the gun again. | 0:50:38 | 0:50:42 | |
Back in the holster for a second time. Now, who's brought the thermos? | 0:50:42 | 0:50:46 | |
A tense game of chess in the X-Files | 0:50:50 | 0:50:53 | |
and a moody Russian is taking on an American kid in specs. Text book. | 0:50:53 | 0:50:59 | |
Check mate. | 0:51:01 | 0:51:02 | |
Suddenly, the Russian is shot by an assassin | 0:51:02 | 0:51:05 | |
and falls onto the floor, dragging the chess board with him. | 0:51:05 | 0:51:09 | |
Except in the next shot, it's clearly on the table. | 0:51:09 | 0:51:12 | |
They managed the logistical nightmare of filling this auditorium with about 5,000 people, | 0:51:12 | 0:51:17 | |
but couldn't cope with one bit of elementary prop continuity. | 0:51:17 | 0:51:22 | |
The truth is out there. The incompetence is in here! | 0:51:22 | 0:51:25 | |
Have you ever been to the Louvre? | 0:51:27 | 0:51:29 | |
-No, not yet. -Bones. A series about forensics. | 0:51:29 | 0:51:31 | |
A branch of medical science that's all about detail. So how come they missed this clanger? | 0:51:31 | 0:51:37 | |
Here's a patronising little girl... | 0:51:37 | 0:51:39 | |
I think what you do is pretty awesome, too... | 0:51:39 | 0:51:41 | |
..who's been diagnosed with clinical smugness. | 0:51:41 | 0:51:43 | |
She's also an agent of TV mistakery. | 0:51:43 | 0:51:45 | |
When she hands over her sketch, it's a small drawing in the centre of the page. | 0:51:45 | 0:51:51 | |
But when the doctor looks at it, it's gone all big! But nobody notices. | 0:51:51 | 0:51:55 | |
The character dies in the end, though, so all's well that ends well. | 0:51:55 | 0:52:00 | |
An ice hockey game and Ross from friends has got one of those big foam fingers. | 0:52:00 | 0:52:04 | |
Of course, this is New York and seconds later, it's gone. | 0:52:04 | 0:52:09 | |
Someone's nicked it. It's a rough town. | 0:52:09 | 0:52:11 | |
My eye doctor is Richard. I can't go to him when I don't have a boyfriend. | 0:52:13 | 0:52:16 | |
Oh, poor Monica. As if it's not bad enough having something in your eye, | 0:52:16 | 0:52:20 | |
she can't even watch TV because it's all switched off. | 0:52:20 | 0:52:23 | |
Although, moments later... | 0:52:23 | 0:52:25 | |
my mistake! It's on. No-one's even watching it. | 0:52:25 | 0:52:29 | |
That's not very green. | 0:52:29 | 0:52:30 | |
-Hey, can I bum a cigarette? -Feel those hormones as bad boy meets annoying girl in The OC. | 0:52:32 | 0:52:38 | |
Blimey, they're smoking in California, which is practically a shooting offence. | 0:52:38 | 0:52:43 | |
Luckily, Ryan is smoking one of the special cigarettes, | 0:52:43 | 0:52:46 | |
you know, the ones that burn down to a butt in half a second. | 0:52:46 | 0:52:49 | |
Long ciggy. Tiny ciggy. | 0:52:49 | 0:52:52 | |
To think, I used to love The OC! | 0:52:52 | 0:52:54 | |
Elsewhere in The OC, is Ben going to commit suicide before Ryan and Marissa can get to him? | 0:52:57 | 0:53:04 | |
He's emptying all his pills onto the table. | 0:53:05 | 0:53:08 | |
And mixing them up. But, whoa! | 0:53:08 | 0:53:10 | |
In an instant, they've sorted themselves into colour-coded piles. | 0:53:10 | 0:53:15 | |
Or, at least, an inattentive member of the production team has. | 0:53:15 | 0:53:19 | |
Ben's made up. He's forgotten all about suicide. | 0:53:19 | 0:53:21 | |
He's just going to bung them in with his grandfather's ashes. | 0:53:21 | 0:53:25 | |
Job done. | 0:53:25 | 0:53:27 | |
Oh, dear. After having one or maybe 12 too many tequilas, Marisa, from | 0:53:30 | 0:53:35 | |
The OC, leaves her handbag at the bar. And staggers outside. | 0:53:35 | 0:53:40 | |
Ryan and the others are scouring the streets for her. | 0:53:40 | 0:53:44 | |
But tiddly Marisa is now spark out in this alley, legless, and, of course, bagless. | 0:53:44 | 0:53:48 | |
Then, Ryan and the others turn up. | 0:53:48 | 0:53:51 | |
He spots her and bagless races down the alley and kneels beside her with the bag in his hand. | 0:53:51 | 0:53:58 | |
Either that's a mistake, or everyone in Orange County has the same handbag. | 0:53:58 | 0:54:02 | |
Well, they're a funny lot in California. | 0:54:02 | 0:54:04 | |
Peter Kay's Phoenix Nights and Paddy's payphone is out of order. | 0:54:06 | 0:54:11 | |
You can tell by the sign on the side which says 'out of order'. | 0:54:11 | 0:54:15 | |
But now, the same sign is on top of the phone, which leads me to believe someone might be having a laugh. | 0:54:15 | 0:54:20 | |
At Paddy McGuinness? Surely not. | 0:54:20 | 0:54:22 | |
More continuity malfunctions on the holodeck for Captain Picard. | 0:54:26 | 0:54:30 | |
The 1920s news vendor hands over the paper folded. | 0:54:30 | 0:54:34 | |
But Pickard takes it unfolded. | 0:54:34 | 0:54:36 | |
A small mistake but even in a holographic past, a tiny error like that could have changed the future. | 0:54:36 | 0:54:42 | |
If so, let's hope next time there'll be less Star Trek. | 0:54:42 | 0:54:45 | |
A clip from Heroes now. A strange group of people all with bizarre superpowers. | 0:54:48 | 0:54:53 | |
Watch how these two find a mysterious key that's wrapped in sticky tape. | 0:54:53 | 0:54:57 | |
About half a second later, it's suddenly unwrapped. | 0:54:57 | 0:55:00 | |
He's good super fingers. | 0:55:00 | 0:55:01 | |
No wonder she looks pleased. | 0:55:01 | 0:55:03 | |
I'm their hero. | 0:55:05 | 0:55:08 | |
More prop related cockuppery as Hiro appears with his samurai sword pointing backwards. | 0:55:08 | 0:55:13 | |
And, a moment later, stands with it pointing forwards. | 0:55:13 | 0:55:18 | |
A handy mistake, though. | 0:55:18 | 0:55:20 | |
Otherwise he would have just stabbed him with the blunt end, | 0:55:20 | 0:55:22 | |
and that would almost certainly have been less dramatic. | 0:55:22 | 0:55:26 | |
It's a blueprint. | 0:55:29 | 0:55:30 | |
How does Grace from Will & Grace take her coffee? | 0:55:30 | 0:55:34 | |
Always black. Sometimes with a stick in her hand. | 0:55:34 | 0:55:37 | |
And sometimes with a tiny carton of milk. | 0:55:37 | 0:55:39 | |
But always in a urine sample jar. | 0:55:41 | 0:55:44 | |
And he's obviously very fond of you. | 0:55:46 | 0:55:48 | |
A clip now from madcap sitcom, Absolutely Fabulous. | 0:55:48 | 0:55:52 | |
Or as you know it, Ab Fab. | 0:55:52 | 0:55:54 | |
Or, as I know it, AaFa. But, surely, no-one knows what is going on | 0:55:54 | 0:55:59 | |
with Miranda Richardson's glass. | 0:55:59 | 0:56:01 | |
Witchcraft. Pure and simple. | 0:56:02 | 0:56:05 | |
Back in my day, she'd have got the ducking stool for that. | 0:56:05 | 0:56:08 | |
It's US comedy drama Weeds. | 0:56:10 | 0:56:12 | |
And Nancy's just found out that her late husband was cheating on her. | 0:56:12 | 0:56:17 | |
Yeah, that might not be covered under the contents insurance. | 0:56:17 | 0:56:20 | |
Not much comedy here. This is one of the more drama-y moments. | 0:56:20 | 0:56:24 | |
But see all the stuff on the table? | 0:56:24 | 0:56:26 | |
Watch what happens as her son walks outside. | 0:56:26 | 0:56:30 | |
Yep, it's all gone empty. | 0:56:30 | 0:56:31 | |
I reckon the kid was a decoy. His mates have nicked the lot. | 0:56:31 | 0:56:34 | |
So, actually, that probably will be covered, then. | 0:56:34 | 0:56:37 | |
I suppose I just fall in love too fast. | 0:56:39 | 0:56:41 | |
Here are Niles and Daphne sharing an intimate fireside moment. | 0:56:41 | 0:56:46 | |
According to that carriage clock, the time is 11:15pm. | 0:56:46 | 0:56:50 | |
Only, moments later, we see the clock again and now it's 11:45pm. | 0:56:50 | 0:56:55 | |
And 10:55pm. | 0:56:57 | 0:57:00 | |
And 11:20pm. | 0:57:00 | 0:57:03 | |
And 10:59pm. Frasier is filmed in front of a live studio audience. | 0:57:03 | 0:57:07 | |
At least they were when they started recording this scene four days ago. | 0:57:07 | 0:57:10 | |
You two have proved yourselves to be just as talented as one another at karaoke. | 0:57:12 | 0:57:17 | |
By which, I mean you're equally shit. | 0:57:17 | 0:57:21 | |
It's Two Pints of Lager and a Packet of Crisps. | 0:57:21 | 0:57:23 | |
A show which has split the critics into those who hate it, and those who don't like it very much. | 0:57:23 | 0:57:28 | |
But this episode is great because it's all about magazine competitions. | 0:57:28 | 0:57:32 | |
Mind you, if there's one thing I love more than competitions, it's 'competions'. | 0:57:32 | 0:57:37 | |
By the way, that's the new issue of Dyslexic Monthly. | 0:57:37 | 0:57:41 | |
-May as well give up now. -I would if I were you. | 0:57:41 | 0:57:44 | |
Now, I admit I don't know a lot about How I Met Your Mother. | 0:57:47 | 0:57:51 | |
Other than this guy is called Ted and that when he pays a visit | 0:57:51 | 0:57:54 | |
to a lady, he doesn't bring a bottle, he brings veg. | 0:57:54 | 0:57:58 | |
Wilted veg in a creased-up paper bag. Sexy blighter. | 0:57:58 | 0:58:02 | |
But guess who also carries a steam iron in his Y fronts? | 0:58:02 | 0:58:04 | |
That bag's now suddenly smooth. | 0:58:04 | 0:58:07 | |
Looks like a baby's bottom. A papery baby with vegetables for a head. | 0:58:07 | 0:58:12 | |
-That's the stupidest thing I've ever said. -Me too. | 0:58:12 | 0:58:15 | |
Of all the classic moments in The Office, this is Ricky Gervais's personal favourite. | 0:58:16 | 0:58:22 | |
-Whassup? -Don't do that. -Gareth's holding a briefcase | 0:58:22 | 0:58:24 | |
in his right hand, the paper in his left, but, look! | 0:58:24 | 0:58:27 | |
Now the briefcase is in his left hand, and the paper is in his right! | 0:58:27 | 0:58:30 | |
That's a TV Mistakes Golden Globe right there! | 0:58:30 | 0:58:34 | |
Friends. Series eight. | 0:58:37 | 0:58:39 | |
Sorry, SEASON eight. And Monica starts to tear open this present. | 0:58:39 | 0:58:45 | |
She's finished. It's open. | 0:58:45 | 0:58:47 | |
Sh. The guys don't know yet. Do they? | 0:58:47 | 0:58:50 | |
-No. -No, she's wrapped it up again. | 0:58:50 | 0:58:53 | |
And opened it again. | 0:58:53 | 0:58:56 | |
And wrapped it up. | 0:58:56 | 0:58:58 | |
And opened it again. | 0:58:58 | 0:59:00 | |
Oh, for God's sake, woman, make your mind up! | 0:59:00 | 0:59:02 | |
Poor Ross has clonked his head, so Rachel is administering a comedy ice pack because she wuvs him. | 0:59:04 | 0:59:09 | |
We ripped that couple apart and kept the pieces for ourselves. | 0:59:09 | 0:59:14 | |
-Wuvs him not. -What a beautiful story. | 0:59:14 | 0:59:17 | |
Wuvs him. A small error, perhaps, but as rudimentary continuity errors go, that was a blinder. | 0:59:17 | 0:59:24 | |
In TV, we have a special nickname for special effects. | 0:59:26 | 0:59:29 | |
We call them special FX. | 0:59:29 | 0:59:32 | |
Aren't we brilliant? These days, the effects on TV are so special, | 0:59:32 | 0:59:35 | |
they can often leave you, the viewer, wide eyed, slack jawed and dumbstruck, even more than usual. | 0:59:35 | 0:59:41 | |
Yes, thanks to computer technology, the only limit to modern SFX | 0:59:41 | 0:59:45 | |
is the producer's imagination, which is a shame, because | 0:59:45 | 0:59:48 | |
most producers' imaginations are limited to saying, "Hey, why don't we just get Ant and Dec to do it." | 0:59:48 | 0:59:53 | |
and then ordering the sushi. Which sadly means every now and again, the SPECIAL effects are anything but. | 0:59:53 | 0:59:59 | |
A high-speed chase in Knight Rider and Michael is in pursuit of two blokes who have kidnapped a lady. | 1:00:05 | 1:00:10 | |
Oh, she's a terrible back seat driver. | 1:00:10 | 1:00:12 | |
That car is all over the shop. Three drivers, one steering wheel, that's asking for trouble. | 1:00:12 | 1:00:18 | |
Oh, no, no, no, no, leave it. | 1:00:18 | 1:00:21 | |
Sit down, you silly cow! Oh, too late, she's jumped. | 1:00:21 | 1:00:24 | |
Well, somebody did. | 1:00:24 | 1:00:27 | |
-Crazy broad jumped out! -I'm afraid that was your unconscious female. | 1:00:27 | 1:00:31 | |
No it wasn't, KIT, you're talking out of your tailpipe. | 1:00:31 | 1:00:34 | |
That's her stunt double in an ill-fitting blonde wig. | 1:00:34 | 1:00:38 | |
She's less lookalike and more look nothing like. | 1:00:38 | 1:00:41 | |
Its 24 and look out, the guy in the car is about to get all shooty. | 1:00:43 | 1:00:47 | |
But when he discharges his weapon.... | 1:00:47 | 1:00:50 | |
Through the car window, the glass all falls inwards, in defiance of all the laws of physics. | 1:00:50 | 1:00:55 | |
Let's see that again. Take that, Newton. | 1:00:55 | 1:00:59 | |
Look, he's got Stagler. | 1:01:01 | 1:01:03 | |
Here we are, back in that brilliant episode | 1:01:03 | 1:01:06 | |
of Wonder Woman, and Gargantua the Gorilla is making his escape carrying that bloke from Magnum. | 1:01:06 | 1:01:11 | |
But he's made a terrible error. | 1:01:11 | 1:01:14 | |
In the confusion, he's grabbed a poorly constructed dummy instead. | 1:01:14 | 1:01:17 | |
See it flailing in the breeze just like human bodies don't. | 1:01:17 | 1:01:22 | |
Look, his legs have gone all trembly, something, something, Wembley. | 1:01:22 | 1:01:26 | |
That doesn't make any sense, and neither does this episode of Wonder Woman. | 1:01:26 | 1:01:31 | |
Yes, it's high time Lynda Carter twirled into her crime fighting boob tube and hot pants. | 1:01:33 | 1:01:38 | |
Bad news for bad guys, good news for randy 14-year-old boys. | 1:01:38 | 1:01:42 | |
But look how this spectacular metamorphosis also has the power to | 1:01:44 | 1:01:46 | |
change this humble biro into thin air. | 1:01:46 | 1:01:50 | |
Yeah, it's probably just rolled under the desk. | 1:01:50 | 1:01:54 | |
The Doctor again, and this is what I call thrilling stuff. | 1:01:57 | 1:02:00 | |
There again, I'm quite easily thrilled. | 1:02:00 | 1:02:03 | |
Oh, look, the Doctor is climbing up that giant television aerial, | 1:02:03 | 1:02:06 | |
trying to stop Maureen Lipman being transmitted. | 1:02:06 | 1:02:09 | |
You cannot stop the wire. Soon I shall become... | 1:02:09 | 1:02:13 | |
Then, as Dave's a-dangling from the pylon, his foot suddenly disappears. | 1:02:13 | 1:02:18 | |
Here it is, here it isn't. | 1:02:20 | 1:02:23 | |
Yes, the BBC's blue screen is no larger than a tea towel. | 1:02:23 | 1:02:27 | |
Mac and Guy from Green Wing are heading for a very literal end-of-series cliffhanger. | 1:02:29 | 1:02:34 | |
Ever wonder how they do stunts like this? Well, the clues are here | 1:02:37 | 1:02:42 | |
and here. That is a safety harness and that is a dirty great support cable. | 1:02:42 | 1:02:48 | |
Less Italian Job, more bodged job. | 1:02:48 | 1:02:50 | |
OK, no argument, the Hulk has always been incredible. | 1:02:54 | 1:02:56 | |
But on the '70s TV show, the effects were anything but. | 1:02:56 | 1:03:01 | |
Here, a couple of local thugs have unwisely locked David Banner in the steam room. | 1:03:01 | 1:03:07 | |
He gets angry, goes green, and picks them and half the wall up using the strength of 100 men. | 1:03:07 | 1:03:12 | |
Or should that be by making them stand on a hidden trolley | 1:03:14 | 1:03:16 | |
and pushing them back using the strength of three caterpillars. | 1:03:16 | 1:03:20 | |
You decide. | 1:03:20 | 1:03:21 | |
The friends from Friends are on holiday and, oh, dear, it's chucking it down. | 1:03:23 | 1:03:29 | |
But what's worser, their lovely beach house is full of wet sand. | 1:03:29 | 1:03:32 | |
What's with all this sand? | 1:03:32 | 1:03:35 | |
Oh, yeah, Bob said there might be flood damage. | 1:03:35 | 1:03:37 | |
Either that or he has a really big cat. | 1:03:37 | 1:03:40 | |
But now it's dry. | 1:03:40 | 1:03:41 | |
They must have under-sand heating. | 1:03:41 | 1:03:43 | |
A clip from classic Dr Who episode Genesis Of The Daleks, | 1:03:46 | 1:03:50 | |
and keep your eyes on the Dalek chatting with Davros | 1:03:50 | 1:03:53 | |
and the light bulb flashing on his head. | 1:03:53 | 1:03:56 | |
That's how deaf people know that a Dalek is talking, by the way, it's a courtesy thing. | 1:03:56 | 1:04:00 | |
Hold on a sec, his light's gone out. | 1:04:00 | 1:04:02 | |
Maybe he forgot to pay the Da-lecky bill. | 1:04:02 | 1:04:05 | |
But then, between takes, while Davros practises his shouting... | 1:04:06 | 1:04:10 | |
You will obey me! | 1:04:10 | 1:04:12 | |
..there's a chance to unscrew the bulb and pop a new one in. | 1:04:12 | 1:04:16 | |
We are the superior beings. | 1:04:16 | 1:04:18 | |
On with the serious business of mass extermination and sink plunging. | 1:04:18 | 1:04:23 | |
Exterminate! | 1:04:23 | 1:04:24 | |
More from Genesis Of The Daleks now, | 1:04:26 | 1:04:28 | |
and the Thals are about to detonate a bomb using this rickety old plunger. | 1:04:28 | 1:04:33 | |
But even before that happens, some smoke wafts through the doors. | 1:04:33 | 1:04:38 | |
That bomb has either detonated itself, or one of those Daleks is having a crafty fag. | 1:04:38 | 1:04:42 | |
This is X-Files rain, heavy and persistent, like Mulder, | 1:04:44 | 1:04:49 | |
apart for the heavy bit. | 1:04:49 | 1:04:51 | |
Dana and Fox are in hot pursuit of a woman doing some top-notch driving-in-heavy-rain acting. | 1:04:51 | 1:04:57 | |
Moving the steering wheel about, frowning at rain... | 1:04:59 | 1:05:03 | |
and then she hits a cloudy ghost. Bosh! | 1:05:03 | 1:05:05 | |
But when Mulder and Scully pull over seconds later, all the rain has gone. Spooky. | 1:05:09 | 1:05:15 | |
# Da-da-da-doo, da-da-da-doo... Sorry, that's The Twilight Zone, sorry. | 1:05:15 | 1:05:19 | |
-I can see her. -Michelle! -Help! | 1:05:19 | 1:05:22 | |
Considering it was made in the '60s, the effects on Thunderbirds are pretty FAB. | 1:05:26 | 1:05:31 | |
Of course, every now and again, they were less than perfect. | 1:05:31 | 1:05:34 | |
Look what happens when the aircraft explodes. | 1:05:34 | 1:05:37 | |
This bit of debris flies off and bounces off the back projection screen. Boing. | 1:05:37 | 1:05:43 | |
For some reason, at that moment in that half-finished foxhole, all I could think about was the 4th July. | 1:05:45 | 1:05:50 | |
Band Of Brothers now, and those German mortars are really doing some damage. | 1:05:50 | 1:05:53 | |
Thank God they're only aiming at the trees. Yeah, Nazis hate trees. | 1:05:53 | 1:05:57 | |
Especially these ones. They're birch trees, they make Nazis furious. | 1:05:57 | 1:06:01 | |
Boom! Take that. Hold on a minute, it did. | 1:06:01 | 1:06:05 | |
A bomb that only causes minimal bark damage. Let's have another look. | 1:06:05 | 1:06:09 | |
Yeah, that must have been a smart bomb. | 1:06:10 | 1:06:12 | |
They only destroy certain trees. If that had been a willow, it would be dead. | 1:06:12 | 1:06:16 | |
A thrilling FX scene from Blake's 7, the doddery senile granddad of the TV sci-fi family. | 1:06:20 | 1:06:28 | |
Once again, the audience at home are on the edge of their seats, getting up to leave the room. | 1:06:28 | 1:06:32 | |
But gasp as the bad guy is sucked into space. | 1:06:32 | 1:06:35 | |
Although, he's not so much being sucked as dangled by that highly visible safety harness. | 1:06:35 | 1:06:41 | |
Wheeee! | 1:06:41 | 1:06:43 | |
Clothes. | 1:06:45 | 1:06:47 | |
Clothes can go seriously wrong. | 1:06:47 | 1:06:49 | |
Just look at Lady Gaga or anyone from Germany. | 1:06:49 | 1:06:52 | |
If there's one department in telly that gets overlooked, it's wardrobe. | 1:06:52 | 1:06:56 | |
It's very rare to see wardrobes taking a leading role, | 1:06:56 | 1:06:59 | |
except in The Lion, The Witch And The Wardrobe, of course. | 1:06:59 | 1:07:01 | |
Though frankly, the lion and the witch got all the best lines. | 1:07:01 | 1:07:04 | |
Consequently, every now and again, the wardrobe department fights back. | 1:07:04 | 1:07:09 | |
It's Henry VII in a scene from rollicking royal soap The Tudors. | 1:07:12 | 1:07:17 | |
Here's Henry's (divorced, beheaded, died, divorced, beheaded, survived), | 1:07:17 | 1:07:20 | |
first wife Catherine of Aragon, looking moody, and who can blame her? | 1:07:20 | 1:07:25 | |
Getting a rousing reception from this crowd of 16th century peasants. | 1:07:25 | 1:07:29 | |
Although, for a bunch of proles, they're doing pretty well for themselves, because, look again. | 1:07:29 | 1:07:34 | |
Verily, sire, that's a nice wrist watch. | 1:07:34 | 1:07:36 | |
He made that himself out of straw and bits of the plague. | 1:07:36 | 1:07:40 | |
Lovely Buffy. Not only is she sexy, fun, and good at killing vampires, she can swap shoes in a microsecond. | 1:07:43 | 1:07:51 | |
See, as she attacks the vampire wearing white party pumps... | 1:07:51 | 1:07:55 | |
Then, alley-oop, suddenly swaps them for a pair of | 1:07:55 | 1:07:57 | |
black boots when required to kick him in his undead nuts. | 1:07:57 | 1:08:01 | |
That is my kind of woman. | 1:08:01 | 1:08:03 | |
Where are your jibes now? | 1:08:03 | 1:08:05 | |
We want to swim and you can't stop us! | 1:08:06 | 1:08:09 | |
It's Desperate Housewives, and another wardrobe-related oversight is about to kick off | 1:08:09 | 1:08:12 | |
thanks to these cheeky kids who are refusing to get out of the water. | 1:08:12 | 1:08:18 | |
In you go, Mum, sort them out. | 1:08:18 | 1:08:21 | |
She walks into the pool in heels, | 1:08:21 | 1:08:23 | |
wades through the water in heels, | 1:08:23 | 1:08:25 | |
walks out again in heels, but then, having done the hard part, she's suddenly barefoot. | 1:08:25 | 1:08:31 | |
It's confusing. No wonder her kids are a nightmare. | 1:08:31 | 1:08:33 | |
-No parental consistency. -Paul, we have to leave now. | 1:08:33 | 1:08:37 | |
24, and watch this woman exiting the loo, or rather, her shoes. | 1:08:41 | 1:08:46 | |
A pair of good old-fashioned all-American sneakers. | 1:08:46 | 1:08:49 | |
Nothing wrong there. In fact, everything right. | 1:08:49 | 1:08:51 | |
But spin on, | 1:08:51 | 1:08:53 | |
and during a simple walk to her desk, they've been changed, | 1:08:53 | 1:08:56 | |
switched, perverted, into high heels. | 1:08:56 | 1:09:00 | |
Free-world flatties wiped off the face of the earth, replaced by by high-heeled extremism. | 1:09:00 | 1:09:05 | |
And where's Jack Bauer? | 1:09:05 | 1:09:07 | |
Running a minicab firm. | 1:09:07 | 1:09:09 | |
"51 to base, passenger POB, Rog." | 1:09:09 | 1:09:12 | |
James Corden is a bit of a quick-change artist on the side. Oh, yeah, look. | 1:09:14 | 1:09:21 | |
One minute he's wearing his dinner jacket, and the next, he's lost it. | 1:09:21 | 1:09:25 | |
The jacket, not his temper. Although it's a wedding, there's always one fight. | 1:09:25 | 1:09:29 | |
Here's classic '70s drama Hawaii Five-0, as in five acting expressions, oh dear. | 1:09:34 | 1:09:39 | |
Steve McGarrett is on the case and there's no time to lose. | 1:09:39 | 1:09:43 | |
Except to change his suit on the way up the stairs. | 1:09:43 | 1:09:46 | |
-Mr Dennison, please. -Never mind all that, what have you done with your grey suit? | 1:09:48 | 1:09:52 | |
Look, he gets out of the car in the grey one, and walks into the office wearing the blue. | 1:09:52 | 1:09:57 | |
Mr Dennison, please. | 1:09:57 | 1:09:59 | |
Actually, good work, Steve. No-one wants to be arrested by a man in a sweaty suit. | 1:09:59 | 1:10:04 | |
A fun run along a canal side for the Ashes to Ashes team, | 1:10:07 | 1:10:11 | |
and Alex looks all French - scarf, stripey T-shirt. | 1:10:11 | 1:10:15 | |
I'm not sure about the red belt, though. Nah, get rid of it, Keeley. | 1:10:15 | 1:10:18 | |
That's better. Does it come back? | 1:10:18 | 1:10:21 | |
Nope. Don't stop running. | 1:10:21 | 1:10:23 | |
You don't want Jimmy Savile coming up behind you...ever. | 1:10:23 | 1:10:26 | |
I hear you're having trouble with your head. | 1:10:29 | 1:10:32 | |
Fans of Lost will know that the series is set on a mysterious | 1:10:32 | 1:10:35 | |
island where strange things happen, like a rucksack that changes colour halfway through a conversation. | 1:10:35 | 1:10:42 | |
See how it starts off dark green with thick straps, but then on a | 1:10:44 | 1:10:47 | |
reverse shot, it transforms into a black one with much thinner straps. | 1:10:47 | 1:10:52 | |
What's causing your headaches? | 1:10:52 | 1:10:55 | |
It's not like it's a tumour or something. | 1:10:55 | 1:10:57 | |
Then, halfway through some guff about too-mours, it goes back to dark green, | 1:10:57 | 1:11:03 | |
and then black again, green, | 1:11:03 | 1:11:06 | |
black, all of you Lost fans think that this means something, don't you? Well, you're right. | 1:11:06 | 1:11:10 | |
-It means the wardrobe department cocked up. -Just headaches. | 1:11:10 | 1:11:15 | |
Under normal circumstances, the last person I'd want to see frolicking in a wet T shirt is Hurley from Lost. | 1:11:18 | 1:11:24 | |
Unless, of course, he was dancing around a pole, and even then only maybe. | 1:11:24 | 1:11:28 | |
Here he is teaching Charlie to fish and how to be both sopping wet... | 1:11:28 | 1:11:33 | |
And dry at the same time. | 1:11:33 | 1:11:35 | |
Maybe he's just really hot. | 1:11:35 | 1:11:37 | |
Hot warm, not hot sexy. Unless he was dancing around a pole. Phwoar! | 1:11:37 | 1:11:42 | |
The poacher, I heard him fishing only a few nights ago. | 1:11:45 | 1:11:49 | |
What, with all his sartorial eccentricities, | 1:11:49 | 1:11:51 | |
Doctor Who has always been a strain on the wardrobe department, in whichever incarnation. | 1:11:51 | 1:11:56 | |
In this clip, Tom Baker's jaunty hat is the problem. | 1:11:56 | 1:11:59 | |
He leaves it on the chair and exits, and then in the next scene, | 1:11:59 | 1:12:02 | |
he's walking through the woods wearing it. | 1:12:02 | 1:12:05 | |
Maybe they'd shot a scene where he remembered, thought "huh" and went back for it, but then didn't use it. | 1:12:05 | 1:12:10 | |
Yeah, better check the director's cut. | 1:12:10 | 1:12:13 | |
Little Britain, famous for its comedy characters. | 1:12:15 | 1:12:17 | |
Here's Matt Lucas as Bubbles DeVere. | 1:12:17 | 1:12:20 | |
Bubbles dives under the tanning machine, naked, | 1:12:20 | 1:12:24 | |
but if we spin forward, | 1:12:24 | 1:12:26 | |
she emerges some time later burnt to a crisp and now mysteriously wearing a pair of blue goggles. | 1:12:26 | 1:12:33 | |
Will you excuse me for a moment, please, Mr Hutton, I'm a little bit on fire. | 1:12:37 | 1:12:41 | |
How.... | 1:12:43 | 1:12:45 | |
you...a doing? | 1:12:45 | 1:12:48 | |
I love Friends. I could watch it all day. | 1:12:48 | 1:12:50 | |
And thanks to E4, I can. | 1:12:50 | 1:12:53 | |
Here's Joey chatting up a girl in the apartment opposite. | 1:12:53 | 1:12:56 | |
He can't wait to get over there and introduce himself. | 1:12:56 | 1:12:59 | |
And yet, he still has time to miraculously change his black shirt on the way over. | 1:12:59 | 1:13:04 | |
Sweaty black shirt morphs into clean purple one. | 1:13:04 | 1:13:07 | |
But as he knocks on the door, | 1:13:07 | 1:13:10 | |
it's back to black. | 1:13:10 | 1:13:12 | |
Black, purple and black. The three colours of the bad continuity flag. | 1:13:12 | 1:13:18 | |
It's Jonathan Creek in a spooky old house about to get chased by a massive gorilla. | 1:13:22 | 1:13:27 | |
When I say massive gorilla, I mean a medium-sized man in an unconvincing gorilla outfit. | 1:13:27 | 1:13:32 | |
It's enough to give you brown pants, or more precisely, to turn your blue pants black. | 1:13:34 | 1:13:39 | |
Either way, that's pants. | 1:13:42 | 1:13:43 | |
Another moment of drama in Gray's Anatomy. | 1:13:48 | 1:13:51 | |
Sandra Oh rips off her surgical topcoat and exits the operating theatre. | 1:13:51 | 1:13:56 | |
Meanwhile, out in the corridor, there's a bomb scare. | 1:13:56 | 1:13:59 | |
These doctors can't go faster than .000003 miles an hour | 1:13:59 | 1:14:04 | |
or they'll blow up or something. | 1:14:04 | 1:14:07 | |
Then, just as you thought this scene couldn't get any more confusing, out pops Sandra with her coat on again. | 1:14:07 | 1:14:13 | |
It's a bit like the film Speed but with less speed and more mistakes. | 1:14:13 | 1:14:17 | |
We're moving to an OR further away from the oxygen line. | 1:14:17 | 1:14:20 | |
Hey, David Banner is rescuing a bit-part actress from a cliff. | 1:14:24 | 1:14:28 | |
Spin on, and sure enough, he turns into The Incredible Hulk. | 1:14:28 | 1:14:33 | |
And as usual, his massive green muscles completely tear the shirt from his back. | 1:14:33 | 1:14:38 | |
But seconds later, the shirt reappears, | 1:14:38 | 1:14:41 | |
then disappears, then finally reappears again, | 1:14:41 | 1:14:44 | |
having mounted its curious green host once more. | 1:14:44 | 1:14:49 | |
All right, come on, come on! | 1:14:49 | 1:14:51 | |
Well, there was a lady present. | 1:14:51 | 1:14:53 | |
But sadly, no continuity person. | 1:14:53 | 1:14:55 | |
All great telly starts with a script. | 1:14:57 | 1:15:00 | |
You need writers who can really write words good comma, | 1:15:00 | 1:15:04 | |
and make the things we actors and presenters say in their mouths have, like, pizzazz and that. | 1:15:04 | 1:15:09 | |
Yes, script and story are crucial. | 1:15:09 | 1:15:11 | |
Confused story lines and dialogue, and character errors can spoil an entire series in seconds. | 1:15:11 | 1:15:16 | |
That's why broadcasters spend enormous amounts of money hiring professional writers and executives | 1:15:16 | 1:15:21 | |
to ensure this doesn't happen and why they get so disappointed when it still does. | 1:15:21 | 1:15:26 | |
Take a look at this little lot. | 1:15:26 | 1:15:28 | |
24, and here's Jack Bauer giving his exact location to headquarters. | 1:15:30 | 1:15:35 | |
We're at 21408 Kipling, North Hollywood. | 1:15:35 | 1:15:38 | |
That's 21408 Kipling, North Hollywood. 21408. Now, spin on, | 1:15:38 | 1:15:46 | |
and the car is here. But spin on again, and we can see they've pulled up outside 21048. | 1:15:46 | 1:15:54 | |
Well, that's no good. Kiefer's at 21408. | 1:15:54 | 1:15:57 | |
But hang on, he is here, at 21048, | 1:15:57 | 1:16:03 | |
-and not... -21408 Kipling, North Hollywood. | 1:16:03 | 1:16:06 | |
Where he said he was a moment ago. | 1:16:06 | 1:16:07 | |
Still, it's only the Secret Service in a race against time to save lives, | 1:16:07 | 1:16:11 | |
nothing important, like a pizza delivery. | 1:16:11 | 1:16:14 | |
Here's Ashes To Ashes, | 1:16:16 | 1:16:17 | |
the disappointing follow-up to Life On Mars. | 1:16:17 | 1:16:20 | |
It's July 1981. | 1:16:20 | 1:16:21 | |
And a shocked Keeley Hawes | 1:16:21 | 1:16:22 | |
has just found herself mysteriously back in the 1980s. | 1:16:22 | 1:16:25 | |
She's trying to find out the date from Gene Hunt's steam-driven computer. | 1:16:25 | 1:16:29 | |
Let's check it. 17th July 1981. | 1:16:29 | 1:16:32 | |
There's nothing on this hard drive but the time and date. | 1:16:32 | 1:16:35 | |
Spin on, and later, in her new '80s flat, we see that she's marked her arrival date as July 20th. | 1:16:35 | 1:16:42 | |
She's lost three days. | 1:16:42 | 1:16:44 | |
There are easier ways to lose three days, Keeley. | 1:16:44 | 1:16:47 | |
Try drinking five pints of gin. | 1:16:47 | 1:16:49 | |
Works for me. | 1:16:49 | 1:16:51 | |
Here's an IT blunder from serial-killing drama, Dexter. | 1:16:53 | 1:16:57 | |
As Rudy Cooper opens an e-mail from [email protected]... | 1:16:57 | 1:17:03 | |
..presses reply, | 1:17:06 | 1:17:07 | |
and suddenly he's writing back to [email protected]. | 1:17:07 | 1:17:12 | |
Don't worry, though, thanks to the confusing power of telly, | 1:17:12 | 1:17:15 | |
Frozen Barbie still gets the e-mail anyway. | 1:17:15 | 1:17:18 | |
All's well that ends well. Except for the fact that he kills her and cut her into tiny pieces. | 1:17:18 | 1:17:24 | |
Here's an early clip from Star Trek: The Next Generation | 1:17:26 | 1:17:29 | |
and new Number One, Will Riker, is looking for the holodeck. | 1:17:29 | 1:17:34 | |
The computer tells him it's... | 1:17:34 | 1:17:36 | |
'The next hatchway on your right.' | 1:17:36 | 1:17:38 | |
-You mean left, surely? -Thank you. | 1:17:38 | 1:17:40 | |
-He's bluffing. Riker knows that the new Enterprise computer is an idiot. -I do. | 1:17:40 | 1:17:45 | |
And goes left instead. | 1:17:45 | 1:17:46 | |
In the future, many things will be different, but apparently, men still don't trust directions from a woman. | 1:17:46 | 1:17:52 | |
US drama Fringe, and this bonkers boffin has invented a camera | 1:17:54 | 1:17:58 | |
that can photograph a corpse | 1:17:58 | 1:18:00 | |
and capture the last image seen by a person before their death. | 1:18:00 | 1:18:05 | |
-Ready? -I know, it's rubbish, but go with it. | 1:18:05 | 1:18:09 | |
Let's listen to the doc's advice. | 1:18:09 | 1:18:12 | |
Goggles, all of you. Do not look directly into the light. | 1:18:12 | 1:18:16 | |
-MIMICS: -"Goggles, all of you. Do not look directly into the light." | 1:18:16 | 1:18:19 | |
Got it. Camera, dangerous. Goggles, essential. | 1:18:19 | 1:18:23 | |
But spin on through the rubbish, and see what happens. | 1:18:23 | 1:18:27 | |
They've taken them off. Oi! And you! Put them back on. | 1:18:27 | 1:18:30 | |
The doctor said keep the goggles on while the camera is still flashing. | 1:18:30 | 1:18:35 | |
Doc, tell them to... not you, as well. I give up. This programme is stupid. | 1:18:35 | 1:18:38 | |
The OC crowd are in a nightclub | 1:18:40 | 1:18:43 | |
when one of our old friends | 1:18:43 | 1:18:45 | |
leaves an urgent message for his mate. Let's listen in. | 1:18:45 | 1:18:48 | |
Luke, it's me. I wanted to make sure you took care of it. | 1:18:48 | 1:18:51 | |
OK. Ryan said, "Luke, it's me. | 1:18:51 | 1:18:53 | |
"I want to make sure you took care of it." And there was lots of noise in the background. | 1:18:53 | 1:18:58 | |
Does Luke get the message? Yes. But not that one. | 1:18:58 | 1:19:01 | |
-WITHOUT BACKGROUND NOISE: -Luke, it's me. I'm just calling to make sure you took care of it. | 1:19:01 | 1:19:06 | |
"Luke, it's me. I'm just CALLING to make sure you took care of it." | 1:19:06 | 1:19:09 | |
Different words and no background noise. Probably a network problem. | 1:19:09 | 1:19:13 | |
There's a joke here somewhere about Orange County, but where are the good times? | 1:19:13 | 1:19:18 | |
Writing a long-running show like Frasier is tricky, | 1:19:20 | 1:19:22 | |
having to remember the characters' likes and dislikes | 1:19:22 | 1:19:25 | |
and relatives. They're a nightmare, even when they're not real. | 1:19:25 | 1:19:29 | |
Just listen to Frasier's dad Martin in series one. | 1:19:29 | 1:19:32 | |
I never had a brother. | 1:19:32 | 1:19:33 | |
Marty Crane never had a brother. | 1:19:33 | 1:19:36 | |
-Oh, I've got the feeling he would have liked one, though, and by series five, he did. -There he is! | 1:19:36 | 1:19:41 | |
Well! This is so exciting! You two must have so much to talk about. Uncle Walt, hello! | 1:19:41 | 1:19:46 | |
That's either a mistake or someone needs a psychiatrist. | 1:19:46 | 1:19:50 | |
-Marty. -Walt. | 1:19:52 | 1:19:54 | |
SOUND problems are very common in television, | 1:19:56 | 1:19:58 | |
partly because it would be impossible to control all the sounds around us | 1:19:58 | 1:20:03 | |
and partly because most sound men are tone-deaf alcoholics whose only hope of noticing a pin drop | 1:20:03 | 1:20:08 | |
is if you pull it out of a live grenade in front of them and throw it in their stupid faces. | 1:20:08 | 1:20:13 | |
We in telly call the process of replacing sounds "dubbing" or "ADR", | 1:20:13 | 1:20:16 | |
which stands for automatic dialogue replacement. | 1:20:16 | 1:20:19 | |
Mind you, looking at these next clips, you'd think it stood for awful dialogue replacement! | 1:20:19 | 1:20:24 | |
HE GUFFAWS EXAGGERATEDLY | 1:20:24 | 1:20:27 | |
It's Doctor Izzie Stevens in Grey's Anatomy, | 1:20:32 | 1:20:35 | |
who can say "ooh" without moving her lips. No really, she can. | 1:20:35 | 1:20:39 | |
-Look. -Oh, ooh! | 1:20:39 | 1:20:41 | |
Oh, I like that. Again? | 1:20:41 | 1:20:43 | |
-Ooh! -Oh, go on then. Once more! | 1:20:43 | 1:20:47 | |
-Ooh! -Ooh! | 1:20:47 | 1:20:49 | |
-Are you allowed to eat a cupcake in a sterile environment? -Are you still working with Meredith? | 1:20:49 | 1:20:53 | |
Ah, yes. Meredith, AKA Dr Grey herself. | 1:20:55 | 1:21:00 | |
But don't stand on ceremony, she hates that. | 1:21:00 | 1:21:02 | |
Dr Grey. | 1:21:02 | 1:21:04 | |
-Meredith. -Meredith. | 1:21:04 | 1:21:06 | |
We heard it but we didn't see it. | 1:21:06 | 1:21:08 | |
That man did not say "Meredith". | 1:21:08 | 1:21:11 | |
-Or did he? -Meredith. -No, he did not. | 1:21:11 | 1:21:14 | |
At least not at the time. | 1:21:14 | 1:21:15 | |
Maybe he hates the name Meredith and refused to say it. | 1:21:15 | 1:21:18 | |
"Ah," they thought, "We'll just stick that on later in the edit." | 1:21:18 | 1:21:22 | |
And they did. Badly. | 1:21:22 | 1:21:23 | |
-Because I stayed in the OR to save a life. -Meredith. | 1:21:23 | 1:21:27 | |
-Very good. -What have you go there? | 1:21:29 | 1:21:31 | |
Pride and Prejudice, and keep your eyes and ears | 1:21:31 | 1:21:34 | |
on that fine actress Alison Steadman. | 1:21:34 | 1:21:36 | |
There she is, famous for her performance in Abigail's Party | 1:21:36 | 1:21:39 | |
and loads of other parts that have been quite similar. | 1:21:39 | 1:21:42 | |
But hark, only an actress with Alison's vocal skills could say different words than her own mouth. | 1:21:42 | 1:21:48 | |
Lord knows I have no desire to be always going here and there at night. | 1:21:48 | 1:21:51 | |
Oi, Steadman! Your mouth's writing cheques your voice can't cash! That doesn't make any sense. | 1:21:51 | 1:21:57 | |
I have no desire to be always going here and there at night. | 1:21:57 | 1:22:00 | |
But neither does poor-quality dubbing. | 1:22:00 | 1:22:02 | |
# For Jesus Christ our saviour... # | 1:22:04 | 1:22:07 | |
More Pride and Prejudice, and Mary's depressing everyone | 1:22:07 | 1:22:10 | |
with her piano playing like some 19th-century Dido. | 1:22:10 | 1:22:13 | |
But look, there in the back of shot, Maria's singing without moving her lips. | 1:22:13 | 1:22:18 | |
-Maybe she's singing out of her... -HE WHISTLES | 1:22:18 | 1:22:21 | |
-Now, you might call that a mistake but I call it some of the finest... -HE WHISTLES | 1:22:21 | 1:22:26 | |
..singing I've ever heard. | 1:22:26 | 1:22:27 | |
Everyone, I just wanted to say it really means a lot to me | 1:22:29 | 1:22:33 | |
-that all of you came. -In this episode of Desperate Housewives, | 1:22:33 | 1:22:37 | |
Carlos is giving a speech to friends about leaving to go to jail. | 1:22:37 | 1:22:40 | |
But when they cut to a shot of Susan and Julie listening, | 1:22:40 | 1:22:44 | |
we see Carlos isn't talking despite the fact we can still hear him. | 1:22:44 | 1:22:48 | |
And when a man goes away to jail... | 1:22:48 | 1:22:50 | |
-Now, he hasn't got a... -HE WHISTLES | 1:22:50 | 1:22:52 | |
-..so maybe he's talking out of his "ah-huh-huh". In which case, respect. -So, thanks. | 1:22:52 | 1:22:57 | |
Look, everyone. It's Rachel off Friends, venting her spleen. | 1:22:59 | 1:23:03 | |
So I was with Joshua for an hour today and he has not asked me out. | 1:23:03 | 1:23:08 | |
Just so frustrating. | 1:23:08 | 1:23:09 | |
I know, bad dubbing is very frustrating and I'll tell you what else is frustrating. | 1:23:09 | 1:23:14 | |
Having Brad Pitt stolen away from you by Angelina Jolie. | 1:23:14 | 1:23:18 | |
Curse you, Bradley Pitt. | 1:23:18 | 1:23:21 | |
Just so frustrating. | 1:23:21 | 1:23:22 | |
I know, but don't go on about it. | 1:23:22 | 1:23:24 | |
I wondered what it'd be like to be a dude, | 1:23:26 | 1:23:29 | |
walking through the halls in jeans and a ratty T-shirt... | 1:23:29 | 1:23:32 | |
It's One Tree Hill, another one of those American shows full of cute people | 1:23:32 | 1:23:36 | |
who've got everything they need. Except a good slap in the face! | 1:23:36 | 1:23:40 | |
Maybe I'm into girls. | 1:23:40 | 1:23:42 | |
SILENCE | 1:23:42 | 1:23:43 | |
Whoa! Rachel just said that last line twice. No, really. Look. | 1:23:43 | 1:23:46 | |
Maybe I'm into girls. | 1:23:46 | 1:23:48 | |
-MIMICS: -Maybe I'm into girls. | 1:23:48 | 1:23:51 | |
I think it's time for that slap in the face. | 1:23:51 | 1:23:53 | |
Just give me a straight yes or no. | 1:23:55 | 1:23:57 | |
Why should I give you... | 1:23:57 | 1:23:59 | |
It's Only Fools and would you Adam and Eve it, | 1:23:59 | 1:24:02 | |
Del Boy is about to put his plates of meat | 1:24:02 | 1:24:04 | |
right in it and say something a bit apples and bassist, or whatever racist is in Cockney. | 1:24:04 | 1:24:10 | |
What are the odds on you picking the only genuine weight watcher in London? | 1:24:10 | 1:24:15 | |
Del's original line was "the only Provo weight watcher in London". | 1:24:15 | 1:24:19 | |
-By the time the show aired, "Provo" had been overdubbed with the word... -Genuine... | 1:24:19 | 1:24:23 | |
..which wouldn't be offensive to the people of Ireland or the IRA. | 1:24:23 | 1:24:26 | |
Believe me, it doesn't take much to get THEM writing in to Points Of View. | 1:24:26 | 1:24:30 | |
Most people in TV will tell you that actors can be difficult to work with. | 1:24:32 | 1:24:37 | |
But take it from me, those people are LIARS. | 1:24:37 | 1:24:39 | |
I wouldn't wee on them if they were on fire. | 1:24:39 | 1:24:42 | |
No, CARS are difficult to work with. | 1:24:42 | 1:24:44 | |
My old friend Ross Kemp now refuses to work with cars | 1:24:44 | 1:24:48 | |
following a nasty incident with a dodgy 1974 Hillman Imp which very nearly acted him off the screen. | 1:24:48 | 1:24:54 | |
A thrilling scene from Lost, | 1:24:57 | 1:25:00 | |
the show about invisible polar bears on a desert island. | 1:25:00 | 1:25:04 | |
Based on a true story. | 1:25:04 | 1:25:05 | |
Here, the truck without the tailgate runs off the road. | 1:25:05 | 1:25:09 | |
Oh, dear. There goes the truck. There goes the tailgate flying off that it didn't have a second ago. | 1:25:12 | 1:25:17 | |
But luckily in the next shot, it's back on again. | 1:25:17 | 1:25:20 | |
Look on the bright side, she's lost a truck but gained a tailgate. | 1:25:20 | 1:25:25 | |
That might come in handy later, polar bears hate car parts. | 1:25:25 | 1:25:29 | |
I hate continuity errors. | 1:25:29 | 1:25:31 | |
Nip/Tuck now and watch these two teenagers. | 1:25:34 | 1:25:38 | |
Oh, dear. | 1:25:38 | 1:25:39 | |
Who'd have thought an argument between a pair of stoners in a speeding car could end so badly? | 1:25:39 | 1:25:44 | |
These lads have left a nasty pair of skid marks. | 1:25:44 | 1:25:47 | |
But when they go and check out the damage, the skid marks have disappeared. | 1:25:48 | 1:25:53 | |
Well, the ones on the road have! | 1:25:53 | 1:25:56 | |
GUFFAWS EXAGGERATEDLY | 1:25:56 | 1:25:57 | |
I mean, you know, the ones in their pants are still there, yeah? | 1:25:57 | 1:26:01 | |
Nice one! The woman's dead, by the way. | 1:26:01 | 1:26:03 | |
I think we hit a bird. | 1:26:03 | 1:26:05 | |
It's Bo and Luke Duke doing what they do well, driving fast | 1:26:07 | 1:26:10 | |
and talking nonsense. | 1:26:10 | 1:26:11 | |
But what's that strange appendage fastened to the right rear wheel? | 1:26:11 | 1:26:15 | |
It couldn't be a camera, could it? To film them flying through the air? Yes, it could. | 1:26:15 | 1:26:20 | |
SHE SCREAMS | 1:26:24 | 1:26:26 | |
Buffy The Vampire Slayer, a show that attracts geeks | 1:26:26 | 1:26:29 | |
like dog poo attracts new trainers. | 1:26:29 | 1:26:31 | |
Here, the Buffster's mate, Cordelia, is having a driving lesson and not a moment too soon. | 1:26:31 | 1:26:38 | |
Wahoo! | 1:26:38 | 1:26:40 | |
If we spin on, we can see and hear... | 1:26:42 | 1:26:45 | |
her slam the car door shut. | 1:26:45 | 1:26:47 | |
But in the next shot it's open. | 1:26:47 | 1:26:50 | |
So that this oncoming truck can smash into it, as per the script. | 1:26:50 | 1:26:54 | |
CORDELIA SCREAMS | 1:26:54 | 1:26:56 | |
Crisis averted. In the circumstances, the best option. Either that or reshoot it properly. | 1:26:59 | 1:27:04 | |
-Nah. -What's happening? I can't see anything. | 1:27:04 | 1:27:07 | |
Dozy cow. | 1:27:07 | 1:27:08 | |
Hawaii Five-O and Steve McGarrett is off to the scene of a crime | 1:27:10 | 1:27:15 | |
in his beloved Ford. | 1:27:15 | 1:27:17 | |
But what crime exactly? Grand theft auto, that's what. | 1:27:17 | 1:27:20 | |
Because when Steve pulls up at the crime scene, his car has grown a couple more doors. | 1:27:20 | 1:27:26 | |
Yep, he pulls away in a two-door coupe | 1:27:26 | 1:27:29 | |
and arrives in a four-door sedan. | 1:27:29 | 1:27:32 | |
Book him, Danno, for crimes against continuity. | 1:27:32 | 1:27:35 | |
One part of every show normally immune from TV mistakes | 1:27:38 | 1:27:42 | |
is the titles. | 1:27:42 | 1:27:44 | |
Not the famous opening title sequence from Sex And The City, though. Oh, no. | 1:27:44 | 1:27:48 | |
We all know what's coming next. | 1:27:48 | 1:27:50 | |
SJP gets splashed by a bus full of commuters | 1:27:50 | 1:27:53 | |
but look what happens when the same bus turns left moments later. | 1:27:53 | 1:27:57 | |
It's deserted. Maybe they all fainted. | 1:27:57 | 1:27:59 | |
It's not every day you see a Yorkshire terrier in a Tutu. | 1:27:59 | 1:28:02 | |
When visiting LA, there are two things you simply MUST do. | 1:28:04 | 1:28:07 | |
One is rent a fabulous car. | 1:28:07 | 1:28:09 | |
The Sex And The City girls have gone west. | 1:28:09 | 1:28:12 | |
Hey, bet you don't know what the most popular car in LA is? | 1:28:12 | 1:28:15 | |
It's the green four-door sedan. | 1:28:15 | 1:28:18 | |
Look, there's one going past now. | 1:28:18 | 1:28:20 | |
And going past again. | 1:28:20 | 1:28:22 | |
That's very distracting. | 1:28:22 | 1:28:24 | |
Spin on, and almost enough to make the girls crash into another car... | 1:28:24 | 1:28:28 | |
SCREAMING, HORN HONKS | 1:28:28 | 1:28:31 | |
..that's not there any more. | 1:28:31 | 1:28:33 | |
-OK, that's enough! -Phew, that was close. Did I say close? | 1:28:33 | 1:28:37 | |
I meant badly filmed. | 1:28:37 | 1:28:38 | |
I'm not going to die in this tin can. I have a date with a dildo. | 1:28:38 | 1:28:42 | |
Here's one of those FREAKS from Heroes now, | 1:28:44 | 1:28:46 | |
using his superpower to defrost a car. | 1:28:46 | 1:28:49 | |
Finally, a superpower with a practical use. | 1:28:49 | 1:28:52 | |
What does it say on that car windscreen? "Automatic." | 1:28:52 | 1:28:55 | |
I wasn't looking for an automatic. It's a nice car though. I'm definitely interested. | 1:28:55 | 1:28:59 | |
Actually, it's almost exactly what I'm looking for. I like the colour, the make, the price, | 1:28:59 | 1:29:04 | |
it's just if only instead of being automatic it was say, low-mileage. | 1:29:04 | 1:29:09 | |
He-hey, now it is! | 1:29:09 | 1:29:11 | |
That's what I call superpower. | 1:29:11 | 1:29:13 | |
And art department incompetence. | 1:29:13 | 1:29:15 | |
BEEPING | 1:29:17 | 1:29:19 | |
Ashes To Ashes, and a chance to enjoy | 1:29:19 | 1:29:23 | |
all that painstakingly-recreated '80s period detail. | 1:29:23 | 1:29:27 | |
Everything exactly as it would have been 30 years ago. | 1:29:27 | 1:29:31 | |
Except for that N-reg 1993 Rover 600, | 1:29:31 | 1:29:33 | |
which didn't go into production for another 12 years. | 1:29:33 | 1:29:37 | |
-..before the turns to the high street, copy that. -Who cares? | 1:29:37 | 1:29:41 | |
-COCKNEY ACCENT: -We're remaking The Sweeney and we haven't had any dinner! | 1:29:41 | 1:29:45 | |
Here's a clip from 24, and Jack Bauer is under surveillance. | 1:29:45 | 1:29:48 | |
See, there's the minicam, at the front left of the windscreen. | 1:29:48 | 1:29:51 | |
His every move is being watched, except by the remaining audience. They fell asleep hours ago. | 1:29:51 | 1:29:57 | |
Now, look as we see the window from the inside of the car. | 1:29:57 | 1:30:01 | |
The minicam's gone! A mistake? | 1:30:01 | 1:30:03 | |
Well, yes, but these people are saving the world. | 1:30:03 | 1:30:05 | |
They can't remember everything! | 1:30:05 | 1:30:08 | |
Here's Knight Rider, David Hasselhoff, telling KITT | 1:30:10 | 1:30:13 | |
to round up some other cars, | 1:30:13 | 1:30:15 | |
a bit like a two-tonne metal sheepdog, | 1:30:15 | 1:30:18 | |
with an engine and bumpers. | 1:30:18 | 1:30:20 | |
Talking of bumpers, why are all those covered in plastic? | 1:30:20 | 1:30:24 | |
It's almost as if they've been fitted with protective guards | 1:30:24 | 1:30:27 | |
to prevent scratches. | 1:30:27 | 1:30:29 | |
No, they wouldn't do that. That'd be almost as bad as letting us see | 1:30:29 | 1:30:33 | |
the stuntman that really drives KITT, slumped in the front seat. | 1:30:33 | 1:30:37 | |
Well, his arm. | 1:30:40 | 1:30:42 | |
At least he didn't pull a moonie! | 1:30:42 | 1:30:44 | |
The great thing about animals is the fact that they will literally work for peanuts. | 1:30:46 | 1:30:51 | |
Over the years, animals have given us some classic TV moments. | 1:30:51 | 1:30:55 | |
Who can forget the infamous Blue Peter elephant, who for | 1:30:55 | 1:30:58 | |
years carried the blame for Peter Purves's violent bout of diarrhoea. | 1:30:58 | 1:31:01 | |
The following clips might be less well-known, but they are sure | 1:31:01 | 1:31:05 | |
to delight fans of TV mistakes and mild animal cruelty alike. | 1:31:05 | 1:31:09 | |
A humorous little set piece | 1:31:12 | 1:31:13 | |
from Grey's Anatomy now, following doctors Burke and Yang's | 1:31:13 | 1:31:17 | |
street chat, George's bagel gets pooed on by a bird | 1:31:17 | 1:31:20 | |
and, devastated, | 1:31:20 | 1:31:22 | |
he throws it to the pavement, | 1:31:22 | 1:31:23 | |
where it's immediately pounced upon by a grateful pigeon, just like in the script. | 1:31:23 | 1:31:28 | |
How do they do that? Was it a stunt pigeon? | 1:31:28 | 1:31:31 | |
No, it was a plain old ordinary pigeon, tied to a length of wire. | 1:31:31 | 1:31:36 | |
Time to give the man responsible the push. | 1:31:36 | 1:31:38 | |
Too late, he jumped. | 1:31:40 | 1:31:42 | |
This horrible 19th-century singing is upsetting me and the dog. | 1:31:44 | 1:31:48 | |
HOWLING | 1:31:48 | 1:31:50 | |
Hark at him howling! | 1:31:50 | 1:31:51 | |
Well, not so much "howling", more "looking", silently looking up at | 1:31:51 | 1:31:56 | |
the doggy treat being waved by his handler off-camera. | 1:31:56 | 1:31:59 | |
"But we need him to howl," said the director. | 1:31:59 | 1:32:02 | |
"It'll be fine," said the sound man, | 1:32:02 | 1:32:04 | |
"we'll just stick some howling effects on later, | 1:32:04 | 1:32:06 | |
"and no-one'll notice." | 1:32:06 | 1:32:08 | |
Well, we did. Oh shut up, dear! | 1:32:08 | 1:32:10 | |
How DO they train dumb animals to act? | 1:32:12 | 1:32:14 | |
I'm talking about the dog! | 1:32:14 | 1:32:16 | |
They use handlers, of course. | 1:32:16 | 1:32:19 | |
Handlers like him. | 1:32:19 | 1:32:21 | |
I've always wanted to see what the top of a dog handler's head looks like. Hairy. | 1:32:21 | 1:32:25 | |
At the top of the show, what you might call "the beginning", we saw a clip montage, | 1:32:27 | 1:32:33 | |
what you might call a "collection", | 1:32:33 | 1:32:35 | |
in which the camera crew accidentally found themselves in shot. | 1:32:35 | 1:32:39 | |
What you might call "shocking unprofessionalism". | 1:32:39 | 1:32:42 | |
Not all such unscheduled on-screen appearances are easy to spot. | 1:32:42 | 1:32:46 | |
Shop windows, car doors, and poorly-placed mirrors are all catnip to the careless cameraman. | 1:32:46 | 1:32:52 | |
Yes, nothing has the power to confuse and confound | 1:32:52 | 1:32:55 | |
these highly-trained industry professionals | 1:32:55 | 1:32:58 | |
like a reflection, or their own shadows! | 1:32:58 | 1:33:00 | |
Which don't do that. | 1:33:00 | 1:33:02 | |
You know what Eurisko means? | 1:33:04 | 1:33:06 | |
Back on those X Files, | 1:33:06 | 1:33:08 | |
Dave and Gill are about to be shown a mysterious video tape, | 1:33:08 | 1:33:11 | |
which is what people in the past had instead of DVDs. | 1:33:11 | 1:33:14 | |
It was like a roll of black ribbon in a box. Trust me, it was rubbish. | 1:33:14 | 1:33:18 | |
Anyway, look what happens before it starts to play. | 1:33:18 | 1:33:21 | |
Oh dear, once more, the mysterious effect | 1:33:21 | 1:33:24 | |
of what some people call "a reflection" | 1:33:24 | 1:33:26 | |
catches out another entire telly crew. | 1:33:26 | 1:33:29 | |
-Let me show you something. -We've seen enough, thank you. | 1:33:29 | 1:33:32 | |
'80s classic Knight Rider will always be remembered | 1:33:34 | 1:33:37 | |
less for its high production standards | 1:33:37 | 1:33:39 | |
and more for being a pile of arse. | 1:33:39 | 1:33:41 | |
How's that for a shadow? Not the best shot in the series, but if you | 1:33:41 | 1:33:45 | |
look carefully, you can see one of the soundmen doing a shadow puppet | 1:33:45 | 1:33:48 | |
of a crocodile eating a sausage. | 1:33:48 | 1:33:50 | |
So not a complete disaster. | 1:33:50 | 1:33:53 | |
-No, but can you? -Two Pints Of Lager. | 1:33:55 | 1:33:57 | |
Here's Gaz and Donna on their way to visit Donna's mum, | 1:33:57 | 1:34:00 | |
but they're not the only visitors. | 1:34:00 | 1:34:02 | |
Keep your eye on the bay window. | 1:34:02 | 1:34:05 | |
Peepo! That's either a cameraman or Will Mellor's stalker. | 1:34:05 | 1:34:08 | |
SHE LAUGHS | 1:34:08 | 1:34:10 | |
Don't laugh. They don't always follow celebrities. | 1:34:10 | 1:34:13 | |
..party, not a shareholders' meeting. | 1:34:15 | 1:34:17 | |
I love Arrested Development. | 1:34:17 | 1:34:19 | |
Although, admittedly, this isn't the best bit. | 1:34:19 | 1:34:22 | |
Watch Jeffrey Tambor's fetching shades. | 1:34:22 | 1:34:24 | |
Because, you know what sunglasses do? They reflect. | 1:34:24 | 1:34:27 | |
I knew it was against the law! | 1:34:27 | 1:34:29 | |
Ooh! There's the entire Arrested Development crew! | 1:34:29 | 1:34:32 | |
Hi guys, great show, bad shot! | 1:34:32 | 1:34:35 | |
It's Thunderbirds, and as the cameraman | 1:34:37 | 1:34:40 | |
moves into spy on this puppet lady, | 1:34:40 | 1:34:42 | |
which is itself a bit wrong, | 1:34:42 | 1:34:44 | |
we catch sight of him in the window. | 1:34:44 | 1:34:46 | |
There he is, holding the camera, lowering the camera... Pervert. | 1:34:46 | 1:34:50 | |
We're just getting a breath of fresh air. | 1:34:52 | 1:34:54 | |
Now, who wants to see | 1:34:54 | 1:34:56 | |
what the third assistant director on Skins looks like? | 1:34:56 | 1:34:59 | |
Ready? There he is! | 1:34:59 | 1:35:01 | |
Bless! There's his little face reflected in the taxi window. | 1:35:01 | 1:35:05 | |
Bet he got into trouble for that one. | 1:35:05 | 1:35:07 | |
Don't worry, though, he's still working in the TV industry, | 1:35:07 | 1:35:10 | |
putting up satellite dishes in the Solihull area. | 1:35:10 | 1:35:13 | |
Now, who wants to see what the rest of the Skins crew looks like? | 1:35:15 | 1:35:19 | |
There they are, merrily dollying along the pavement, | 1:35:19 | 1:35:22 | |
reflected in the bay windows. | 1:35:22 | 1:35:23 | |
Didn't even wave! | 1:35:23 | 1:35:25 | |
-There's always tomorrow. -Maybe for you. | 1:35:29 | 1:35:31 | |
There are two problems with working | 1:35:31 | 1:35:33 | |
at Seattle Grace Mercy West Hospital. | 1:35:33 | 1:35:35 | |
The first is having to remember all the words in the name when someone asks you where you work, | 1:35:35 | 1:35:40 | |
and the second is that there are just too many reflective surfaces. | 1:35:40 | 1:35:44 | |
Looks nice and clean, though. | 1:35:44 | 1:35:46 | |
Vicky Pollard is thrown out of a shop, | 1:35:48 | 1:35:51 | |
and oh, there's the reflection of the camera crew. | 1:35:51 | 1:35:53 | |
Standing around, wondering what's about to happen next. | 1:35:53 | 1:35:58 | |
Is it that? Yes, it was that. | 1:35:58 | 1:36:02 | |
More crew caught out by cars in 24. | 1:36:06 | 1:36:09 | |
Cooee, Mr Cameraman. | 1:36:09 | 1:36:12 | |
Whose stupid idea was it to polish that vehicle? | 1:36:12 | 1:36:15 | |
Don't worry, Jack Bauer's got 24 hours to find them. | 1:36:15 | 1:36:18 | |
And some more consonants for his surname. | 1:36:18 | 1:36:20 | |
Is that you? | 1:36:23 | 1:36:25 | |
Here's a heart-rending scene | 1:36:25 | 1:36:27 | |
from Dr Who, as Micky has an emotional reunion with his grandma. | 1:36:27 | 1:36:31 | |
And the boom mic operator, reflected in Granny's sunglasses. | 1:36:31 | 1:36:35 | |
A lovely moment. | 1:36:35 | 1:36:37 | |
This is a cracker. The housewives are desperate, | 1:36:40 | 1:36:43 | |
but when it comes to reflections, | 1:36:43 | 1:36:46 | |
the crew are just plain stupid. OK, fair play. | 1:36:46 | 1:36:49 | |
This shot's all right, no reflections in the car window there. | 1:36:49 | 1:36:52 | |
But just look what happens when Susan pulls away. | 1:36:52 | 1:36:56 | |
Ooh! That is one dirty great camera, and one dirty great cameraman. | 1:36:56 | 1:37:01 | |
Time for a Twinkie! | 1:37:01 | 1:37:03 | |
Back on Wisteria Lane, Gaby's Maserati is about to be repossessed, | 1:37:07 | 1:37:12 | |
but oh dear, whenever I see a shiny object on a TV show, I always fear the worst. | 1:37:12 | 1:37:17 | |
And here's why. | 1:37:17 | 1:37:19 | |
Where there's a boom pole, there's a sound man. | 1:37:19 | 1:37:22 | |
Eva Longoria has been in 128 episodes of Desperate Housewives. And the crew have been in about 12! | 1:37:22 | 1:37:28 | |
You call this a paint job? | 1:37:28 | 1:37:31 | |
Only Fools, and here's Del Boy with Mike and Boycie and Trigger | 1:37:33 | 1:37:37 | |
and the shadow of an enormous camera. | 1:37:37 | 1:37:39 | |
Altogether now - "You plonker!" | 1:37:39 | 1:37:42 | |
When TV crews aren't wandering in, or crawling through, or squatting down in the back of shot, | 1:37:44 | 1:37:50 | |
ruining the hard work of so many others, they're forgetting to clear away their filthy bits of gear. | 1:37:50 | 1:37:56 | |
And I'm not just talking about flasks of tea or copies of Warhammer magazine. | 1:37:56 | 1:38:00 | |
I'd like to say that these next clips were memorable for their excellent dialogue or performances, | 1:38:00 | 1:38:05 | |
but instead, I'm forced to report that they were all but destroyed | 1:38:05 | 1:38:09 | |
by the unwanted presence of poorly-positioned TV kit. | 1:38:09 | 1:38:12 | |
Lights, cameras, are just two of the items you'll see. Here's the clips. | 1:38:12 | 1:38:16 | |
Years ago, trucker named Bubba. | 1:38:18 | 1:38:20 | |
Ah, Dawson's Creek. Look, there's tiny Katie Holmes-y, | 1:38:20 | 1:38:24 | |
back when she was only trapped in a TV soap | 1:38:24 | 1:38:26 | |
and not in a marriage to Tom Cruise. | 1:38:26 | 1:38:28 | |
Wait a second! That's either Katie's radio mic | 1:38:28 | 1:38:31 | |
or the box by which Tom Cruise controls her every movement. | 1:38:31 | 1:38:34 | |
No, she hadn't met Tom back then. | 1:38:34 | 1:38:36 | |
She does have one now, though. | 1:38:36 | 1:38:38 | |
Another clip from Pride And Prejudice, | 1:38:41 | 1:38:44 | |
starring dishy Colin Firth, | 1:38:44 | 1:38:45 | |
and a scene oozing with sexual tension. Hardly surprising. | 1:38:45 | 1:38:49 | |
Look at that dancing! That is hot. | 1:38:49 | 1:38:51 | |
But hang on a minute, what's that? | 1:38:51 | 1:38:53 | |
An electric light in the early 19th century? | 1:38:53 | 1:38:56 | |
Oh, I hate anachronistic errors! | 1:38:56 | 1:38:58 | |
I daren't think what Jane Austen's going to make of that when she sees it. | 1:38:58 | 1:39:01 | |
She's the real deal. | 1:39:03 | 1:39:05 | |
Joey told you about the leg? | 1:39:05 | 1:39:08 | |
Now as we know, sound men often | 1:39:08 | 1:39:10 | |
use a boom pole to record sound so the microphone won't get into shot. | 1:39:10 | 1:39:15 | |
Except sometimes when a sound man has had a very busy morning on set | 1:39:15 | 1:39:19 | |
or an even busier lunch down the pub, the boom does drop into shot. | 1:39:19 | 1:39:24 | |
D'oh! There it is, did you see it? | 1:39:27 | 1:39:31 | |
Oh, wake up you sandal-wearing lush! | 1:39:31 | 1:39:34 | |
Another clip from Friends and proof that firing the boom operator | 1:39:36 | 1:39:40 | |
isn't the answer because in all likelihood, | 1:39:40 | 1:39:43 | |
the next one will be just as bad. | 1:39:43 | 1:39:45 | |
D'oh, hello! | 1:39:45 | 1:39:46 | |
Of course. | 1:39:50 | 1:39:51 | |
Here's a scary scene from Supernatural. | 1:39:51 | 1:39:54 | |
Two men reading a book? | 1:39:54 | 1:39:55 | |
Ooh, someone could get a paper cut or an overdue library fine. | 1:39:55 | 1:39:59 | |
Hey, there's something behind that lampshade. It's a television camera. | 1:39:59 | 1:40:03 | |
Oh, it doesn't get any more exciting than this. | 1:40:03 | 1:40:07 | |
Oh, it does. | 1:40:07 | 1:40:10 | |
Stir up a hornets' nest. | 1:40:13 | 1:40:15 | |
The Wire. A flawless show in every respect. Well, mostly. | 1:40:15 | 1:40:19 | |
Look, the cameraman moves back too far and, bang, | 1:40:19 | 1:40:23 | |
that enormous TV light has just been seen by millions of viewers. | 1:40:23 | 1:40:27 | |
Well, at least the ones that sit three inches from the screen are | 1:40:27 | 1:40:30 | |
staring at the extreme right of frame instead of at the action, like me. | 1:40:30 | 1:40:35 | |
GUNFIRE | 1:40:35 | 1:40:36 | |
He's in here. | 1:40:38 | 1:40:40 | |
Two Pints Of Lager, and Donna has dragged Gaz to meet her family. | 1:40:43 | 1:40:47 | |
And this boom mic. | 1:40:47 | 1:40:50 | |
Hello, there you go, short and sweet, a bit like me. | 1:40:50 | 1:40:53 | |
Apart from the short bit, obviously. | 1:40:53 | 1:40:55 | |
He works away a lot. | 1:40:55 | 1:40:57 | |
She tastes of lard. | 1:40:59 | 1:41:02 | |
More pints of light comedy lager, | 1:41:02 | 1:41:04 | |
and stand by for another brief cameo from the boom mic, | 1:41:04 | 1:41:07 | |
instantly upstaging Ralf Little, and the other one, | 1:41:07 | 1:41:10 | |
by being twice as funny. | 1:41:10 | 1:41:12 | |
Peepo! Peep! Peep! | 1:41:13 | 1:41:16 | |
Thanks, Mr Boom Mic Operator. | 1:41:16 | 1:41:18 | |
We owe you a drink. | 1:41:18 | 1:41:20 | |
No, I just kissed her. | 1:41:20 | 1:41:21 | |
You have absolutely no sense of humour, do you? | 1:41:23 | 1:41:26 | |
Fawlty Towers, a truly great sitcom | 1:41:26 | 1:41:29 | |
that wasn't afraid to break the rules. | 1:41:29 | 1:41:31 | |
Like the one about not leaving monitor screens lying around in the back of shot. | 1:41:31 | 1:41:35 | |
There it is. You can even make out the very same shot of Basil running | 1:41:35 | 1:41:40 | |
into the kitchen on the screen, and if you look at the monitor on the monitor, you can even ... | 1:41:40 | 1:41:44 | |
Actually I'll stop there before or I go mad and start insulting some Germans. | 1:41:44 | 1:41:49 | |
It's the live EastEnders, and as Bradley lies dying, | 1:41:52 | 1:41:55 | |
everyone crowds into the Square. Even the boom mic. | 1:41:55 | 1:41:58 | |
Hell, take my daughter for example. | 1:42:00 | 1:42:03 | |
The wonderful Arrested Development, and it's time to be | 1:42:03 | 1:42:06 | |
perfectly honest, of all the "boom mic in shot" shots I've seen, this has to be in my favourite 50. | 1:42:06 | 1:42:12 | |
A glorious Sunday afternoon. She won't tell me. | 1:42:12 | 1:42:15 | |
Watch ya. I think you'll agree that was worth waiting for. | 1:42:15 | 1:42:18 | |
What play? | 1:42:18 | 1:42:20 | |
Editing is, of course, the simplest of all the jobs | 1:42:22 | 1:42:25 | |
that people do in television that nobody really cares about. | 1:42:25 | 1:42:28 | |
All an editor has to do is sit in a room with a producer or director | 1:42:28 | 1:42:31 | |
and cut out of the stuff that didn't work and stick together all the stuff that did. | 1:42:31 | 1:42:36 | |
But as we've already seen, mistakes get made, especially in a busy edit suite where teas | 1:42:36 | 1:42:41 | |
and coffees have to be ordered and lunch menus read from cover to cover. | 1:42:41 | 1:42:45 | |
Yes, between them, producers, directors and editors can make some | 1:42:45 | 1:42:48 | |
pretty surprising decisions when it comes to selecting which shots to use and which to throw away. | 1:42:48 | 1:42:53 | |
Take, for example, the decision to re-shoot all of my links here today | 1:42:53 | 1:42:57 | |
instead of using the ones I recorded myself yesterday in the shower. Ridiculous. | 1:42:57 | 1:43:01 | |
Here's a clip from American series Bones, and the perennial question, | 1:43:05 | 1:43:09 | |
how do you pass the time on a long trip through the desert? | 1:43:09 | 1:43:12 | |
I know. How about looking at the back projection and trying to spot | 1:43:12 | 1:43:16 | |
when the cyclorama suddenly changes from flat scrub to mountainscape in a split second. Are we there yet? | 1:43:16 | 1:43:22 | |
There we are. Your turn. | 1:43:22 | 1:43:26 | |
And...cut. | 1:43:26 | 1:43:27 | |
Great work, everybody. Who wants to play I-spy? | 1:43:27 | 1:43:31 | |
I spy with my little eye something beginning with C. | 1:43:31 | 1:43:35 | |
It's Crap FX, isn't it? | 1:43:35 | 1:43:37 | |
Its Skins, and lovely Tony | 1:43:41 | 1:43:42 | |
is about to tuck into a delicious tuna sandwich. | 1:43:42 | 1:43:45 | |
Mmm, I love sandwiches. Conversely, most directors hate them. | 1:43:45 | 1:43:48 | |
They're a continuity nightmare. | 1:43:48 | 1:43:52 | |
And we're off. Bite one to the left. | 1:43:52 | 1:43:56 | |
Which is now two bites big. | 1:43:56 | 1:43:57 | |
That'd really put a dampener on your day. | 1:43:57 | 1:44:00 | |
And whole again. First bite again to the left. | 1:44:00 | 1:44:02 | |
Look what you're doing to your mate. | 1:44:02 | 1:44:04 | |
He doesn't know what day it is. | 1:44:04 | 1:44:06 | |
-But now multiple bites to left and right. -Have some tuna sandwich. | 1:44:06 | 1:44:09 | |
-It'll make you feel better. -Are you sure? I'm feeling a bit dizzy. | 1:44:09 | 1:44:13 | |
No, no, no, leave it. | 1:44:13 | 1:44:14 | |
Leave it. He's at it as well. | 1:44:14 | 1:44:17 | |
Tony is back to a one-bite sandwich. Two bites. | 1:44:17 | 1:44:20 | |
Bites right and left. | 1:44:20 | 1:44:22 | |
No, two bites to the left. | 1:44:22 | 1:44:25 | |
-Hi, Tony. -Oh, beat it, kids, I'm trying to concentrate. | 1:44:25 | 1:44:29 | |
Multiple bites again right and left. | 1:44:29 | 1:44:31 | |
Oh, I've changed my mind, I hate tuna sandwiches. | 1:44:31 | 1:44:33 | |
So the chair's a write-off? | 1:44:35 | 1:44:38 | |
Miranda and Carrie are in the city taking a break from all that sex | 1:44:38 | 1:44:42 | |
to enjoy a nice sit-down and... Oh, dear, cupcakes. | 1:44:42 | 1:44:45 | |
Carrie's cupcake continuity is immaculate, but in a moment, | 1:44:45 | 1:44:50 | |
Miranda's muffin goes from well-eaten to cake-o intacta. | 1:44:50 | 1:44:56 | |
Actually, that wasn't too bad. | 1:44:56 | 1:44:57 | |
Tony from Skins, pay attention. | 1:44:57 | 1:45:00 | |
You got a whacking lot of doughnuts. | 1:45:02 | 1:45:04 | |
Yes, food is a continuity nightmare, especially on Skins. | 1:45:04 | 1:45:09 | |
Look, Pandora dives into this bag of doughnuts and grabs one with yellow icing. | 1:45:09 | 1:45:13 | |
Takes a couple of bites, one, two. | 1:45:13 | 1:45:16 | |
Now it's half-gone. | 1:45:16 | 1:45:18 | |
Suddenly, it's all gone. | 1:45:18 | 1:45:20 | |
Takes a pink one. | 1:45:20 | 1:45:22 | |
Which is now yellow. | 1:45:22 | 1:45:24 | |
And back to pink with two bites out of it. | 1:45:24 | 1:45:29 | |
Then just one bite. | 1:45:29 | 1:45:31 | |
And now it's gone. | 1:45:31 | 1:45:32 | |
Hello. | 1:45:32 | 1:45:34 | |
And back again! | 1:45:34 | 1:45:36 | |
-That's doughnut madness. -Effie. So glad to meet you. | 1:45:36 | 1:45:40 | |
In telly, one of the jobs of the director, besides shouting | 1:45:42 | 1:45:45 | |
and drinking coffee, is blocking, | 1:45:45 | 1:45:47 | |
which means telling the cameras and actors where to stand, | 1:45:47 | 1:45:51 | |
though not always in the right place. | 1:45:51 | 1:45:53 | |
Look, as Jenna goes to wake Gan, who's that loitering in the background? | 1:45:53 | 1:45:57 | |
It's either an alien or Vila, arms folded, looking bored. | 1:45:57 | 1:46:02 | |
Gan, come on, wake up. | 1:46:02 | 1:46:03 | |
-What's wrong, Jenna? -And cue Vila. | 1:46:03 | 1:46:05 | |
-Something's happened to them. -Where is he? | 1:46:05 | 1:46:07 | |
If the future turns out to be anything like Blake's 7, | 1:46:07 | 1:46:10 | |
-I'm going to be so disappointed. -What are you up to now? | 1:46:10 | 1:46:13 | |
Go on, my son, go on, go on! | 1:46:15 | 1:46:17 | |
Classic comedy from Only Fools And Horses, with some less-than-classic | 1:46:17 | 1:46:21 | |
"standing around waiting for a cue" work from actor Lennard Pearce. | 1:46:21 | 1:46:25 | |
Here it comes. Wait for it, Lennard. | 1:46:25 | 1:46:29 | |
Oh, Lennard! | 1:46:29 | 1:46:31 | |
I blame the director. It's not really Grandad's fault. | 1:46:31 | 1:46:35 | |
He's so old. He's probably just stuck to the lino. | 1:46:35 | 1:46:38 | |
Its Friends in Vegas. | 1:46:40 | 1:46:43 | |
Here comes Chandler. He sees Monica having fun with another fellow, | 1:46:43 | 1:46:47 | |
and all melancholy, he turns to leave. | 1:46:47 | 1:46:51 | |
And leave again. You might think they just used the same shot twice, and you'd be right. | 1:46:51 | 1:46:57 | |
You will not be better until they've... | 1:46:59 | 1:47:01 | |
In this clip from the first series of Red Dwarf, Craig Charles | 1:47:01 | 1:47:05 | |
is enjoying Craig Ferguson's lines and big acting so much, he joins in. | 1:47:05 | 1:47:09 | |
I don't know, is it some place near Uruguay? | 1:47:09 | 1:47:12 | |
Oh, you missed it, didn't you? | 1:47:12 | 1:47:14 | |
Try again and keep your eyes on little Craig. | 1:47:14 | 1:47:17 | |
-HIGH-PITCHED: -"I don't know, is it some place near Uruguay?" | 1:47:17 | 1:47:20 | |
Lovely bit of close-harmony acting. | 1:47:20 | 1:47:22 | |
Just let her go. | 1:47:24 | 1:47:27 | |
-Go ahead, shoot. -Agent Mulder is in a stand off with a villain. | 1:47:27 | 1:47:30 | |
He's probably an alien in disguise, they usually are. | 1:47:30 | 1:47:33 | |
Like all good FBI agents, though, he's got his earpiece in so that | 1:47:33 | 1:47:37 | |
he can listen to Chris Moyles and fight the alien hordes. | 1:47:37 | 1:47:40 | |
Which is harder? You decide. | 1:47:40 | 1:47:42 | |
This scene is crying out for a close-up of Mulder wrestling with his conscience | 1:47:42 | 1:47:46 | |
and finally shooting the baddie. | 1:47:46 | 1:47:48 | |
Unfortunately, they didn't get one, so they'd to film it later | 1:47:48 | 1:47:51 | |
when he wasn't wearing an earpiece. | 1:47:51 | 1:47:54 | |
Embarrassed in front of millions. | 1:47:54 | 1:47:56 | |
Sorry, Dave. | 1:47:56 | 1:47:57 | |
Mulder and Scully are pursuing a suspect. | 1:48:00 | 1:48:05 | |
Either that, or another dissatisfied guest is leaving the FBI hotel | 1:48:05 | 1:48:09 | |
via this half-open window. | 1:48:09 | 1:48:11 | |
Oh, it's fallen on him. | 1:48:12 | 1:48:14 | |
No, it hasn't. | 1:48:14 | 1:48:16 | |
-Get your hands up! -Yeah, he will if you sort that window out. | 1:48:18 | 1:48:21 | |
Max? | 1:48:21 | 1:48:23 | |
Its Mulder again, | 1:48:25 | 1:48:26 | |
and he's spotted something odd about this enormous tree trunk. | 1:48:26 | 1:48:30 | |
Wait a minute, I think I know what it is. | 1:48:30 | 1:48:33 | |
One minute, it's big with no green and no hand, but in close-up, | 1:48:35 | 1:48:38 | |
it's suddenly much smaller and gained a pointy hand and some green. | 1:48:38 | 1:48:43 | |
-I've never seen a ring like that before. -Me neither. Rubbish, wasn't it? | 1:48:43 | 1:48:46 | |
Here's the lovely Jennifer Ehle | 1:48:51 | 1:48:53 | |
in Pride And Prejudice, playing the piano. | 1:48:53 | 1:48:55 | |
Except she isn't, because when we see inside, | 1:48:55 | 1:48:58 | |
none of the hammers are moving. | 1:48:58 | 1:49:00 | |
Although, she's definitely got my hammers moving, | 1:49:00 | 1:49:02 | |
if you know what I mean. | 1:49:02 | 1:49:04 | |
Actually, I'm not sure if even I know what that means. | 1:49:04 | 1:49:07 | |
This party's rocking. That's not tea they're sipping, it's rum. | 1:49:09 | 1:49:14 | |
Mmm... All off their 19th-century faces. | 1:49:14 | 1:49:16 | |
The editor certainly had a few. | 1:49:16 | 1:49:18 | |
Look what happens when he cuts to a wide shot. | 1:49:18 | 1:49:20 | |
..can't express what we feel about your kindness to our dear Lydia. | 1:49:20 | 1:49:25 | |
Suddenly, these two blokes are talking to each other and not listening to Alison Steadman, | 1:49:25 | 1:49:30 | |
who's now chatting to someone sitting beside her, who isn't even there. | 1:49:30 | 1:49:35 | |
Not so much Pride And Prejudice as Pride And Pretty Poor Wide Shot! | 1:49:35 | 1:49:39 | |
-HE GUFFAWS -Oh, dear! | 1:49:39 | 1:49:41 | |
And let us toast also Dr Soong. | 1:49:43 | 1:49:46 | |
Star Trek NG, and Good Data and Bad Data are drinking champagne. | 1:49:46 | 1:49:52 | |
A perfect match for my mind. | 1:49:52 | 1:49:55 | |
-My body. -Good Data has been poisoned by Bad Data. | 1:49:55 | 1:49:58 | |
Good Data topples backwards and somehow lands on his face. | 1:49:58 | 1:50:03 | |
It's almost as if they had to redo it because the way he fell the first time was rubbish. | 1:50:03 | 1:50:07 | |
They're good, these androids. I'm getting one. | 1:50:07 | 1:50:10 | |
He had it shipped over from Scotland. | 1:50:12 | 1:50:14 | |
Ever wondered what Superman's teenage years were like? | 1:50:14 | 1:50:17 | |
Me neither, but that didn't stop them making Smallville. | 1:50:17 | 1:50:20 | |
In between popping zits and shouting at his parents, Clark has found time to visit young Lex Luthor. | 1:50:20 | 1:50:26 | |
Nice house. | 1:50:26 | 1:50:27 | |
Shame you can see those two pieces of white tape on the parquet floor, | 1:50:27 | 1:50:31 | |
put there by the crew to let Lex know where to stand. | 1:50:31 | 1:50:34 | |
That's what we in TV call a mark. | 1:50:34 | 1:50:37 | |
-And a mistake. -What's the matter? | 1:50:37 | 1:50:40 | |
-You don't like it? -No, it very bad. | 1:50:40 | 1:50:43 | |
The Black Adder, AKA Rowan Atkinson. | 1:50:48 | 1:50:51 | |
Funny comedian, fine actor, always hits his mark. | 1:50:51 | 1:50:55 | |
Mainly because it's clearly visible right there under his shoe. | 1:50:57 | 1:51:01 | |
Three days after my funeral, | 1:51:03 | 1:51:04 | |
Lynette replaced her grief with a much more useful emotion. | 1:51:04 | 1:51:08 | |
In this clip from Desperate Housewives, Lynette is at the mall | 1:51:08 | 1:51:12 | |
with those three naughty sons of hers and the baby, in pink, in the trolley. | 1:51:12 | 1:51:16 | |
I can only imagine. | 1:51:16 | 1:51:18 | |
Uh-oh, two of the boys have done a runner. | 1:51:18 | 1:51:21 | |
But one bad pick-up shot later, and it looks like all four have scarpered. | 1:51:21 | 1:51:25 | |
At least she's still got her pink blanket. | 1:51:25 | 1:51:28 | |
Whichever way you look at it, that is borderline careless. | 1:51:28 | 1:51:31 | |
-Lynette Scavo? -Crap. | 1:51:31 | 1:51:34 | |
Classic Tom Baker-era Dr Who and, | 1:51:36 | 1:51:38 | |
as one of the mummies from the Pyramids of Mars attacks Sarah Jane, | 1:51:38 | 1:51:41 | |
he smashes this important device, | 1:51:41 | 1:51:43 | |
known as a Marconiscope, to smithereens. | 1:51:43 | 1:51:47 | |
Except in the very next shot, he hasn't. | 1:51:49 | 1:51:51 | |
If you want to find out what a Marconiscope is, | 1:51:51 | 1:51:54 | |
just go to any Dr Who fan site. They'll know. | 1:51:54 | 1:51:57 | |
Just don't ask them what day it is. | 1:51:57 | 1:51:58 | |
With live TV, you just have to go with it. | 1:52:02 | 1:52:04 | |
In this climactic scene in the live 'StEnders episode, | 1:52:04 | 1:52:08 | |
see if you can spot the moment when the cameraman trips. | 1:52:08 | 1:52:11 | |
Oh! | 1:52:14 | 1:52:16 | |
Dr George, played by TR Knight, is badly let down by the editing | 1:52:18 | 1:52:22 | |
of this scene from Grey's Anatomy, | 1:52:22 | 1:52:24 | |
as we see him remove his surgical topcoat not once but twice. | 1:52:24 | 1:52:29 | |
A sloppy choice of shots in the edit and a great actor's career lies in ruins. | 1:52:29 | 1:52:34 | |
# Here's what she said... # | 1:52:36 | 1:52:39 | |
Great, it's The Simpsons, | 1:52:39 | 1:52:41 | |
and here is Ned Flanders on top of a hill, singing. | 1:52:41 | 1:52:43 | |
And here comes everyone else. | 1:52:43 | 1:52:45 | |
That's funny. Wait a minute, so is that. | 1:52:45 | 1:52:48 | |
Apu's skin is yellow, which in The Simpsons, means white, | 1:52:48 | 1:52:52 | |
but he's Asian, and usually brown, which in The Simpsons means brown. | 1:52:52 | 1:52:56 | |
Which he was, but he isn't any more. | 1:52:56 | 1:52:58 | |
Who does he think he is, Michael Jackson? | 1:52:58 | 1:53:01 | |
Sorry, shouldn't joke, he's dead. Jacko, I mean, not Apu. | 1:53:01 | 1:53:04 | |
That would have been horrible. | 1:53:04 | 1:53:05 | |
# Que sera, se... # | 1:53:05 | 1:53:08 | |
Run! | 1:53:08 | 1:53:09 | |
DOOR OPENS Clark! | 1:53:11 | 1:53:13 | |
Martha from Smallville has sustained a nasty cut. | 1:53:13 | 1:53:17 | |
There it is, just above her right eye. | 1:53:17 | 1:53:20 | |
And here it is on her left eye. | 1:53:20 | 1:53:25 | |
And back to the right. | 1:53:25 | 1:53:26 | |
Yep, the director had "crossed the line", telly speak for "cocking up the camera position". | 1:53:26 | 1:53:31 | |
Then he tried to fix it in the edit by flipping the shot. | 1:53:31 | 1:53:35 | |
You might be able to get gaffes like that past Superman, but not us. | 1:53:35 | 1:53:39 | |
Here is a sequence to make the Avatar team blush and then pat | 1:53:43 | 1:53:49 | |
the Dr Who effects department on the head and say, "Oh, bless." | 1:53:49 | 1:53:53 | |
When this spaceship crashes into the tower of Big Ben, suddenly, the numerals on her back-to-front. | 1:53:53 | 1:53:59 | |
Because someone made a boob in the CGI and had to | 1:53:59 | 1:54:01 | |
flip the shot to make it look like the spaceship enters from the right. | 1:54:01 | 1:54:05 | |
The technique of flipping can also be used on your own TV remote every time Simon Cowell comes on. | 1:54:07 | 1:54:13 | |
The king will therefore be requiring a new mistress. | 1:54:15 | 1:54:18 | |
Dr Tennant again, in this clip, | 1:54:18 | 1:54:20 | |
leaning on a balustrade in 18th-century France, | 1:54:20 | 1:54:23 | |
spying on Madame Pompadour. | 1:54:23 | 1:54:25 | |
She senses his presence, turns, but sees nothing. | 1:54:25 | 1:54:28 | |
Not even his hand touching the wall. | 1:54:28 | 1:54:31 | |
Because he isn't. But, in the next shot, he clearly still is. | 1:54:31 | 1:54:34 | |
Maybe he's developed the power of invisibility. | 1:54:34 | 1:54:37 | |
She's in for a surprise at bedtime. | 1:54:37 | 1:54:40 | |
..on my brand-new camera. | 1:54:42 | 1:54:43 | |
A less-than-thrilling clip from Dr Who, | 1:54:43 | 1:54:46 | |
and Mark Warren is being filmed by a mate on his camcorder. | 1:54:46 | 1:54:50 | |
The producers of the show are making sure we understand we're looking | 1:54:50 | 1:54:54 | |
through a camcorder or by putting these frame lines on the screen. | 1:54:54 | 1:54:58 | |
But spin on through the tedium, and the little lines have gone. | 1:54:58 | 1:55:03 | |
Have dark forces tampered with the fabric of time and space? | 1:55:03 | 1:55:06 | |
-I still don't know. -Well, I do. | 1:55:06 | 1:55:09 | |
No, the editor got distracted by his Facebook page and forgot to put them on. | 1:55:09 | 1:55:13 | |
And finally, if it's bad shot choices you're after, | 1:55:15 | 1:55:19 | |
and who isn't, then check this. Here's Buffy, | 1:55:19 | 1:55:21 | |
undertaking a vampires slayer's least onerous of tasks, | 1:55:21 | 1:55:25 | |
picking up and putting down a pair of glasses. | 1:55:25 | 1:55:27 | |
See if you can spot the gaffe. | 1:55:27 | 1:55:29 | |
Yep. | 1:55:30 | 1:55:34 | |
Wearing two pink rings on her fingers, | 1:55:34 | 1:55:36 | |
she places the specs on the table, unfolded, with both hands. | 1:55:36 | 1:55:40 | |
But in the close-up, the glasses have been folded, | 1:55:40 | 1:55:43 | |
and are now put down by a single hand wearing a silver ring | 1:55:43 | 1:55:46 | |
on a completely different table. | 1:55:46 | 1:55:48 | |
That, with the best will in the world, was really shit. | 1:55:48 | 1:55:52 | |
Well, there it is, TV's Greatest Mistakes. | 1:55:54 | 1:55:57 | |
I'd just like to say thanks to all the people involved tonight. | 1:55:57 | 1:56:01 | |
Thanks for being inattentive and so very sloppy in your chosen career. | 1:56:01 | 1:56:05 | |
It's a good job it's just telly and nothing of any importance whatsoever, | 1:56:05 | 1:56:09 | |
because if this had been a paper round or a Saturday job in a burger bar, you'd have been fired. | 1:56:09 | 1:56:14 | |
Sloppy cameramen, directors, editors, producers, set designers, wardrobe, hair and make-up minions. | 1:56:14 | 1:56:21 | |
Thank you, you are the best. | 1:56:21 | 1:56:24 | |
And by best, of course, I mean worst! | 1:56:24 | 1:56:26 | |
HE LAUGHS INANELY | 1:56:26 | 1:56:28 | |
-Bye! -HE SCREAMS | 1:56:28 | 1:56:30 | |
Subtitles by Red Bee Media Ltd | 1:56:48 | 1:56:51 | |
E-mail [email protected] | 1:56:51 | 1:56:54 |