Browse content similar to Episode 1. Check below for episodes and series from the same categories and more!
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Hello! | 0:00:14 | 0:00:15 | |
I'm Robert Webb. | 0:00:15 | 0:00:17 | |
Welcome to Great TV Mistakes. | 0:00:17 | 0:00:20 | |
I know what you're saying - "People on the telly don't make mistakes. | 0:00:20 | 0:00:24 | |
"They're all perfect, like you, Rob." Not true. Everyone makes mistakes. | 0:00:24 | 0:00:28 | |
You just called me "Rob", for instance. No-one calls me Rob unless I give them permission! Understand? | 0:00:28 | 0:00:34 | |
Over the next hour, we'll be revealing the worst howlers ever broadcast. | 0:00:34 | 0:00:39 | |
Mistakes my crack team of square-eyed, OCD numpties | 0:00:39 | 0:00:42 | |
refuse to rest until they have shown you the foul-ups they didn't want you to see. | 0:00:42 | 0:00:48 | |
"They" meaning "them". Not you. | 0:00:48 | 0:00:51 | |
Enjoy! | 0:00:51 | 0:00:53 | |
Coming up: Mistakes from... | 0:00:54 | 0:00:56 | |
..and many, many more! | 0:01:04 | 0:01:05 | |
To misquote the great Salt-N-Pepa, let's talk about sets. | 0:01:05 | 0:01:09 | |
Set designers do an incredible job. | 0:01:11 | 0:01:14 | |
I hate to spoil the magic of television, but sometimes what appears to be real | 0:01:14 | 0:01:18 | |
is actually made of elaborately painted wood - much like Amanda Holden's face. | 0:01:18 | 0:01:23 | |
This wall behind me. That's not brick. | 0:01:23 | 0:01:25 | |
It's papier-mache expertly knocked together by the Great TV Mistakes set designers. | 0:01:25 | 0:01:30 | |
Trust me. There's nothing we in TV can't convincingly recreate. | 0:01:30 | 0:01:33 | |
The inside of the White House, the outside of a spaceship, | 0:01:33 | 0:01:36 | |
even an entire 15th-century English village. | 0:01:36 | 0:01:39 | |
Everything, in fact, except Daphne in Frasier's Mancunian accent. | 0:01:39 | 0:01:43 | |
And all these shocking set-related howlers. | 0:01:43 | 0:01:46 | |
Magnum's in Friends! | 0:01:48 | 0:01:50 | |
Look at the size of him! They have to widen the shot to get him in! | 0:01:50 | 0:01:54 | |
A bit too wide, if you ask me! | 0:01:54 | 0:01:56 | |
That is the edge of the set. | 0:01:56 | 0:01:58 | |
Unless there's always been an enormous hole in Joey and Chandler's wall. | 0:01:58 | 0:02:02 | |
If so, why does everyone still use the door? | 0:02:02 | 0:02:05 | |
We had a table at college. | 0:02:05 | 0:02:07 | |
Filming historical storylines is always a challenge. | 0:02:10 | 0:02:14 | |
Take this episode of Doctor Who set in Victorian London | 0:02:14 | 0:02:17 | |
with Charles Dickens and some zombies. But forget them, | 0:02:17 | 0:02:20 | |
because that is an electric light switch. Oh, dear! | 0:02:20 | 0:02:24 | |
Edison didn't test the first light bulb until nine years after Dickens' death. | 0:02:24 | 0:02:29 | |
If that isn't a mistake, | 0:02:29 | 0:02:30 | |
my name isn't Robert Webb. Which it is. | 0:02:30 | 0:02:34 | |
It's Doctor Who, '70s style. | 0:02:38 | 0:02:40 | |
Problems with the TARDIS have forced him to get these alien builders in. | 0:02:40 | 0:02:44 | |
See the alien builder on the left? Keep your eyes on his feet. | 0:02:44 | 0:02:48 | |
Doh! That's torn it. Literally. | 0:02:48 | 0:02:51 | |
Light! | 0:02:51 | 0:02:53 | |
Too much light! | 0:02:53 | 0:02:55 | |
He's got his space boot caught under the Axminster. Idiot! | 0:02:55 | 0:02:58 | |
You're thinking, "How's he going to get his foot out from under the carpet? | 0:02:58 | 0:03:03 | |
"Pick it up, or just kick the carpet out of the way?" | 0:03:03 | 0:03:06 | |
Yes, he just kicks it out of the way. | 0:03:06 | 0:03:09 | |
Nice one. Goddamn alien cowboy builders! | 0:03:09 | 0:03:12 | |
The IT Crowd. | 0:03:14 | 0:03:16 | |
Jen's up on the top floor. | 0:03:16 | 0:03:17 | |
I feel like I'm on top of the world. | 0:03:17 | 0:03:20 | |
Well, the top floor, anyway. Which is... | 0:03:20 | 0:03:22 | |
-AUTOMATED VOICE: -Floor 34. | 0:03:22 | 0:03:24 | |
Yes, Floor 34. | 0:03:24 | 0:03:27 | |
Very exciting. Where am I going? | 0:03:27 | 0:03:29 | |
All the way down to the basement. | 0:03:29 | 0:03:31 | |
From Floor 34. | 0:03:31 | 0:03:33 | |
But hang on. | 0:03:33 | 0:03:35 | |
That lift's only got 31 buttons. Meaning there's only 31 floors. | 0:03:35 | 0:03:38 | |
This doesn't make sense. These people don't take their pretend lift buttons seriously. | 0:03:38 | 0:03:44 | |
A brilliantly silly sequence from Wonder Woman now, | 0:03:47 | 0:03:51 | |
starring killer ape Gargantua and a bloke in specs | 0:03:51 | 0:03:55 | |
who kicks off a classic dust-up by throwing a balsa wood table like a massive girl. | 0:03:55 | 0:03:59 | |
Then, after some more acting, | 0:04:00 | 0:04:03 | |
he runs for the door and that large red emergency button. | 0:04:03 | 0:04:06 | |
Gargantua throws a poorly-constructed dummy across the room | 0:04:06 | 0:04:10 | |
and it's a military rozzer. | 0:04:10 | 0:04:12 | |
He tries to press the button, misses it, but it goes off anyway. | 0:04:12 | 0:04:15 | |
He's out of the game. | 0:04:15 | 0:04:17 | |
But here's his mate, who's elderly. | 0:04:17 | 0:04:19 | |
He ignores the emergency button cos it's not there any more | 0:04:19 | 0:04:23 | |
and bounces off Gargantua like a septugenarian pinball. | 0:04:23 | 0:04:26 | |
Yes, there was an error there, but I'm damned if I could spot it. | 0:04:26 | 0:04:29 | |
Here's pathologist turned serial killer, Dexter, | 0:04:31 | 0:04:35 | |
examining a dead body. | 0:04:35 | 0:04:36 | |
Now, hold it there. Time check. | 0:04:36 | 0:04:38 | |
Eleven minutes past four. | 0:04:38 | 0:04:40 | |
And play. | 0:04:40 | 0:04:42 | |
Dexter takes a quick shufti at the cadaver. | 0:04:42 | 0:04:45 | |
And hold again. | 0:04:45 | 0:04:46 | |
Ooh, it's 4.17. | 0:04:46 | 0:04:48 | |
That little look took six minutes. | 0:04:48 | 0:04:50 | |
Doesn't time fly when you're sniffing at a corpse? | 0:04:50 | 0:04:54 | |
Here's Lucy Lawless as Xena in the best fighting form of her life, | 0:04:57 | 0:05:01 | |
taking on baddie Dipholus. | 0:05:01 | 0:05:03 | |
Go, Xena. She's hard as a rock. | 0:05:03 | 0:05:06 | |
In fact, much harder than a rock. | 0:05:06 | 0:05:08 | |
Especially that rock. Boi-ing! | 0:05:08 | 0:05:10 | |
Do-iiing! | 0:05:12 | 0:05:14 | |
Hmm. Did they have foam in Ancient Greece? | 0:05:14 | 0:05:17 | |
Remember the time you almost drowned... | 0:05:20 | 0:05:22 | |
I don't want to suggest that they knock these sets up in an afternoon, | 0:05:22 | 0:05:26 | |
cos often they don't have that long. | 0:05:26 | 0:05:28 | |
But there is something a bit crap about this clip from Xena | 0:05:28 | 0:05:31 | |
in which we see a Greek fortress, which history tells us were made of stone, | 0:05:31 | 0:05:35 | |
stone that geology tells us isn't known for its wobbly properties. | 0:05:35 | 0:05:40 | |
But over he goes with a wibble and a wobble and a half-piked twist | 0:05:40 | 0:05:44 | |
that gymnastics tells us is an 8.5. | 0:05:44 | 0:05:47 | |
I bet he can't do that again. | 0:05:47 | 0:05:48 | |
Wibble, wobble, wibble, wobble. Oh, he can. | 0:05:48 | 0:05:52 | |
That was the one I was trying to get a look at! | 0:05:54 | 0:05:57 | |
All's not well at Fawlty Towers, for a change(!) | 0:05:57 | 0:06:02 | |
Try as he might, Basil just can't get through to wife Sybil. | 0:06:02 | 0:06:05 | |
For a change! | 0:06:05 | 0:06:07 | |
She's so annoyed and slams the door - along with half the wall! | 0:06:07 | 0:06:10 | |
That is some very unstable brickwork. | 0:06:10 | 0:06:13 | |
Will somebody please call a builder. And not Mr O'Reilly! | 0:06:13 | 0:06:17 | |
That's for you fans! | 0:06:17 | 0:06:18 | |
Just in case you're not one, O'Reilly is Basil's regular builder. | 0:06:20 | 0:06:25 | |
Very cheap and less than competent. | 0:06:25 | 0:06:28 | |
He's blocked up the door to the dining room. | 0:06:28 | 0:06:30 | |
Blocked solid. | 0:06:30 | 0:06:32 | |
Well, not entirely. | 0:06:32 | 0:06:33 | |
No-one puts up a wobblier wall than Basil Fawlty's builder. | 0:06:33 | 0:06:38 | |
Apart from a BBC set designer! | 0:06:38 | 0:06:40 | |
Sometimes, not even a cheap set can ruin a scene if the scene is a classic. | 0:06:43 | 0:06:48 | |
Basil's trying to catch one of the guests with a girl in his room | 0:06:48 | 0:06:52 | |
but he's got the wrong window! | 0:06:52 | 0:06:53 | |
Keep your eyes on the pane of glass. | 0:06:53 | 0:06:56 | |
It's plastic, and smeary, scratched plastic at that. | 0:06:57 | 0:07:01 | |
All in all, a gold star for BBC comedy, | 0:07:01 | 0:07:05 | |
and a brown smear for programme finance! | 0:07:05 | 0:07:07 | |
In this clip from Only Fools, Del and Rodney are at Denzil's, | 0:07:12 | 0:07:16 | |
the only flat in Peckham in worse shape than the Trotters'. | 0:07:16 | 0:07:19 | |
You'll wish your mother had had a headache that night... | 0:07:19 | 0:07:22 | |
When his wife storms out, watch what happens to the wall and the budgie! | 0:07:22 | 0:07:27 | |
Ooh! He didn't see that coming! | 0:07:27 | 0:07:28 | |
Obviously never stayed at Fawlty Towers. | 0:07:28 | 0:07:31 | |
All right, then. Tonight. | 0:07:33 | 0:07:35 | |
It's Blackadder II | 0:07:35 | 0:07:36 | |
and Queenie and Edmund are staking a wager with Lord Melchett, | 0:07:36 | 0:07:40 | |
namely, how long can Stephen Fry last before going, "Baaaa!" | 0:07:40 | 0:07:44 | |
Watch what happens when Rowan waltzes out and, in his own words, | 0:07:44 | 0:07:49 | |
the wall goes, "Wibble". | 0:07:49 | 0:07:51 | |
I know what Stephen Fry would have said if he'd seen that. | 0:07:51 | 0:07:54 | |
Baaaa! | 0:07:54 | 0:07:55 | |
-Where have you been? -Where haven't I been? | 0:07:57 | 0:07:59 | |
Blackadder was a studio show, | 0:07:59 | 0:08:02 | |
so you'd expect the quality of the sets to be a bit dodgy. | 0:08:02 | 0:08:05 | |
As we know, that's part of British sitcom law. | 0:08:05 | 0:08:09 | |
Although in the case of these doors, | 0:08:09 | 0:08:11 | |
surely even balsa wood 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. | 0:08:19 | 0:08:22 | |
Cardboard mansion. | 0:08:22 | 0:08:24 | |
Boom, shake the room! | 0:08:24 | 0:08:26 | |
I hope that's not a supporting wall! | 0:08:26 | 0:08:28 | |
They leave me no choice. | 0:08:35 | 0:08:36 | |
A classic Thunderbirds car chase. | 0:08:36 | 0:08:39 | |
Watch what happens when the baddie's car spins off the road. | 0:08:39 | 0:08:43 | |
Timber! | 0:08:43 | 0:08:44 | |
Either the biggest squirrel in the world is in those trees | 0:08:44 | 0:08:48 | |
or the set guy just ran out of glue. | 0:08:48 | 0:08:50 | |
I think he makes half of it up. | 0:08:52 | 0:08:54 | |
Doctor Who has been on the telly for 47 years | 0:08:54 | 0:08:57 | |
and 42 of those have been spent in corridors. | 0:08:57 | 0:09:01 | |
That's because corridors are cheap and impossible to get wrong. Mostly. | 0:09:01 | 0:09:05 | |
Freeze the shot. | 0:09:05 | 0:09:06 | |
Notice the sign on the left for Torchwood. Now spin forward. | 0:09:06 | 0:09:11 | |
And it's Billie's turn to fill some airtime. | 0:09:11 | 0:09:13 | |
That's it, Billie. Create a bit of tension, keep the dads watching. | 0:09:13 | 0:09:17 | |
And look at that. The sign's gone all bigger | 0:09:18 | 0:09:21 | |
with loads of added signery that wasn't there a moment ago. | 0:09:21 | 0:09:25 | |
-ON TANNOY: -Will the set designer please report to base | 0:09:26 | 0:09:29 | |
where an arse-kicking is waiting. Thank you. | 0:09:29 | 0:09:32 | |
You think you can kill a cop and get away with it? | 0:09:36 | 0:09:39 | |
Why not? I've done it before. | 0:09:39 | 0:09:42 | |
Star Trek: The Next Generation. | 0:09:42 | 0:09:44 | |
Captain Picard and Data have got mixed up with some '30s gangsters | 0:09:44 | 0:09:48 | |
on a Holo-deck. | 0:09:48 | 0:09:50 | |
Meanwhile, outside in the corridor, | 0:09:51 | 0:09:53 | |
we can clearly see there's absolutely no second corridor | 0:09:53 | 0:09:57 | |
leading off to the side. | 0:09:57 | 0:09:58 | |
Except when the gangsters step outside, there is! | 0:09:58 | 0:10:03 | |
In space, no-one can hear you scream... | 0:10:03 | 0:10:06 | |
"That was rubbish!" | 0:10:06 | 0:10:07 | |
What I said was a statement of fact. | 0:10:09 | 0:10:12 | |
Now, I won't condone theft, | 0:10:12 | 0:10:13 | |
but it's traditional, when checking out of a hotel | 0:10:13 | 0:10:16 | |
to snatch a towel. | 0:10:16 | 0:10:18 | |
But apparently, in deep space it's equally common | 0:10:18 | 0:10:21 | |
when being discharged from sick bay, to nick a pillow. | 0:10:21 | 0:10:24 | |
Two pillows in this shot. | 0:10:24 | 0:10:26 | |
One pillow in this. | 0:10:27 | 0:10:28 | |
Don't play innocent with me, young man. | 0:10:28 | 0:10:31 | |
I know what you're hiding in your trousers! | 0:10:31 | 0:10:33 | |
-It's not going to work. -Excellent, John. You're evolving. | 0:10:35 | 0:10:39 | |
Here's one for fans of Lost. | 0:10:39 | 0:10:40 | |
Assuming there are any left! | 0:10:40 | 0:10:43 | |
In this scene, Locke is required to throw a plastic tray | 0:10:43 | 0:10:46 | |
at a stone wall. | 0:10:46 | 0:10:48 | |
But see how the plastic tray makes the stone wall tremble! | 0:10:48 | 0:10:52 | |
Normally, I'd say that was a TV mistake. | 0:10:53 | 0:10:56 | |
But this is Lost, so anything's possible! I blame the polar bears. | 0:10:56 | 0:11:01 | |
Hi. Just so you know... | 0:11:03 | 0:11:06 | |
Back to Friends, which was always filmed in front of a live studio audience. | 0:11:06 | 0:11:11 | |
And a very wobbly set. | 0:11:11 | 0:11:13 | |
Hmm. About as convincing as that bloke's beard. | 0:11:15 | 0:11:18 | |
Merry Christmas! | 0:11:20 | 0:11:22 | |
This is an episode of Friends called "The One With The Self-Opening Door." | 0:11:22 | 0:11:26 | |
You're the best! | 0:11:26 | 0:11:28 | |
Door closed. | 0:11:28 | 0:11:29 | |
Door open. | 0:11:31 | 0:11:33 | |
If that isn't proof of the existence of the supernatural, | 0:11:33 | 0:11:36 | |
I don't know what is. | 0:11:36 | 0:11:38 | |
Ronnie Barker in the excellent Porridge. | 0:11:42 | 0:11:45 | |
The inmates of Slade are out for the day | 0:11:45 | 0:11:48 | |
under the supervision of Mr Barraclough in an old church. | 0:11:48 | 0:11:51 | |
Well, the outside bits were filmed at an old church. | 0:11:51 | 0:11:54 | |
But the interiors certainly weren't. Want proof? | 0:11:54 | 0:11:57 | |
Just look what happens when Melvin leans on a column. | 0:11:57 | 0:12:00 | |
Yes, it wobbles in a way that most Saxon stonework just doesn't. | 0:12:00 | 0:12:05 | |
TV is divided into on- and off-screen talent. | 0:12:11 | 0:12:15 | |
And for good reason. I'm on-screen talent because I'm beautiful and very clever. | 0:12:15 | 0:12:20 | |
The camera people, make-up assistants and wardrobe flunkies | 0:12:20 | 0:12:23 | |
are off-screen talent because they're ugly. | 0:12:23 | 0:12:26 | |
Trust me, you do not actually want to see these people. | 0:12:26 | 0:12:29 | |
I'm facing some of them now and looking at them gives me violent stomach cramps. | 0:12:29 | 0:12:34 | |
It's a wonder I don't vomit on the camera. | 0:12:34 | 0:12:36 | |
So hold on to your lunches cos our first set of clips | 0:12:36 | 0:12:39 | |
are littered with off-screen bods making fleeting on-screen appearances. | 0:12:39 | 0:12:44 | |
Not so much in a knowing, ironic, Alfred Hitchcock kind of way, | 0:12:44 | 0:12:47 | |
more a sort of, "Oi, bacon-face! Shift!" sort of way. | 0:12:47 | 0:12:51 | |
Eugh! | 0:12:51 | 0:12:52 | |
Look - those crafty Ancient Greeks are attacking Troy | 0:12:55 | 0:12:58 | |
after sneaking into the city in the belly of a Trojan horse. | 0:12:58 | 0:13:02 | |
There they are, in their rubber helmets. | 0:13:02 | 0:13:04 | |
But according to this episode of Xena, they weren't alone. | 0:13:05 | 0:13:09 | |
You have to find her first. | 0:13:09 | 0:13:11 | |
Oh, no. Cos also stored away in the horse's bum-hole was... | 0:13:11 | 0:13:14 | |
..this bloke! | 0:13:15 | 0:13:17 | |
He's squatting on the battlements. Numpty! | 0:13:17 | 0:13:19 | |
Here's Sarah Michelle Gellar walking through a creepy wood at night! | 0:13:22 | 0:13:27 | |
Careful, Buffy! Watch out for vampires! | 0:13:27 | 0:13:31 | |
Oh, my God - what's that? | 0:13:31 | 0:13:33 | |
It's a monster with a huge...microphone. | 0:13:33 | 0:13:35 | |
Oh, dear, it's the boom operator. | 0:13:35 | 0:13:38 | |
Thunderbirds. Ignore this foreign baddie. | 0:13:40 | 0:13:43 | |
SPEAKS MADE-UP LANGUAGE | 0:13:43 | 0:13:45 | |
Damn those Welsh Iraqi pilots! | 0:13:45 | 0:13:47 | |
Watch Tintin held in the vice-like grip of this serial killer turned puppeteer. | 0:13:47 | 0:13:52 | |
His nails aren't normally that dirty. He'd just buried another body. | 0:13:52 | 0:13:56 | |
What did you do that made Dad cut you off? | 0:13:58 | 0:14:01 | |
OK, team. No clues. See if you can spot the mistake in this clip from Friends. | 0:14:01 | 0:14:05 | |
It wasn't for me. It was for a friend. | 0:14:05 | 0:14:08 | |
Boy, did we make friends with the wrong sister! | 0:14:08 | 0:14:12 | |
You missed it, yes? Forget the pretty actors. | 0:14:12 | 0:14:14 | |
Look at the pretty cameraman. Amazing what you miss when you're laughing. | 0:14:14 | 0:14:19 | |
And when you're not. | 0:14:19 | 0:14:20 | |
Basil! | 0:14:22 | 0:14:23 | |
It's gourmet night at Fawlty Towers and a very funny scene | 0:14:23 | 0:14:28 | |
featuring a fine example of the easily missable TV mistake. | 0:14:28 | 0:14:31 | |
Missed it, didn't you? | 0:14:33 | 0:14:35 | |
Here it is again. This time, forget the action | 0:14:35 | 0:14:37 | |
and concentrate on the BBC techie bloke squatting behind the door. | 0:14:37 | 0:14:42 | |
A classic mistake from a classic comedy that just got funnier with age. | 0:14:42 | 0:14:46 | |
If only the same could be said for John Cleese! | 0:14:46 | 0:14:49 | |
-Look at that! -Can I help? -Yes, go and kill yourself! | 0:14:49 | 0:14:52 | |
Sam and Dean from Supernatural are having trouble with some ghost-hunters. | 0:14:55 | 0:15:00 | |
Question is, what's behind that door? | 0:15:00 | 0:15:02 | |
Guys, do you want to go through that door first? | 0:15:03 | 0:15:07 | |
Everyone's terrified and armed to the teeth. | 0:15:07 | 0:15:09 | |
Must be the Jehovah's Witnesses! | 0:15:09 | 0:15:12 | |
It's a ghost! | 0:15:13 | 0:15:15 | |
Or at least, a ghost that can be hurt by bullets. | 0:15:15 | 0:15:18 | |
I can't decide what's worse about this clip. | 0:15:19 | 0:15:21 | |
The ghost who's afraid of bullets | 0:15:21 | 0:15:23 | |
or the cameraman who doesn't know where to stand. Hmm. | 0:15:23 | 0:15:26 | |
It's the cameraman. | 0:15:26 | 0:15:29 | |
It's Charmed, a series about a bunch of friendly witches. | 0:15:32 | 0:15:35 | |
Or am I thinking of Loose Women? | 0:15:35 | 0:15:37 | |
Anyway, ignore this trespasser | 0:15:37 | 0:15:39 | |
and instead feast your eyes on the director sitting in the next room listening to his iPod. | 0:15:39 | 0:15:45 | |
You sit behind the camera, not in front of the pointy end! | 0:15:45 | 0:15:49 | |
See that book? As soon as they turn the camera off, they'll hit him with that! | 0:15:49 | 0:15:53 | |
It's Doctor Who from 1975, | 0:15:55 | 0:15:57 | |
back when children everywhere could be found hiding behind the sofa, | 0:15:57 | 0:16:01 | |
avoiding gaffes like this. | 0:16:01 | 0:16:03 | |
Keep your eyes on the baddie's bottom, or what's under it. | 0:16:03 | 0:16:06 | |
I can move! | 0:16:06 | 0:16:09 | |
Oh, dear! | 0:16:09 | 0:16:11 | |
That floor assistant is thinking, "If I move my hand away slowly, | 0:16:11 | 0:16:15 | |
"no-one will see a thing." | 0:16:15 | 0:16:17 | |
But we did! | 0:16:17 | 0:16:18 | |
Here's Blackadder, staging an elaborate con trick. | 0:16:21 | 0:16:24 | |
But not the one where he gets massive laughs from repeatedly saying "Bob". | 0:16:24 | 0:16:29 | |
No, he's pretending he's built a time machine. | 0:16:29 | 0:16:31 | |
Of course, it's not real. You can tell because it's made from wood and bits of junk | 0:16:31 | 0:16:36 | |
and requires one of the crew to push the door shut. | 0:16:36 | 0:16:40 | |
Well done, Balders. Impressive. | 0:16:41 | 0:16:43 | |
'The maybe of Mike Delfino.' | 0:16:45 | 0:16:47 | |
It's Desperate Housewives. Susan's broken into a neighbour's house | 0:16:47 | 0:16:52 | |
to return a Pyrex jug, | 0:16:52 | 0:16:54 | |
but finds time to find a moment alone with just her thoughts. | 0:16:54 | 0:16:58 | |
And that bloke crawling behind the sofa. | 0:16:58 | 0:17:01 | |
Yes, it's the guy who just set fire to the curtains | 0:17:01 | 0:17:05 | |
whose idea of keeping out of shot is crawling across the screen on his hands and knees. | 0:17:05 | 0:17:10 | |
Wait for it - "You're fired!" | 0:17:10 | 0:17:13 | |
Ha, ha! Sorry. | 0:17:13 | 0:17:15 | |
Here's a clip from Scrubs, the American sitcom | 0:17:18 | 0:17:21 | |
set in a hospital. It's a bit like Casualty, | 0:17:21 | 0:17:23 | |
but with fewer laughs. | 0:17:23 | 0:17:25 | |
Dr Turk is about to bite into a sarnie when suddenly there's an emergency. | 0:17:25 | 0:17:29 | |
Thankfully, someone's there to lend a hand. | 0:17:29 | 0:17:32 | |
I was paged! | 0:17:32 | 0:17:34 | |
It's either a member of the crew holding the door, or a patient has fallen out of bed! | 0:17:34 | 0:17:39 | |
Make those dreams happen. | 0:17:41 | 0:17:43 | |
You can always tell when a TV series is working. | 0:17:43 | 0:17:45 | |
Everyone on screen looks like they're really enjoying themselves. | 0:17:45 | 0:17:50 | |
Take Arrested Development, a show which is so much fun, | 0:17:50 | 0:17:53 | |
even the crew like to get on - just once. | 0:17:53 | 0:17:55 | |
-Does that answer some questions for you? -Yeah. | 0:17:55 | 0:17:58 | |
Or twice. | 0:17:58 | 0:18:00 | |
An emotional farewell scene in Lost | 0:18:02 | 0:18:05 | |
as Charlie says goodbye to Hurley. | 0:18:05 | 0:18:07 | |
Cool, man. | 0:18:07 | 0:18:10 | |
But keep your eyes off the unfolding drama and Hurley's boobs | 0:18:10 | 0:18:13 | |
and on the cameraman clearly visible to the left of shot. | 0:18:13 | 0:18:17 | |
You can see his sandals, his camera, | 0:18:17 | 0:18:19 | |
and if you really squint, his P45. | 0:18:19 | 0:18:22 | |
Wait! | 0:18:22 | 0:18:23 | |
It's 24, and everything, as always, is very tense. | 0:18:25 | 0:18:30 | |
A tense Tony is ignoring a call from a tense Nina. | 0:18:30 | 0:18:33 | |
Jamie, pick up! | 0:18:33 | 0:18:35 | |
Unbeknown to tense Tina, there's someone else in the barn with her. | 0:18:35 | 0:18:39 | |
Here he comes, wandering in from the right, a cameraman! | 0:18:39 | 0:18:42 | |
If you want to know how he's feeling, I'll tell you. | 0:18:42 | 0:18:46 | |
Tense. | 0:18:46 | 0:18:48 | |
Whenever there's a conversation about the world's hardest jobs, | 0:18:52 | 0:18:56 | |
the same professions come up time and time again. | 0:18:56 | 0:18:59 | |
Trauma surgeon, soldier, air traffic controller | 0:18:59 | 0:19:02 | |
and, of course, actor. | 0:19:02 | 0:19:03 | |
And out of these jobs, actor is surely the hardest. | 0:19:03 | 0:19:07 | |
Actors do a very difficult job. | 0:19:07 | 0:19:09 | |
We're learning lines, signing autographs, | 0:19:09 | 0:19:12 | |
doing stuff for free with wonky kids, | 0:19:12 | 0:19:15 | |
we're standing up in front of strangers, saying words that sometimes we don't even understand! | 0:19:15 | 0:19:20 | |
Consequently, every now and again, through no fault of our own, | 0:19:20 | 0:19:24 | |
stuff does go a bit wrong. | 0:19:24 | 0:19:26 | |
I'm sorry. The party got a little out of hand. | 0:19:29 | 0:19:32 | |
People your age have finished college... | 0:19:32 | 0:19:34 | |
The poor little rich girls of the O.C. | 0:19:34 | 0:19:37 | |
Here's Hailey, tidying up after another crazy party. | 0:19:37 | 0:19:41 | |
Well, I say tidying up, but what Amanda Righetti is really doing | 0:19:41 | 0:19:45 | |
is picking up tiny pieces of invisible rubbish. | 0:19:45 | 0:19:48 | |
She's dropping little bits of air into that bin bag. | 0:19:48 | 0:19:52 | |
That, ladies and gentlemen, is what you call method acting. | 0:19:54 | 0:19:57 | |
If your method is piss poor! | 0:19:57 | 0:20:00 | |
This scene was filmed eight years ago, | 0:20:00 | 0:20:02 | |
but she only finished tidying the room last Thursday. | 0:20:02 | 0:20:05 | |
Oh, we're back in the O.C. | 0:20:07 | 0:20:09 | |
Here comes Mischa Barton, sulking her way into the room. | 0:20:09 | 0:20:13 | |
"Na, na, na! I'm Mischa Barton." | 0:20:13 | 0:20:16 | |
She dumps her jacket on the right. | 0:20:16 | 0:20:18 | |
And then moments later, there it is on the left. | 0:20:18 | 0:20:22 | |
That's not going to improve her mood! | 0:20:22 | 0:20:24 | |
To Albert Square and that live anniversary episode. | 0:20:26 | 0:20:31 | |
Stace and Bradley are "talkin' about fings" with Max and Scott | 0:20:31 | 0:20:35 | |
when Scott forgets his lines. | 0:20:35 | 0:20:38 | |
He won't forget... | 0:20:38 | 0:20:39 | |
SPLUTTERS INCOMPREHENSIBLY | 0:20:39 | 0:20:42 | |
We all have! | 0:20:42 | 0:20:43 | |
I'll explain that. | 0:20:43 | 0:20:44 | |
Oh, dear! No retakes here. This is live! | 0:20:44 | 0:20:47 | |
When he found out what she... What she... | 0:20:47 | 0:20:49 | |
Oh, he's gone again! Tricky business, live telly. Bless him! | 0:20:49 | 0:20:53 | |
Leave it, Scott! It ain't worf it! | 0:20:53 | 0:20:55 | |
It's a classic Phil Mitchell in a rage scene | 0:20:57 | 0:21:00 | |
and Ian's on the receiving end. | 0:21:00 | 0:21:02 | |
But when you want someone to stop doing something, what do you say? | 0:21:02 | 0:21:06 | |
Is it A) Stop, or B) Slop? | 0:21:06 | 0:21:08 | |
Slop! | 0:21:08 | 0:21:09 | |
What? | 0:21:09 | 0:21:11 | |
-Slop! -I'll give you one more guess. -Slop! | 0:21:11 | 0:21:13 | |
Sorry, Ian. The answer I was looking for was A) Stop. | 0:21:13 | 0:21:17 | |
Received and acknowledged, sir. Picard out. | 0:21:19 | 0:21:21 | |
Jean-Luc Picard, ever the stern-faced model of professionalism. | 0:21:21 | 0:21:26 | |
Except when he goes through the turbo-lift doors | 0:21:26 | 0:21:29 | |
and has a quick gurn! | 0:21:29 | 0:21:31 | |
You missed it? Don't worry, here it is again. | 0:21:31 | 0:21:34 | |
He just boldly gurned where no man has gurned before! | 0:21:36 | 0:21:40 | |
In this clip from Buffy, fiendish but foxy teacher Miss French | 0:21:42 | 0:21:47 | |
is making herself a sandwich. | 0:21:47 | 0:21:48 | |
She's a sucker for fresh ingredients! | 0:21:48 | 0:21:51 | |
I had one of those on the motorway services. | 0:21:51 | 0:21:53 | |
But there's something very wrong here - besides chewing live insects. | 0:21:53 | 0:21:57 | |
Cos when she starts eating, her sleeves are up. | 0:21:57 | 0:22:00 | |
Then she opens the box and her sleeves are down. | 0:22:00 | 0:22:03 | |
And finally, they're back up again. | 0:22:03 | 0:22:06 | |
Add to that the insect sandwich and all the vampire business | 0:22:06 | 0:22:09 | |
and you have a scene more disturbing than Andrew Lloyd Webber's smile! | 0:22:09 | 0:22:13 | |
More odd goings-on in Buffy. | 0:22:15 | 0:22:18 | |
A werewolf has gone AWOL and they need to find him/it quickly. | 0:22:18 | 0:22:23 | |
But Giles isn't wearing his glasses. | 0:22:23 | 0:22:26 | |
Oh, he is! Problem solved. | 0:22:26 | 0:22:28 | |
Problem unsolved! ..And solved again. | 0:22:28 | 0:22:31 | |
We're sorted. That werewolf is history. | 0:22:31 | 0:22:33 | |
My mistake - the glasses are! | 0:22:33 | 0:22:35 | |
Grey's Anatomy. Patrick Dempsey takes his earphones out | 0:22:37 | 0:22:42 | |
cos he's being talked at by a lady. | 0:22:42 | 0:22:44 | |
But he pretends he still can't hear her anyway. | 0:22:44 | 0:22:46 | |
I feel strangely invisible. Also inaudible. | 0:22:46 | 0:22:50 | |
What? | 0:22:50 | 0:22:51 | |
Who can blame him? She really is banging on. | 0:22:51 | 0:22:54 | |
-I guess dinner shopping is out. -Yeah. | 0:22:54 | 0:22:57 | |
So wrap the headphones up. | 0:22:57 | 0:22:58 | |
-Sorry. -You're not. I just don't know why. | 0:22:58 | 0:23:01 | |
And up. Very long wire. | 0:23:01 | 0:23:03 | |
-And put them away. -No. | 0:23:03 | 0:23:05 | |
Hang on, they're still round his neck. | 0:23:05 | 0:23:08 | |
Unless that's his spare set? | 0:23:08 | 0:23:11 | |
There's only so much Peter Andre a man can listen to. | 0:23:11 | 0:23:14 | |
See you at home. | 0:23:14 | 0:23:15 | |
When it comes to bad dead acting, | 0:23:17 | 0:23:20 | |
you'd have to go back a long way to find a poorer example than this. | 0:23:20 | 0:23:24 | |
Centuries back. In this clip from Xena, they think the warrior princess is dead. | 0:23:24 | 0:23:30 | |
Though quite why is anyone's guess. | 0:23:30 | 0:23:32 | |
One, blood is still coursing through her jugular. | 0:23:32 | 0:23:36 | |
Two, in a moment she clearly blinks. | 0:23:36 | 0:23:40 | |
And three, this is season one. | 0:23:40 | 0:23:43 | |
There's another five series of this rubbish! | 0:23:43 | 0:23:46 | |
We have to go! | 0:23:46 | 0:23:47 | |
No, I did not book this one. I think I... | 0:23:49 | 0:23:52 | |
This clip from Arrested Development | 0:23:52 | 0:23:54 | |
will delight fans of continuity errors and flowers alike. | 0:23:54 | 0:23:57 | |
There's the vicious and sexy Lindsay, who's got back with shopping. | 0:23:57 | 0:24:02 | |
We see her take out these posies and put them on the counter. | 0:24:03 | 0:24:06 | |
So far, so good. Jason Bateman does some talking. | 0:24:06 | 0:24:10 | |
Back to Linds and this enormous vase | 0:24:10 | 0:24:12 | |
that she's about to dump the flowers into. | 0:24:12 | 0:24:15 | |
Then suddenly they're back in the bag again. | 0:24:16 | 0:24:19 | |
Yeah, that is a TV mistake. | 0:24:19 | 0:24:21 | |
To be honest, I'm disappointed by that. | 0:24:21 | 0:24:24 | |
And so's he! | 0:24:24 | 0:24:27 | |
Band of Brothers. Sgt Major Schwimmer is furious | 0:24:32 | 0:24:35 | |
with one of his soldiers. | 0:24:35 | 0:24:37 | |
Kristiansen, why is there no water in your canteen? | 0:24:37 | 0:24:41 | |
It's not just about the water. This soldier's gun keeps jumping from shoulder to shoulder. | 0:24:41 | 0:24:46 | |
There it is on the right. | 0:24:46 | 0:24:48 | |
And there it is on the left. | 0:24:49 | 0:24:51 | |
And back again. That's dangerous with a loaded weapon! | 0:24:52 | 0:24:56 | |
He was a good man, your father. | 0:24:58 | 0:25:01 | |
Here's Uncle Junior in the Sopranos. He's hopping mad! | 0:25:01 | 0:25:05 | |
He must have lost the remote, or forgot to tape Minder. | 0:25:05 | 0:25:08 | |
Whatever. It's made him so angry that his glasses momentarily disappear. | 0:25:08 | 0:25:14 | |
Just don't anyone tell him he accidentally put a red sock in with the whites. | 0:25:14 | 0:25:19 | |
Here we are in that city where there's all that sex. | 0:25:21 | 0:25:25 | |
The girls are in the khazi, doing lady things. | 0:25:25 | 0:25:27 | |
Sometimes you just know you're the right match. | 0:25:27 | 0:25:31 | |
Sarah Jessica Parker's sorting her hair out. | 0:25:31 | 0:25:33 | |
She's tying it up in a scrunchie. But that's SJP hair. | 0:25:33 | 0:25:37 | |
So it'll need special restraints. | 0:25:37 | 0:25:39 | |
So she straps it down twice. With the same scrunchie. | 0:25:39 | 0:25:44 | |
But spin on, cos it was all worth it. | 0:25:44 | 0:25:46 | |
Now she looks lovely and not at all like a Yorkshire terrier | 0:25:46 | 0:25:49 | |
with a Croydon facelift. Super. | 0:25:49 | 0:25:51 | |
-Oh, it's only ten. How nice. -There's no coffee. | 0:25:53 | 0:25:56 | |
Lorelai is chatting to Luke | 0:25:56 | 0:25:58 | |
as he tries to fix a toaster by shoving a screwdriver into it. | 0:25:58 | 0:26:01 | |
In a minute, he'll try and fix the waste disposal | 0:26:01 | 0:26:04 | |
by sticking his winky into it. | 0:26:04 | 0:26:07 | |
See how he goes to get coffee leaving the screwdriver in the hole | 0:26:07 | 0:26:11 | |
and when he returns, screwdriver gone. | 0:26:11 | 0:26:14 | |
Oh, there it is, by the toaster. | 0:26:14 | 0:26:16 | |
Where's that waste disposal? | 0:26:16 | 0:26:19 | |
Here's Sam, and here's his brother Dean. | 0:26:21 | 0:26:24 | |
Ignore the girl. | 0:26:24 | 0:26:26 | |
The ghostbusting siblings from Supernatural. | 0:26:26 | 0:26:29 | |
Dean is played by an actor called Jenson. Ignore the girl. | 0:26:29 | 0:26:33 | |
And Sam by an actor called Jared. | 0:26:33 | 0:26:35 | |
Are we all clear? Dean is played by Jenson and Sam is played by Jared. | 0:26:35 | 0:26:39 | |
How do I know? Well, in this scene, when they're all meant to be acting, | 0:26:39 | 0:26:43 | |
Dean doesn't call Sam Sam. He calls him Jared! | 0:26:43 | 0:26:47 | |
Jared, check it out. | 0:26:47 | 0:26:48 | |
Jared. I just ballsed up the scene by calling you by your real name. | 0:26:48 | 0:26:53 | |
Yes, more dumb-arsery from the "Brothers Grim". | 0:26:55 | 0:26:58 | |
In this scene, they're supposed to be all angry | 0:26:59 | 0:27:02 | |
cos they've been outwitted by this lady. | 0:27:02 | 0:27:05 | |
I reckon a pigeon could outwit these two! | 0:27:05 | 0:27:08 | |
Anyway, the script might be calling for fury, | 0:27:08 | 0:27:11 | |
but all Jared can manage is a poorly concealed snigger. | 0:27:11 | 0:27:14 | |
Son of a bitch! | 0:27:14 | 0:27:15 | |
Remember, this was presumably the best take. The one they used. | 0:27:15 | 0:27:19 | |
Wonder how bad the others were! Probably wee'd himself! | 0:27:19 | 0:27:22 | |
Pride and Prejudice. Jennifer Ehle makes playing the piano look effortless. | 0:27:24 | 0:27:30 | |
Colin's impressed. He always uses his fingers. | 0:27:30 | 0:27:33 | |
Not Jen, though. Her hands and arms are barely moving. | 0:27:33 | 0:27:36 | |
I think she's miming! | 0:27:36 | 0:27:38 | |
I know you find great enjoyment in professing opinions which are not your own. | 0:27:38 | 0:27:42 | |
And in miming. Either that, or she's just brilliant at playing the piano. | 0:27:42 | 0:27:46 | |
It's the first thing, though, isn't it? | 0:27:46 | 0:27:49 | |
Generous of him. | 0:27:49 | 0:27:50 | |
What do you think about this? | 0:27:52 | 0:27:54 | |
Tasha and Troi. Surely two of Next Generation's least favourite characters. | 0:27:54 | 0:27:59 | |
It's not for you. | 0:27:59 | 0:28:00 | |
Tasha is covered in scarves. Fast forward. | 0:28:00 | 0:28:04 | |
But they're made from some weird space fabric which just disappears. | 0:28:04 | 0:28:08 | |
Never mind. | 0:28:08 | 0:28:10 | |
But I do mind. They're scarves, Jim, but not as we know it. | 0:28:10 | 0:28:13 | |
They don't half have some straps trouble in Six Feet Under. | 0:28:16 | 0:28:20 | |
And props in general. Watch these two. | 0:28:20 | 0:28:22 | |
Who do you think plays Parker in the movie of her life? | 0:28:22 | 0:28:26 | |
Sandy Bullock or Julia Roberts? | 0:28:26 | 0:28:28 | |
They both put their rucksacks on twice and she loses her water bottle. | 0:28:29 | 0:28:33 | |
Who do you think plays Parker in the movie of her life? | 0:28:33 | 0:28:36 | |
They're not taking it seriously. | 0:28:36 | 0:28:38 | |
I wanted to say how wonderful... | 0:28:40 | 0:28:42 | |
Back to Friends and a guest appearance by Susan Sarandon, | 0:28:42 | 0:28:46 | |
the thinking person's milf, | 0:28:46 | 0:28:47 | |
playing a hard-drinking, chain-smoking actress. | 0:28:47 | 0:28:50 | |
Ever the pro, Susan manages to cram both into this scene. | 0:28:50 | 0:28:53 | |
Chain-smoker. | 0:28:53 | 0:28:56 | |
Hard drinker. | 0:28:56 | 0:28:58 | |
Chain-smoker. | 0:28:58 | 0:29:00 | |
I hope my fingers are that nimble when I'm 80! | 0:29:00 | 0:29:02 | |
TV shows are a huge investment of time, money and effort. | 0:29:04 | 0:29:08 | |
You can spend months getting something right, | 0:29:08 | 0:29:11 | |
hiring the best actors, camera persons, writers and crew | 0:29:11 | 0:29:15 | |
only to have the whole thing ruined by some extra in the background being a tit. | 0:29:15 | 0:29:19 | |
These people are a menace, wandering in and out of every shot | 0:29:19 | 0:29:23 | |
trying to be ordinary members of the public - who are the only things worse than extras. | 0:29:23 | 0:29:28 | |
Nothing causes more trouble on set than members of the public. | 0:29:28 | 0:29:32 | |
I hate them all. | 0:29:32 | 0:29:34 | |
Apart from you, obviously! | 0:29:34 | 0:29:36 | |
Some classic muscle mary slo-mo running now | 0:29:39 | 0:29:42 | |
from legendary beach-front twaddle merchants Baywatch. | 0:29:42 | 0:29:45 | |
See their toned torsos as they pound along the sand? | 0:29:45 | 0:29:49 | |
See their hair blown by the gentle Pacific breeze? | 0:29:49 | 0:29:52 | |
See the kid in the background pulling a moonie? | 0:29:52 | 0:29:55 | |
That's worth a second look. | 0:29:55 | 0:29:57 | |
Everyone's a critic! | 0:29:58 | 0:30:01 | |
You don't have to. I'm sure you were freaked out. | 0:30:03 | 0:30:06 | |
Totally. | 0:30:06 | 0:30:07 | |
See this woman with the tartan top? | 0:30:07 | 0:30:09 | |
Remember her. This lady is about to take the art of the attention-seeking TV extra | 0:30:09 | 0:30:14 | |
to a whole new dimension. | 0:30:14 | 0:30:16 | |
This is Buffy's high school and she is presumably the most mature student. | 0:30:16 | 0:30:20 | |
I think you're the coolest. | 0:30:20 | 0:30:23 | |
There she is, drawing attention to herself with that big red bag. | 0:30:23 | 0:30:26 | |
Now, spin on. | 0:30:26 | 0:30:28 | |
And there she is again, walking in the opposite direction. | 0:30:29 | 0:30:32 | |
No, she's not. She's over there, | 0:30:32 | 0:30:35 | |
walking upstairs, drawing attention to herself just like she's not supposed to. | 0:30:35 | 0:30:39 | |
Back for more stair climbing, this time without the bag. Clever. | 0:30:39 | 0:30:44 | |
Still going up the stairs. At least we know where she is. | 0:30:44 | 0:30:47 | |
No, we don't. Buffy - now she's behind you! | 0:30:47 | 0:30:50 | |
"Right. I've had enough of this", said the director. | 0:30:50 | 0:30:53 | |
"Get that woman out of my sight. | 0:30:53 | 0:30:55 | |
"Nobody lets her back on this set." | 0:30:55 | 0:30:58 | |
Whoa! How did that happen? | 0:30:59 | 0:31:01 | |
Crafty cow. She's taken off her horrible jacket and given the red bag to someone else. | 0:31:01 | 0:31:06 | |
Damn you, nightmare tartan extra lady! | 0:31:06 | 0:31:10 | |
Still, the jacket's gone, the bag's gone, and finally, so is she. | 0:31:10 | 0:31:14 | |
Or not. | 0:31:15 | 0:31:16 | |
Ever get the feeling you're being followed? | 0:31:20 | 0:31:22 | |
In this episode of Buffy, the lovely Eliza Dushku certainly does, | 0:31:22 | 0:31:26 | |
and with good reason. | 0:31:26 | 0:31:28 | |
The winners of the 2002 Most American Couple award | 0:31:28 | 0:31:32 | |
walk behind her once, which is fine. Nothing wrong there. | 0:31:32 | 0:31:35 | |
But twice is pushing it. | 0:31:36 | 0:31:39 | |
That's borderline harassment. | 0:31:39 | 0:31:41 | |
Three times is frankly unacceptable. That's a restraining order. | 0:31:44 | 0:31:49 | |
They won't be trying that again. | 0:31:49 | 0:31:51 | |
From the same direction. | 0:31:51 | 0:31:53 | |
For Pete's sake, leave lovely Eliza alone. | 0:31:53 | 0:31:57 | |
They'll be hiding in that bush outside her house next. And that's mine! | 0:31:57 | 0:32:01 | |
Sex and the City. | 0:32:03 | 0:32:05 | |
A show about four single young women. | 0:32:05 | 0:32:07 | |
Well, three young women and the one who plays Samantha. | 0:32:07 | 0:32:10 | |
But let's rewind and look at those extras on the left, sitting side by side. | 0:32:10 | 0:32:15 | |
Now spin on. Clearly, one of them has dropped a massive guff. | 0:32:15 | 0:32:20 | |
Because next time we see them, they're sitting miles away from each other in separate rows. | 0:32:20 | 0:32:25 | |
Poor Sam. Must have been a pretty serious guff. | 0:32:25 | 0:32:28 | |
Open a window! | 0:32:28 | 0:32:30 | |
OK, listen, everyone. We have to get out of here. | 0:32:32 | 0:32:35 | |
Back to the Doctor, | 0:32:35 | 0:32:36 | |
and Micky is attempting to save a roomful of headphone-wearing children. | 0:32:36 | 0:32:40 | |
But they're all zombified. | 0:32:40 | 0:32:42 | |
Micky must have a background in IT | 0:32:42 | 0:32:44 | |
cos he resorts to the tried and tested solution of just yanking out the plug. | 0:32:44 | 0:32:50 | |
Magically, it works! | 0:32:50 | 0:32:52 | |
And removes the kids' headphones. | 0:32:52 | 0:32:54 | |
Come on, move! | 0:32:54 | 0:32:56 | |
They trudge out of a doomed building, smirking. | 0:32:56 | 0:32:58 | |
Good work, kids. You're hired! | 0:32:58 | 0:33:01 | |
'This is where I was born. | 0:33:03 | 0:33:04 | |
'And this is where I died.' | 0:33:04 | 0:33:07 | |
More Doctor Who, and Billie's on the bus in contemplative mood. | 0:33:07 | 0:33:12 | |
'The first 19 years of my life, nothing happened.' | 0:33:12 | 0:33:15 | |
But keep your eyes on the extra who sits in the row behind her. | 0:33:15 | 0:33:18 | |
'Not ever.' | 0:33:18 | 0:33:20 | |
Billie, come on! Incredible things are happening all around you. | 0:33:20 | 0:33:24 | |
That bloke jumped back through time and space just to get a better seat. | 0:33:24 | 0:33:28 | |
Pay attention, girl! | 0:33:28 | 0:33:30 | |
The X-Files, and Scully has a mysterious dead body to investigate. | 0:33:32 | 0:33:37 | |
In this case, the mystery is why they chose the most fidgety man in North America to play the corpse. | 0:33:37 | 0:33:42 | |
See how the faintest prod from Scully | 0:33:42 | 0:33:45 | |
makes the big wuss blink. | 0:33:45 | 0:33:47 | |
Not so much dead man's body, more big girl's blouse. | 0:33:47 | 0:33:50 | |
But just in case anyone missed that, | 0:33:50 | 0:33:53 | |
moments later he leaves everyone at home in no doubt | 0:33:53 | 0:33:56 | |
that this is just acting as Scully decides to balance this plastic ruler on his tummy-wummy. | 0:33:56 | 0:34:03 | |
"Ow, it's cold!" | 0:34:03 | 0:34:06 | |
"We've got a breather!" | 0:34:06 | 0:34:08 | |
I love Lost. | 0:34:10 | 0:34:13 | |
It's top-notch, allegorical, surrealist drama | 0:34:13 | 0:34:15 | |
with a satirical subtext. | 0:34:15 | 0:34:17 | |
Plus it's got that funny fat bloke with the beard in it. He's got boobs like a lady. | 0:34:17 | 0:34:22 | |
In fact, the only problem with this show | 0:34:22 | 0:34:26 | |
is that it makes no sense. | 0:34:26 | 0:34:27 | |
That and their decision to use an extra with chronic asthma to play a corpse | 0:34:27 | 0:34:31 | |
and then put him in front of shot. Just look at this. | 0:34:31 | 0:34:35 | |
WHEEZING | 0:34:35 | 0:34:37 | |
Mind you, that fat bloke's funny! | 0:34:42 | 0:34:45 | |
Oh, dear. | 0:34:45 | 0:34:46 | |
Time for more weird goings-on in Lost. | 0:34:51 | 0:34:53 | |
Look out for the lovely couple | 0:34:53 | 0:34:55 | |
walking past in the background. | 0:34:55 | 0:34:57 | |
Off to catch some fish. Wish they'd walk past again. | 0:34:57 | 0:35:00 | |
Oh, lovely. That's the trouble with being marooned on a desert island. | 0:35:00 | 0:35:04 | |
Nothing to do but walk round in circles. | 0:35:04 | 0:35:07 | |
This clip from Sex and the City proves | 0:35:09 | 0:35:11 | |
that not all New Yorkers are used to seeing TV crews. | 0:35:11 | 0:35:14 | |
This lady simply can't believe her eyes | 0:35:14 | 0:35:17 | |
and has to peer over her specs to check they aren't deceiving her. | 0:35:17 | 0:35:21 | |
Yes, it's a camera crew. But best of all, if we rewind, | 0:35:21 | 0:35:25 | |
here comes my personal favourite. | 0:35:25 | 0:35:27 | |
Look at the wonder in her eyes. | 0:35:27 | 0:35:29 | |
"Them's is some telly people." | 0:35:29 | 0:35:31 | |
And so ends one deeply unremarkable woman's brief glimpse of celebrity. | 0:35:33 | 0:35:37 | |
Oh, my God! | 0:35:39 | 0:35:41 | |
Here's another spot from Friends. | 0:35:41 | 0:35:43 | |
Phoebe is returning a dog, | 0:35:43 | 0:35:45 | |
but look in the background at the neighbour walking up to her house. | 0:35:45 | 0:35:49 | |
Twice. | 0:35:52 | 0:35:53 | |
Fair play to her. She's got that "neighbour repeatedly walking up to her house" thing down to a tee. | 0:35:53 | 0:35:59 | |
Bad news for 24's Jack Bauer. | 0:36:01 | 0:36:04 | |
His daughter's been kidnapped and the series is very short-staffed. | 0:36:04 | 0:36:08 | |
Look at this hospital orderly. | 0:36:08 | 0:36:11 | |
He's here. | 0:36:11 | 0:36:13 | |
He's there. | 0:36:13 | 0:36:15 | |
He's everywhere. | 0:36:15 | 0:36:17 | |
Apparently, if you work in this hospital, you have to be in three places at once. | 0:36:19 | 0:36:24 | |
Just like the NHS. | 0:36:24 | 0:36:26 | |
Dawson's Creek. There's the creek. | 0:36:28 | 0:36:30 | |
Gretchen's about to have a heart-to-heart with Dawson. | 0:36:30 | 0:36:33 | |
But I'm more concerned with the swingers in the background. | 0:36:33 | 0:36:36 | |
First there's an old man and old woman in a denim jacket. | 0:36:36 | 0:36:40 | |
And a young man in a blue shirt and Chinos with a blonde girl. | 0:36:40 | 0:36:44 | |
Then, moments later, the young man with the blue shirt | 0:36:44 | 0:36:47 | |
wanders past again with another woman. | 0:36:47 | 0:36:50 | |
He just picked her up. Floozy! | 0:36:50 | 0:36:52 | |
But he's not done yet. | 0:36:52 | 0:36:53 | |
Now he's back with the blonde girl and they're heading for the water. | 0:36:53 | 0:36:57 | |
What's going on? He must have finished with that other woman and got back with the first. | 0:36:57 | 0:37:02 | |
I liked her. I'm glad they made up. | 0:37:02 | 0:37:04 | |
I never would have... | 0:37:04 | 0:37:06 | |
Shut up, Dawson! The old fellow's back with the older woman. | 0:37:06 | 0:37:09 | |
Thank heavens for that. | 0:37:09 | 0:37:11 | |
There's the younger man with the blonde girl again. | 0:37:12 | 0:37:15 | |
This time walking away from the water from the right, up the hill. | 0:37:15 | 0:37:18 | |
What have they been up to? I don't know. I bet it was rude. And watery. | 0:37:18 | 0:37:23 | |
Now, whenever I'm on the telly, which is a lot, | 0:37:25 | 0:37:28 | |
I take great care over my hair and make-up. | 0:37:28 | 0:37:31 | |
That's not vanity, it's necessity. | 0:37:31 | 0:37:33 | |
We need make-up experts to compensate for the "bleaching out" effects | 0:37:33 | 0:37:38 | |
caused by the powerful lights we use. | 0:37:38 | 0:37:40 | |
And hair experts to compensate for the "loss of hair" effects | 0:37:40 | 0:37:43 | |
caused by the powerful hairspray that we use. | 0:37:43 | 0:37:47 | |
The girls, and what might loosely be described as guys, of the hair and make-up department | 0:37:47 | 0:37:52 | |
are important, albeit tiny, cogs in the great TV wheel. | 0:37:52 | 0:37:55 | |
I call them my little miracle workers. | 0:37:55 | 0:37:58 | |
That's because I enjoy patronising my colleagues. | 0:37:58 | 0:38:01 | |
Of course, they, too, make mistakes. | 0:38:01 | 0:38:03 | |
Mistakes like these. | 0:38:03 | 0:38:05 | |
Someone's locked David Banner in this fiendish torture contraption, which he won't like. | 0:38:07 | 0:38:13 | |
It'll send him all green and hulky. | 0:38:13 | 0:38:15 | |
He's so excited he's passed out. | 0:38:15 | 0:38:17 | |
Wow. That's what Vin Diesel would look like if you smeared him in mushy peas. | 0:38:17 | 0:38:21 | |
He's making that solid carbon steel look like plywood - which it is. | 0:38:21 | 0:38:26 | |
Hold up - he's got tights on! | 0:38:27 | 0:38:29 | |
The Hulk's wearing pantyhose to stop his pinkies getting hurty! | 0:38:29 | 0:38:33 | |
Oh, bless! | 0:38:33 | 0:38:35 | |
It's Skins. | 0:38:38 | 0:38:40 | |
Young people doing cool things like drugs | 0:38:40 | 0:38:42 | |
and snogging and dribbling ketchup down their chins. | 0:38:42 | 0:38:45 | |
Wow, it's so real. | 0:38:45 | 0:38:47 | |
Hey, that ketchup dribble just changed. | 0:38:48 | 0:38:51 | |
I think you're going to like this, Sid. | 0:38:51 | 0:38:54 | |
I'm not. He's re-dribbled. Three dribbles, one chin. | 0:38:54 | 0:38:57 | |
Something has to give. | 0:38:57 | 0:38:58 | |
And sure enough, now it's gone completely. | 0:38:59 | 0:39:02 | |
Now it's back! | 0:39:02 | 0:39:04 | |
Oh, he's dropped his knife. | 0:39:05 | 0:39:07 | |
Now they've started snogging and the old dribble's back. | 0:39:08 | 0:39:12 | |
I'm just lost. And so is the make-up department. | 0:39:12 | 0:39:15 | |
I take it back. That's not cool. It's a TV mistake. | 0:39:15 | 0:39:18 | |
-You're looking, aren't you? -No! | 0:39:21 | 0:39:23 | |
Back to Skins. There's Dev Patel before he won the Slumdog lottery | 0:39:23 | 0:39:27 | |
and he's having a wee up that tree. | 0:39:27 | 0:39:29 | |
In fact, did you know, it was his weeing up a tree acting | 0:39:29 | 0:39:32 | |
that won him a role in the film in the first place? No, | 0:39:32 | 0:39:36 | |
it's not true. | 0:39:36 | 0:39:37 | |
And neither is this. | 0:39:37 | 0:39:38 | |
The car with the spliffed-up teens rolls into the canal. | 0:39:39 | 0:39:43 | |
And everyone inside goes into the water. Apart from Dev. | 0:39:44 | 0:39:47 | |
But then, in the next scene, Dev is wet through, just like the others. | 0:39:49 | 0:39:53 | |
Why's he all wet? He didn't go in the water. | 0:39:53 | 0:39:56 | |
He was weeing up that tree. | 0:39:56 | 0:39:58 | |
You know, I bet he just jumped in the canal to be one of the gang. | 0:39:58 | 0:40:01 | |
Teenagers. They'll do anything to fit in. | 0:40:01 | 0:40:04 | |
In this next clip, | 0:40:06 | 0:40:08 | |
pay attention to the cute smear of grease on Debra Messing's cheek. | 0:40:08 | 0:40:13 | |
It just changed into a completely different smear of grease! | 0:40:13 | 0:40:17 | |
This is not a problem. | 0:40:17 | 0:40:19 | |
I'll be the judge of that. Yep, there's another. | 0:40:19 | 0:40:22 | |
Now it's the same mark, just a bit darker. | 0:40:22 | 0:40:24 | |
I guess that's why they call it the Go Cup. | 0:40:25 | 0:40:28 | |
You OK? | 0:40:28 | 0:40:29 | |
Now it's all smudged. You know what they should have called this show? | 0:40:29 | 0:40:33 | |
Will & Grease! | 0:40:33 | 0:40:35 | |
Yeah. | 0:40:35 | 0:40:37 | |
Here's Will from Will & Grace, sitting on a sofa. | 0:40:40 | 0:40:43 | |
Surprise! | 0:40:43 | 0:40:44 | |
He's gay, so he's naked, obviously. | 0:40:46 | 0:40:48 | |
Or is he? Are those flesh-coloured pants I see? | 0:40:48 | 0:40:51 | |
Although Eric McCormack wasn't naked in this scene, | 0:40:51 | 0:40:55 | |
I can confirm he did genuinely slam his penis in that book. | 0:40:55 | 0:40:59 | |
A powerful moment from 24. Sorry, did I say "powerful"? | 0:41:02 | 0:41:06 | |
I meant "incomprehensible". | 0:41:06 | 0:41:08 | |
Mum wants troubled teenager to shoot his already-dead girlfriend. | 0:41:08 | 0:41:12 | |
Relationships aren't easy, especially when one of you is murdered. | 0:41:12 | 0:41:16 | |
But he's not used to handling a gun, so why not let Mum do it? | 0:41:16 | 0:41:19 | |
Move away! | 0:41:19 | 0:41:21 | |
There you go. Right in the waist. | 0:41:21 | 0:41:23 | |
Oh, here comes Dad, and he's so proud. In their strange fictional foreign culture, | 0:41:25 | 0:41:30 | |
shooting your dead girlfriend in the belly button is a rite of passage. | 0:41:30 | 0:41:34 | |
Hang on, the bullet wound's moved up to her rib cage! Brilliant trick. | 0:41:34 | 0:41:40 | |
Reason I'm asking is cos we didn't get the bill. | 0:41:42 | 0:41:45 | |
It's the Sopranos, and Tony wants a chat with Uncle Junior | 0:41:45 | 0:41:49 | |
who's been shaving, although as you see, he's washed the shaving foam off. | 0:41:49 | 0:41:53 | |
Apart from that bit near his ear. | 0:41:53 | 0:41:55 | |
But spin forward and whoa! | 0:41:55 | 0:41:58 | |
You got shaving cream. | 0:41:58 | 0:42:00 | |
Where in the name of Don Corleone did all that foam come from? | 0:42:00 | 0:42:03 | |
That's what's known in Mafia circles as omerta, | 0:42:03 | 0:42:06 | |
which is Italian for "bad continuity error". | 0:42:06 | 0:42:09 | |
Oh, it's Buffy the Vampire Slayer, | 0:42:12 | 0:42:15 | |
so called because half the viewers want to see her in the buffy! | 0:42:15 | 0:42:19 | |
Here's the lovely Sarah Michelle Gellar facing a hideous ghoul from beyond the grave. | 0:42:20 | 0:42:25 | |
He's been underground for centuries. He's in a bad way. | 0:42:25 | 0:42:29 | |
Just look at the state of those fingernails. | 0:42:29 | 0:42:31 | |
They're so bad, one's practically falling off. | 0:42:31 | 0:42:34 | |
That's because it's a fake. | 0:42:34 | 0:42:36 | |
Buffy the Vampire Slayer's make-up department, I trusted you! | 0:42:36 | 0:42:40 | |
Everybody thinks being a pro is just NBA. | 0:42:43 | 0:42:47 | |
One Tree Hill. Haley and Skills are having a chat | 0:42:47 | 0:42:50 | |
about being from California. | 0:42:50 | 0:42:52 | |
So while y'all doing the world tour, | 0:42:52 | 0:42:55 | |
we can remember this day and laugh about it. | 0:42:55 | 0:42:58 | |
He's a bit annoying. Haley's very pregnant. | 0:42:58 | 0:43:00 | |
Or is she? That's no baby, that's a cushion shoved up her top! | 0:43:00 | 0:43:04 | |
What some people will do to jump the housing queue. | 0:43:04 | 0:43:07 | |
She's got a tongue like an electric eel | 0:43:12 | 0:43:14 | |
and she likes the taste of a man's tonsils. | 0:43:14 | 0:43:16 | |
A scene from Blackadder II where Flashheart storms into Edmund's wedding, | 0:43:16 | 0:43:21 | |
steals the bride and the scene. | 0:43:21 | 0:43:22 | |
No-one does upstagery quite like Rik Mayall. | 0:43:22 | 0:43:25 | |
Apart from that fake moustache that's threatening to fall off his face. | 0:43:25 | 0:43:30 | |
I've got a plan and it's as hot as my pants! | 0:43:30 | 0:43:34 | |
Mmm. Mmm. | 0:43:36 | 0:43:38 | |
Of course, a lot of people come up to me and say, | 0:43:38 | 0:43:41 | |
"Robert, what is a prop?" | 0:43:41 | 0:43:42 | |
I say, "I don't know who you are, but if you don't get out of my bath, I'll shoot you down like a dog." | 0:43:42 | 0:43:48 | |
I'm joking, of course. I don't even own a gun. Or a bath. | 0:43:48 | 0:43:51 | |
As an actor, I don't need to, cos I live my life surrounded by props. | 0:43:51 | 0:43:55 | |
This lamp, this chair, this table. | 0:43:55 | 0:43:58 | |
Basically, "props" are just the things we all have in our homes. | 0:43:58 | 0:44:01 | |
Except in our case, they really are our "property", rather than stuff you got on credit. | 0:44:01 | 0:44:06 | |
Unfortunately, this doesn't make them any less likely to cause trouble. | 0:44:06 | 0:44:11 | |
Band of Brothers, and this soldier is looking concerned. | 0:44:14 | 0:44:17 | |
He's seen the next scene, | 0:44:17 | 0:44:19 | |
a stealth raid across a river and an elementary mistake from the soldier in the foreground. | 0:44:19 | 0:44:24 | |
Did you spot it? Let's go back and have another look. | 0:44:24 | 0:44:27 | |
He's rowing with no oar. | 0:44:28 | 0:44:30 | |
Which, I suppose, will make their approach much, much quieter, | 0:44:30 | 0:44:34 | |
but - and I'm no military expert - much, much slower. | 0:44:34 | 0:44:38 | |
Here's Nicholas Hoult as Tony in Skins, who's learning how to write. | 0:44:42 | 0:44:46 | |
He's written "Tony". He's written his name. Well done, Tony. | 0:44:46 | 0:44:50 | |
Although if we spin forward... | 0:44:50 | 0:44:52 | |
that doesn't say "Tony". It says "Tohy". | 0:44:53 | 0:44:56 | |
Let's see the first one again. | 0:44:56 | 0:44:58 | |
And the second one. | 0:44:58 | 0:45:00 | |
Now both together. | 0:45:02 | 0:45:03 | |
I think that's a different piece of paper | 0:45:03 | 0:45:06 | |
with the word "Tony" written by a different person. | 0:45:06 | 0:45:09 | |
The props department want to make you look stupid, Tony. I mean, Tohy. | 0:45:09 | 0:45:13 | |
Not much. | 0:45:15 | 0:45:17 | |
Hannah Montana, that little singing sensation. | 0:45:17 | 0:45:20 | |
The sensation being nausea. | 0:45:20 | 0:45:22 | |
But get a load of this continuity howler as wacky goofball Jackson walks into his room. | 0:45:24 | 0:45:29 | |
He pats the muscle man, grabs his towel, | 0:45:29 | 0:45:34 | |
and suddenly the muscle man is behind the door. | 0:45:34 | 0:45:37 | |
Good thing I straightened up. | 0:45:37 | 0:45:39 | |
But not now. Whoops! Hannah's going to be furious about that. | 0:45:39 | 0:45:43 | |
She'll probably throw a pop sock at the director. A rolled-up one. | 0:45:43 | 0:45:47 | |
To be fair to the makers of 24, | 0:45:51 | 0:45:52 | |
they only have one day to make each series, | 0:45:52 | 0:45:55 | |
and that's with no sleep at all. | 0:45:55 | 0:45:56 | |
It's like being a junior doctor, but with a lower body count. | 0:45:56 | 0:46:00 | |
There's Jack in rare stand-easy mode. | 0:46:00 | 0:46:02 | |
We're resuming our approach. Good work. | 0:46:02 | 0:46:05 | |
Cheers, Jack. Time to sheath that dangerous weapon in your bottom holster. | 0:46:05 | 0:46:09 | |
But fast forward a few seconds | 0:46:09 | 0:46:12 | |
and crikey, Jack's now so relaxed he's putting his gun away again. | 0:46:12 | 0:46:16 | |
It's either another TV gaffe | 0:46:16 | 0:46:18 | |
or that young man has two guns hidden in his pants. | 0:46:18 | 0:46:21 | |
If, like me, you're a fan of scenes where actors mistakenly put their pistols away twice, | 0:46:24 | 0:46:30 | |
then you'll love this clip from the soon-to-be-remade Hawaii Five-0. | 0:46:30 | 0:46:34 | |
The team are at a tense siege situation | 0:46:34 | 0:46:36 | |
but nothing gets in the way of Steve McGarrett's tea break. | 0:46:36 | 0:46:40 | |
So, at ease, Lieutenant. Put your gun back in your holster. | 0:46:40 | 0:46:43 | |
No need for firearms at elevenses. | 0:46:43 | 0:46:46 | |
I wonder if you can use a bucket like that to build sandcastles? | 0:46:46 | 0:46:49 | |
Anyway, here he comes and there goes the gun again. | 0:46:49 | 0:46:53 | |
Back in the holster for a second time. | 0:46:53 | 0:46:55 | |
Now, who's brought the thermos? | 0:46:55 | 0:46:57 | |
A tense game of chess in the X-Files. | 0:47:01 | 0:47:04 | |
A moody Russian is taking on an American kid in specs. Textbook. | 0:47:04 | 0:47:08 | |
Checkmate. | 0:47:12 | 0:47:13 | |
Suddenly, the Russian is shot by an assassin in the crowd | 0:47:13 | 0:47:17 | |
and falls to the floor, dragging the board with him. | 0:47:17 | 0:47:20 | |
Except in the next shot, it's clearly on the table. | 0:47:20 | 0:47:23 | |
So, they managed the logistical nightmare of filling the auditorium with 5,000 people, | 0:47:23 | 0:47:28 | |
but couldn't cope with one elementary bit of prop continuity. | 0:47:28 | 0:47:32 | |
The truth is out there. The incompetence is in here! | 0:47:32 | 0:47:36 | |
Have you ever been to the Louvre? | 0:47:38 | 0:47:39 | |
Not yet. | 0:47:39 | 0:47:41 | |
Bones, a series about forensics, | 0:47:41 | 0:47:44 | |
a branch of science that's all about detail. | 0:47:44 | 0:47:46 | |
So how did they miss this clanger? Here's a patronising girl. | 0:47:46 | 0:47:50 | |
What you do is pretty awesome, too. | 0:47:50 | 0:47:52 | |
She's been diagnosed with clinical smugness. | 0:47:52 | 0:47:55 | |
She's also an agent of TV mistakery. | 0:47:55 | 0:47:57 | |
When she hands over her sketch, it's a small drawing in the centre of the page. | 0:47:57 | 0:48:01 | |
But when the doctor looks at it, it's gone all big! | 0:48:01 | 0:48:05 | |
Nobody notices. The character dies in the end, so all's well that ends well. | 0:48:05 | 0:48:09 | |
An ice hockey game and Ross from Friends has a big foam finger. | 0:48:11 | 0:48:16 | |
Of course, this is New York, and seconds later, it's gone. | 0:48:16 | 0:48:20 | |
Someone's nicked it. It's a rough town. | 0:48:20 | 0:48:22 | |
My eye doctor is Richard. I can't see him with no boyfriend. | 0:48:24 | 0:48:27 | |
Poor Monica. As if it's not bad enough having something in your eye, | 0:48:27 | 0:48:31 | |
she can't even watch TV cos it's switched off. | 0:48:31 | 0:48:34 | |
Although moments later... | 0:48:34 | 0:48:37 | |
My mistake. It's on. | 0:48:37 | 0:48:38 | |
No-one's even watching it. That's not very green. | 0:48:38 | 0:48:41 | |
Can I bum a cigarette? | 0:48:43 | 0:48:45 | |
Feel those hormones as bad boy meets annoying girl in The O.C. | 0:48:45 | 0:48:50 | |
Blimey, they're smoking in California, which is practically a shooting offence! | 0:48:50 | 0:48:54 | |
Luckily, Ryan is smoking a special cigarette - | 0:48:54 | 0:48:57 | |
you know, the ones that burn down to a butt in half a second. | 0:48:57 | 0:49:00 | |
Long ciggie... | 0:49:00 | 0:49:02 | |
Tiny ciggie! To think, I used to love The O.C. | 0:49:02 | 0:49:05 | |
MUSIC: It's Not Unusual by Tom Jones | 0:49:07 | 0:49:09 | |
Elsewhere in the O.C, is Ben going to commit suicide | 0:49:09 | 0:49:12 | |
before Ryan and Marisa can get to him? | 0:49:12 | 0:49:15 | |
He's emptying all his pills onto the table. | 0:49:16 | 0:49:18 | |
PHONE RINGS | 0:49:18 | 0:49:20 | |
And mixing them up. | 0:49:20 | 0:49:21 | |
But in an instant, they've sorted themselves into colour-coded piles. | 0:49:21 | 0:49:25 | |
Or at least an inattentive member of the production team has. | 0:49:25 | 0:49:29 | |
Ben's made up. He's forgotten all about suicide. | 0:49:29 | 0:49:32 | |
He's just bunging them in with his grandfather's ashes. | 0:49:32 | 0:49:35 | |
Job done. | 0:49:35 | 0:49:37 | |
Oh, dear. After having one or maybe 12 too many tequilas, | 0:49:41 | 0:49:45 | |
Marisa, from The O.C., leaves her handbag at the bar. | 0:49:45 | 0:49:48 | |
And staggers outside. | 0:49:49 | 0:49:51 | |
Ryan and the others are scouring the streets for her. | 0:49:51 | 0:49:54 | |
But tiddly Marisa is now spark out in this alley, | 0:49:54 | 0:49:57 | |
legless and, of course, bagless. | 0:49:57 | 0:49:59 | |
Then Ryan and the others turn up. He spots her | 0:50:00 | 0:50:04 | |
and, bagless, races down the alley and kneels beside her with the bag in his hand. | 0:50:04 | 0:50:08 | |
Either that's a mistake, or everyone in Orange County has the same bag. | 0:50:08 | 0:50:12 | |
Well, they're a funny lot in California. | 0:50:12 | 0:50:15 | |
More continuity malfunctions on the Holo-deck for Captain Picard. | 0:50:19 | 0:50:23 | |
The 1920s newsvendor hands over the paper folded. | 0:50:23 | 0:50:27 | |
But Picard takes it unfolded. | 0:50:27 | 0:50:29 | |
A small mistake, but even in a holographic past, | 0:50:29 | 0:50:32 | |
a tiny error like that could have changed the future. | 0:50:32 | 0:50:35 | |
If so, let's hope it's one with less Star Trek. | 0:50:35 | 0:50:38 | |
A clip from Heroes now, | 0:50:40 | 0:50:42 | |
a strange group of people all with bizarre superpowers. | 0:50:42 | 0:50:46 | |
These two find a mysterious key that's wrapped in sticky tape. | 0:50:46 | 0:50:50 | |
But half a second later, it's suddenly unwrapped. | 0:50:50 | 0:50:53 | |
He's got super-fingers! | 0:50:53 | 0:50:54 | |
No wonder she looks pleased! | 0:50:54 | 0:50:56 | |
I'm the hero. | 0:50:58 | 0:51:00 | |
More prop-related cock-uppery | 0:51:00 | 0:51:03 | |
as Hiro appears with his Samurai sword pointing backwards | 0:51:03 | 0:51:07 | |
and a moment later stands with it pointing forwards. | 0:51:07 | 0:51:10 | |
You? | 0:51:10 | 0:51:11 | |
A handy mistake, though. Otherwise he'd have stabbed him with the blunt end | 0:51:11 | 0:51:16 | |
and that would have been less dramatic. | 0:51:16 | 0:51:19 | |
It's a blueprint. | 0:51:22 | 0:51:24 | |
How does Grace, from Will & Grace, take her coffee? | 0:51:24 | 0:51:27 | |
Gold Star. | 0:51:27 | 0:51:28 | |
Always black, sometimes with a stick in her hand | 0:51:28 | 0:51:31 | |
and sometimes with a carton of milk. | 0:51:31 | 0:51:33 | |
But always in a urine sample jar. | 0:51:33 | 0:51:36 | |
I didn't know. | 0:51:36 | 0:51:37 | |
He's obviously very fond of you. | 0:51:39 | 0:51:42 | |
A clip now from madcap sitcom Absolutely Fabulous. | 0:51:42 | 0:51:44 | |
Or as you know it, Ab Fab. | 0:51:44 | 0:51:47 | |
Or as I know it, A Fa. | 0:51:47 | 0:51:48 | |
But surely no-one knows what is going on with Miranda Richardson's glass. | 0:51:48 | 0:51:53 | |
Witchcraft, pure and simple. | 0:51:55 | 0:51:58 | |
In my day, she'd get the ducking stool for that. | 0:51:58 | 0:52:01 | |
It's US comedy drama Weeds. | 0:52:03 | 0:52:05 | |
Nancy's just found out that her late husband was cheating on her. | 0:52:05 | 0:52:10 | |
That might not be covered under the contents insurance. | 0:52:10 | 0:52:13 | |
Not much comedy here. This is one of the more drama-y moments. | 0:52:13 | 0:52:17 | |
But see all the stuff on the table? | 0:52:17 | 0:52:19 | |
Watch what happens as her son walks outside. | 0:52:19 | 0:52:21 | |
Yep, it's gone all empty. | 0:52:21 | 0:52:24 | |
I reckon the kid was a decoy. His mates have nicked the lot. | 0:52:24 | 0:52:27 | |
So actually, that probably will be covered. | 0:52:27 | 0:52:30 | |
I suppose I just fall in love too fast. | 0:52:32 | 0:52:35 | |
Here are Niles and Daphne sharing an intimate fireside moment. | 0:52:35 | 0:52:38 | |
According to that carriage clock, the time is 11.15. | 0:52:38 | 0:52:42 | |
Daphne... | 0:52:42 | 0:52:43 | |
Only moments later, we see the clock again | 0:52:43 | 0:52:46 | |
and now it's quarter to 12. | 0:52:46 | 0:52:48 | |
And five to 11. | 0:52:49 | 0:52:51 | |
And 20 past 11. | 0:52:53 | 0:52:55 | |
And 10.59. | 0:52:56 | 0:52:57 | |
Frasier is filmed in front of a live studio audience. | 0:52:57 | 0:53:00 | |
Or they were when they started recording the scene, four days ago. | 0:53:00 | 0:53:03 | |
You two have proved yourselves to be just as talented as one another at karaoke. | 0:53:05 | 0:53:11 | |
By which I mean you're equally shit! | 0:53:11 | 0:53:14 | |
It's Two Pints of Lager and a Packet of Crisps, | 0:53:14 | 0:53:16 | |
a show which has always split the critics into those who hate it and those who don't like it. | 0:53:16 | 0:53:22 | |
But this episode is great as it's all about magazine competitions. | 0:53:22 | 0:53:25 | |
Mind you, if there's one thing I love more than competitions, it's "competions". | 0:53:25 | 0:53:31 | |
By the way, that's the new issue of Dyslexic Monthly. | 0:53:31 | 0:53:34 | |
May as well just give up. | 0:53:34 | 0:53:35 | |
I would if I were you! | 0:53:35 | 0:53:37 | |
Now, I admit I don't know a lot about How I Met Your Mother, | 0:53:40 | 0:53:44 | |
other than this guy's called Ted | 0:53:44 | 0:53:46 | |
and that when he visits a lady, he doesn't bring a bottle, he brings veg. | 0:53:46 | 0:53:51 | |
Wilted veg in a creased-up paper bag. Sexy blighter! | 0:53:51 | 0:53:54 | |
But guess who also carries a steam iron in his Y-fronts? | 0:53:54 | 0:53:58 | |
That bag's now suddenly smooth. It looks like a baby's bottom. | 0:53:58 | 0:54:03 | |
A papery baby with vegetables for a head. | 0:54:03 | 0:54:05 | |
-Stupidest thing I ever said. -Me, too. | 0:54:05 | 0:54:07 | |
Of all the classic moments in The Office, | 0:54:09 | 0:54:11 | |
this is Ricky Gervais's personal favourite. | 0:54:11 | 0:54:14 | |
-Wassaah! -Don't do that! | 0:54:14 | 0:54:16 | |
Gareth's holding a briefcase in his right hand, a paper in his left. | 0:54:16 | 0:54:20 | |
But now the case is in his left hand and the paper is in his right! | 0:54:20 | 0:54:23 | |
That's a TV Mistakes Golden Globe right there. | 0:54:23 | 0:54:27 | |
I guess it's OK... | 0:54:29 | 0:54:30 | |
Friends, series eight. Sorry, season eight. | 0:54:30 | 0:54:33 | |
Monica starts to tear open this present. | 0:54:33 | 0:54:36 | |
-Hi. -Hey. | 0:54:37 | 0:54:38 | |
She's finished. It's open. | 0:54:38 | 0:54:40 | |
-Shh! The guys don't know yet. Do they? -No. | 0:54:40 | 0:54:43 | |
No, she's wrapped it up again. | 0:54:43 | 0:54:47 | |
And opened it again. | 0:54:47 | 0:54:49 | |
And wrapped it up. | 0:54:49 | 0:54:51 | |
And opened it again. For God's sake, make your mind up! | 0:54:51 | 0:54:55 | |
Poor Ross has clonked his head | 0:54:57 | 0:54:59 | |
so Rachel's administering a comedy ice-pack cos she wuvs him. | 0:54:59 | 0:55:02 | |
We ripped that couple apart and kept the pieces for ourselves. | 0:55:02 | 0:55:06 | |
Wuvs him not. | 0:55:07 | 0:55:08 | |
Beautiful story. | 0:55:08 | 0:55:09 | |
Wuvs him. A small error, perhaps, | 0:55:11 | 0:55:13 | |
but as continuity errors go, that was a blinder. | 0:55:13 | 0:55:16 | |
Well, there it is. TV's Greatest Mistakes. | 0:55:18 | 0:55:21 | |
Writers, directors, cameramen, editors, producers, | 0:55:21 | 0:55:24 | |
set designers, wardrobe, hair and make-up minions, I salute you, | 0:55:24 | 0:55:28 | |
albeit in a slack, cack-handed and rather incompetent way. | 0:55:28 | 0:55:32 | |
You were the best. | 0:55:32 | 0:55:34 | |
And by the best, of course, I mean the worst! | 0:55:34 | 0:55:37 | |
Bye-bye! Get out of my way! | 0:55:37 | 0:55:39 | |
Subtitles by Red Bee Media Ltd | 0:56:01 | 0:56:04 |