0:00:13 > 0:00:17Hello, I'm Robert Webb.
0:00:17 > 0:00:20Welcome to Great TV Mistakes.
0:00:20 > 0:00:24Now, I know what you're saying - "But people in telly don't make mistakes.
0:00:24 > 0:00:26"They're all perfect, like you, Rob."
0:00:26 > 0:00:28Not true. Everyone makes mistakes.
0:00:28 > 0:00:30You just called me Rob, for instance.
0:00:30 > 0:00:35And no-one but no-one calls me Rob unless I give them permission. Understand?!
0:00:35 > 0:00:39Over the next hour, we'll be revealing the worst howlers ever broadcast.
0:00:39 > 0:00:42Mistakes my crack team of square-eyed, OCD numpties
0:00:42 > 0:00:48refused to rest until they have managed to show you the foul-ups they didn't want you to see.
0:00:48 > 0:00:51"They" meaning "them", not you.
0:00:51 > 0:00:53Enjoy!
0:00:53 > 0:00:55Coming up - mistakes from...
0:01:03 > 0:01:05..and many more!
0:01:05 > 0:01:10In TV, we have a nickname for special effects.
0:01:10 > 0:01:12We call them special "FX".
0:01:12 > 0:01:13Aren't we brilliant?
0:01:13 > 0:01:16These days, the effects on TV are so special,
0:01:16 > 0:01:20they can often leave you, the viewer, wide-eyed, slack-jawed and dumbstruck.
0:01:20 > 0:01:23Even more than usual. Yes, thanks to computer technology,
0:01:23 > 0:01:26the only limit to modern SFX is the producer's imagination.
0:01:26 > 0:01:30Which is a shame, because most producers' imaginations are limited to saying,
0:01:30 > 0:01:34"Hey, why don't we just get Ant and Dec to do it?" and then ordering sushi.
0:01:34 > 0:01:40Which sadly means every now and again, the "special" effects are anything but.
0:01:45 > 0:01:47A high-speed chase in Knight Rider
0:01:47 > 0:01:50and Michael is in pursuit of two blokes who have kidnapped a lady.
0:01:50 > 0:01:53Oh, she's a terrible back-seat driver.
0:01:53 > 0:01:55That car is all over the shop.
0:01:55 > 0:01:59Three drivers, one steering wheel, that's asking for trouble.
0:01:59 > 0:02:02Oh, no, no, no, no, leave it.
0:02:02 > 0:02:05Sit down, you silly cow! Oh, too late, she's jumped.
0:02:05 > 0:02:07Well, somebody did.
0:02:07 > 0:02:11- Crazy broad jumped out!- I'm afraid that was your unconscious female.
0:02:11 > 0:02:14No, it wasn't, KITT, you're talking out of your tailpipe.
0:02:14 > 0:02:18That's her stunt double in an ill-fitting blonde wig.
0:02:18 > 0:02:22She's less lookalike and more look nothing like.
0:02:24 > 0:02:27It's 24 and look out, the guy in the car is about to get all shooty.
0:02:27 > 0:02:31But when he discharges his weapon....
0:02:31 > 0:02:36Through the car window, the glass all falls inwards, in defiance of all the laws of physics.
0:02:36 > 0:02:40Let's see that again. Take that, Newton.
0:02:42 > 0:02:44Look, he's got Stagler.
0:02:44 > 0:02:47Here we are, back in that brilliant episode of Wonder Woman,
0:02:47 > 0:02:50and Gargantua the Gorilla is making his escape
0:02:50 > 0:02:52carrying that bloke from Magnum.
0:02:52 > 0:02:54But he's made a terrible error.
0:02:54 > 0:02:58In the confusion, he's grabbed a poorly constructed dummy instead.
0:02:58 > 0:03:02See it flailing in the breeze just like human bodies don't.
0:03:02 > 0:03:07Look, his legs have gone all trembly, something, something, Wembley.
0:03:07 > 0:03:11That doesn't make any sense, and neither does this episode of Wonder Woman.
0:03:13 > 0:03:19Yes, it's high time Lynda Carter twirled into her crime fighting boob tube and hot pants.
0:03:19 > 0:03:23Bad news for bad guys, good news for randy 14-year-old boys.
0:03:24 > 0:03:27But look how this spectacular metamorphosis also has the power to
0:03:27 > 0:03:31change this humble biro into thin air.
0:03:31 > 0:03:34Yeah, it's probably just rolled under the desk.
0:03:37 > 0:03:41The Doctor again, and this is what I call thrilling stuff.
0:03:41 > 0:03:43There again, I'm quite easily thrilled.
0:03:43 > 0:03:46Oh, look, the Doctor is climbing up that giant television aerial,
0:03:46 > 0:03:49trying to stop Maureen Lipman being transmitted.
0:03:49 > 0:03:54You cannot stop the wire. Soon I shall become...
0:03:54 > 0:03:58Then, as Dave's a-dangling from the pylon, his foot suddenly disappears.
0:04:01 > 0:04:03Here it is, here it isn't.
0:04:03 > 0:04:07Yes, the BBC's blue screen is no larger than a tea towel.
0:04:10 > 0:04:14Mac and Guy from Green Wing are heading for a very literal end-of-series cliff-hanger.
0:04:18 > 0:04:22Ever wonder how they do stunts like this? Well, the clues are here
0:04:22 > 0:04:28and here. That is a safety harness and that is a dirty great support cable.
0:04:28 > 0:04:31Less Italian Job, more bodged job.
0:04:34 > 0:04:38OK, no argument, the Hulk has always been incredible.
0:04:38 > 0:04:42But on the '70s TV show, the effects were anything but.
0:04:42 > 0:04:48Here, a couple of local thugs have unwisely locked David Banner in the steam room.
0:04:48 > 0:04:53He gets angry, goes green, and picks them and half the wall up using the strength of 100 men.
0:04:54 > 0:04:56Or should that be by making them stand on a hidden trolley
0:04:56 > 0:05:00and pushing them back using the strength of three caterpillars.
0:05:00 > 0:05:02You decide.
0:05:04 > 0:05:07The friends from Friends are on holiday and,
0:05:07 > 0:05:09oh, dear, it's chucking it down.
0:05:09 > 0:05:13But what's worser, their lovely beach house is full of wet sand.
0:05:13 > 0:05:15What's with all this sand?
0:05:15 > 0:05:18Oh, yeah, Bob said there might be flood damage.
0:05:18 > 0:05:20Either that or he has a really big cat.
0:05:20 > 0:05:22But now it's dry.
0:05:22 > 0:05:24They must have under-sand heating.
0:05:26 > 0:05:30A clip from classic Dr Who episode Genesis Of The Daleks,
0:05:30 > 0:05:34and keep your eyes on the Dalek chatting with Davros
0:05:34 > 0:05:36and the light bulb flashing on his head.
0:05:36 > 0:05:40That's how deaf people know that a Dalek is talking, by the way, it's a courtesy thing.
0:05:40 > 0:05:43Hold on a sec, his light's gone out.
0:05:43 > 0:05:45Maybe he forgot to pay the Da-lecky bill.
0:05:47 > 0:05:50But then, between takes, while Davros practises his shouting...
0:05:50 > 0:05:53You will obey me!
0:05:53 > 0:05:57..there's a chance to unscrew the bulb and pop a new one in.
0:05:57 > 0:05:58We are the superior beings.
0:05:58 > 0:06:03On with the serious business of mass extermination and sink plunging.
0:06:03 > 0:06:05Exterminate!
0:06:06 > 0:06:09More from Genesis Of The Daleks now,
0:06:09 > 0:06:11and the Thals are about to detonate a bomb
0:06:11 > 0:06:14using this rickety old plunger.
0:06:14 > 0:06:18But even before that happens, some smoke wafts through the doors.
0:06:18 > 0:06:23That bomb has either detonated itself, or one of those Daleks is having a crafty fag.
0:06:25 > 0:06:30This is X-Files rain, heavy and persistent, like Mulder,
0:06:30 > 0:06:32apart for the heavy bit.
0:06:32 > 0:06:38Dana and Fox are in hot pursuit of a woman doing some top-notch driving-in-heavy-rain acting.
0:06:40 > 0:06:43Moving the steering wheel about, frowning at rain...
0:06:43 > 0:06:46and then she hits a cloudy ghost. Bosh!
0:06:50 > 0:06:56But when Mulder and Scully pull over seconds later, all the rain has gone. Spooky.
0:06:56 > 0:07:00# Da-da-da-doo, da-da-da-doo... # Sorry, that's The Twilight Zone, sorry.
0:07:00 > 0:07:03- I can see her.- Michelle!- Help!
0:07:07 > 0:07:11Considering it was made in the '60s, the effects on Thunderbirds are pretty FAB.
0:07:11 > 0:07:15Of course, every now and again, they were less than perfect.
0:07:15 > 0:07:18Look what happens when the aircraft explodes.
0:07:18 > 0:07:23This bit of debris flies off and bounces off the back projection screen. Boing.
0:07:26 > 0:07:29For some reason, at that moment, in that half-finished foxhole,
0:07:29 > 0:07:31all I could think about was the Fourth of July.
0:07:31 > 0:07:34Band Of Brothers now, and those German mortars are really doing some damage.
0:07:34 > 0:07:37Thank God they're only aiming at the trees. Yeah, Nazis hate trees.
0:07:37 > 0:07:41Especially these ones. They're birch trees, they make Nazis furious.
0:07:41 > 0:07:45Boom! Take that. Hold on a minute, it did.
0:07:45 > 0:07:49A bomb that only causes minimal bark damage. Let's have another look.
0:07:51 > 0:07:53Yeah, that must have been a smart bomb.
0:07:53 > 0:07:57They only destroy certain trees. If that had been a willow, it would be dead.
0:08:01 > 0:08:04A thrilling FX scene from Blake's 7,
0:08:04 > 0:08:08the doddery senile grandad of the TV sci-fi family.
0:08:08 > 0:08:12Once again, the audience at home are on the edge of their seats, getting up to leave the room.
0:08:12 > 0:08:16But gasp as the bad guy is sucked into space.
0:08:16 > 0:08:22Although, he's not so much being sucked as dangled by that highly visible safety harness.
0:08:22 > 0:08:23Wheeee!
0:08:25 > 0:08:28Clothes.
0:08:28 > 0:08:30Clothes can go seriously wrong.
0:08:30 > 0:08:33Just look at Lady Gaga or anyone from Germany.
0:08:33 > 0:08:36If there's one department in telly that gets overlooked, it's wardrobe.
0:08:36 > 0:08:39It's very rare to see wardrobes taking a leading role,
0:08:39 > 0:08:42except in The Lion, The Witch And The Wardrobe, of course.
0:08:42 > 0:08:45Though frankly, the lion and the witch got all the best lines.
0:08:45 > 0:08:49Consequently, every now and again, the wardrobe department fights back.
0:08:53 > 0:08:58It's Henry VII in a scene from rollicking royal soap The Tudors.
0:08:58 > 0:09:01Here's Henry's (divorced, beheaded, died, divorced, beheaded, survived),
0:09:01 > 0:09:05first wife Catherine of Aragon, looking moody, and who can blame her?
0:09:05 > 0:09:09Getting a rousing reception from this crowd of 16th century peasants.
0:09:09 > 0:09:11Although, for a bunch of proles,
0:09:11 > 0:09:15they're doing pretty well for themselves, cos, look again.
0:09:15 > 0:09:17Verily, sire, that's a nice wrist watch.
0:09:17 > 0:09:20He made that himself out of straw and bits of the plague.
0:09:24 > 0:09:29Lovely Buffy. Not only is she sexy, fun, and good at killing vampires,
0:09:29 > 0:09:31she can swap shoes in a microsecond.
0:09:31 > 0:09:35See, as she attacks the vampire wearing white party pumps...
0:09:35 > 0:09:38Then, alley-oop, suddenly swaps them for a pair of
0:09:38 > 0:09:41black boots when required to kick him in his undead nuts.
0:09:41 > 0:09:43That is my kind of woman.
0:09:43 > 0:09:46Where are your jibes now?
0:09:47 > 0:09:49We want to swim and you can't stop us!
0:09:49 > 0:09:50It's Desperate Housewives,
0:09:50 > 0:09:53and another wardrobe-related oversight is about to kick off
0:09:53 > 0:09:58thanks to these cheeky kids who are refusing to get out of the water.
0:09:58 > 0:10:01In you go, Mum, sort them out.
0:10:01 > 0:10:03She walks into the pool in heels,
0:10:03 > 0:10:06wades through the water in heels,
0:10:06 > 0:10:10walks out again in heels, but then, having done the hard part,
0:10:10 > 0:10:11she's suddenly barefoot.
0:10:11 > 0:10:14It's confusing. No wonder her kids are a nightmare.
0:10:14 > 0:10:16No parental consistency.
0:10:16 > 0:10:18Paul, we have to leave now.
0:10:22 > 0:10:2624, and watch this woman exiting the loo, or rather, her shoes.
0:10:26 > 0:10:29A pair of good old-fashioned all-American sneakers.
0:10:29 > 0:10:32Nothing wrong there. In fact, everything right.
0:10:32 > 0:10:34But spin on,
0:10:34 > 0:10:37and during a simple walk to her desk, they've been changed,
0:10:37 > 0:10:40switched, perverted, into high heels.
0:10:40 > 0:10:43Free-world flatties wiped off the face of the earth,
0:10:43 > 0:10:46replaced by high-heeled extremism.
0:10:46 > 0:10:48And where's Jack Bauer?
0:10:48 > 0:10:50Running a minicab firm.
0:10:50 > 0:10:52"51 to base, passenger POB, Rog."
0:10:55 > 0:11:00James Corden is a bit of a quick-change artist on the side.
0:11:00 > 0:11:01Oh, yeah, look.
0:11:01 > 0:11:05One minute he's wearing his dinner jacket, and the next, he's lost it.
0:11:05 > 0:11:07The jacket, not his temper.
0:11:07 > 0:11:09Although it's a wedding, there's always one fight.
0:11:14 > 0:11:17Here's classic '70s drama Hawaii Five-0,
0:11:17 > 0:11:20as in five acting expressions, oh,dear.
0:11:20 > 0:11:24Steve McGarrett is on the case and there's no time to lose.
0:11:24 > 0:11:27Except to change his suit on the way up the stairs.
0:11:28 > 0:11:30Mr Dennison, please.
0:11:30 > 0:11:33Never mind all that, what have you done with your grey suit?
0:11:33 > 0:11:38Look, he gets out of the car in the grey one, and walks into the office wearing the blue.
0:11:38 > 0:11:39Mr Dennison, please.
0:11:39 > 0:11:41Actually, good work, Steve.
0:11:41 > 0:11:44No-one wants to be arrested by a man in a sweaty suit.
0:11:48 > 0:11:52A fun run along a canal side for the Ashes to Ashes team,
0:11:52 > 0:11:56and Alex looks all French - scarf, stripy T-shirt.
0:11:56 > 0:11:59I'm not sure about the red belt, though. Nah, get rid of it, Keeley.
0:11:59 > 0:12:02That's better. Does it come back?
0:12:02 > 0:12:03No.
0:12:05 > 0:12:11Under normal circumstances, the last person I'd want to see frolicking in a wet T-shirt is Hurley from Lost.
0:12:11 > 0:12:16Unless, of course, he was dancing around a pole, and even then only maybe.
0:12:16 > 0:12:20Here he is teaching Charlie to fish and how to be both sopping wet...
0:12:22 > 0:12:24..and dry at the same time.
0:12:24 > 0:12:26Maybe he's just really hot.
0:12:26 > 0:12:31Hot warm, not hot sexy. Unless he was dancing around a pole. Phwoar!
0:12:33 > 0:12:38The poacher, I heard him fishing only a few nights ago.
0:12:38 > 0:12:40What, with all his sartorial eccentricities,
0:12:40 > 0:12:44Doctor Who has always been a strain on the wardrobe department, in whichever incarnation.
0:12:44 > 0:12:47In this clip, Tom Baker's jaunty hat is the problem.
0:12:47 > 0:12:51He leaves it on the chair and exits, and then in the next scene,
0:12:51 > 0:12:54he's walking through the woods wearing it.
0:12:54 > 0:12:58Maybe they'd shot a scene where he remembered, thought "huh" and went back for it, but then didn't use it.
0:12:58 > 0:13:01Yeah, better check the director's cut.
0:13:03 > 0:13:06Little Britain, famous for its comedy characters.
0:13:06 > 0:13:09Here's Matt Lucas as Bubbles DeVere.
0:13:09 > 0:13:12Bubbles dives under the tanning machine, naked,
0:13:12 > 0:13:15but if we spin forward,
0:13:15 > 0:13:21she emerges some time later burnt to a crisp and now mysteriously wearing a pair of blue goggles.
0:13:26 > 0:13:30Will you excuse me for a moment, please, Mr Hutton, I'm a little bit on fire.
0:13:32 > 0:13:33How....
0:13:33 > 0:13:37you...a doing?
0:13:37 > 0:13:39I love Friends. I could watch it all day.
0:13:39 > 0:13:42And thanks to E4, I can.
0:13:42 > 0:13:45Here's Joey chatting up a girl in the apartment opposite.
0:13:45 > 0:13:47He can't wait to get over there and introduce himself.
0:13:47 > 0:13:53And yet, he still has time to miraculously change his black shirt on the way over.
0:13:53 > 0:13:56Sweaty black shirt morphs into clean purple one.
0:13:56 > 0:13:58But as he knocks on the door,
0:13:58 > 0:14:00it's back to black.
0:14:00 > 0:14:05Black, purple and black. The three colours of the bad continuity flag.
0:14:05 > 0:14:06This is your place?
0:14:09 > 0:14:11Another moment of drama in Gray's Anatomy.
0:14:11 > 0:14:16Sandra Oh rips off her surgical topcoat and exits the operating theatre.
0:14:16 > 0:14:19Meanwhile, out in the corridor, there's a bomb scare.
0:14:19 > 0:14:25These doctors can't go faster than .000003 miles an hour
0:14:25 > 0:14:28or they'll blow up or something.
0:14:28 > 0:14:33Then, just as you thought this scene couldn't get any more confusing, out pops Sandra with her coat on again.
0:14:33 > 0:14:37It's a bit like the film Speed but with less speed and more mistakes.
0:14:37 > 0:14:40We're moving to an OR further away from the oxygen line.
0:14:44 > 0:14:48Hey, David Banner is rescuing a bit-part actress from a cliff.
0:14:48 > 0:14:53Spin on, and sure enough, he turns into The Incredible Hulk.
0:14:53 > 0:14:58And as usual, his massive green muscles completely tear the shirt from his back.
0:14:58 > 0:15:02But seconds later, the shirt reappears,
0:15:02 > 0:15:07then disappears, then finally reappears again,
0:15:07 > 0:15:10having mounted its curious green host once more.
0:15:10 > 0:15:11All right, come on, come on!
0:15:11 > 0:15:13Well, there was a lady present.
0:15:13 > 0:15:16But sadly, no continuity person.
0:15:19 > 0:15:22All great telly starts with a script.
0:15:22 > 0:15:25You need writers who can really write words good comma
0:15:25 > 0:15:30and make the things we actors and presenters say in their mouths have, like, pizzazz and that.
0:15:30 > 0:15:32Yes, script and story are crucial.
0:15:32 > 0:15:37Confused story lines and dialogue, and character errors can spoil an entire series in seconds.
0:15:37 > 0:15:43That's why broadcasters spend enormous amounts of money hiring professional writers and executives
0:15:43 > 0:15:47to ensure this doesn't happen and why they get so disappointed when it still does.
0:15:47 > 0:15:49Take a look at this little lot.
0:15:51 > 0:15:5624, and here's Jack Bauer giving his exact location to headquarters.
0:15:56 > 0:15:59We're at 21408 Kipling, North Hollywood.
0:15:59 > 0:16:05That's 21408 Kipling, North Hollywood. 21408.
0:16:05 > 0:16:07Now, spin on,
0:16:07 > 0:16:09and the car is here.
0:16:09 > 0:16:15But spin on again, and we can see they've pulled up outside 21048.
0:16:15 > 0:16:19Well, that's no good. Kiefer's at 21408.
0:16:19 > 0:16:22But hang on, he is here, at 21048,
0:16:22 > 0:16:27- and not... - 21408 Kipling, North Hollywood.
0:16:27 > 0:16:29Where he said he was a moment ago.
0:16:29 > 0:16:33Still, it's only the Secret Service in a desperate race against time to save lives,
0:16:33 > 0:16:35nothing important, like a pizza delivery.
0:16:36 > 0:16:38Here's Ashes To Ashes,
0:16:38 > 0:16:41the disappointing follow-up to Life On Mars.
0:16:41 > 0:16:42It's July 1981.
0:16:42 > 0:16:43And a shocked Keeley Hawes
0:16:43 > 0:16:46has just found herself mysteriously back in the 1980s.
0:16:46 > 0:16:50She's trying to find out the date from Gene Hunt's steam-driven computer.
0:16:50 > 0:16:54Let's check it. 17th July 1981.
0:16:54 > 0:16:56There's nothing on this hard drive but the time and date.
0:16:56 > 0:17:03Spin on, and later, in her new '80s flat, we see that she's marked her arrival date as July 20th.
0:17:03 > 0:17:05She's lost three days.
0:17:05 > 0:17:08There are easier ways to lose three days, Keeley.
0:17:08 > 0:17:10Try drinking five pints of gin.
0:17:10 > 0:17:12Works for me.
0:17:14 > 0:17:18Here's an IT blunder from serial-killing drama, Dexter.
0:17:18 > 0:17:24As Rudy Cooper opens an e-mail from frozenbarbie@hotmail.web...
0:17:27 > 0:17:28..presses reply,
0:17:28 > 0:17:33and suddenly he's writing back to frozenbarbie@hotmail.com.
0:17:33 > 0:17:36Don't worry, though, thanks to the confusing power of telly,
0:17:36 > 0:17:39Frozen Barbie still gets the e-mail anyway.
0:17:39 > 0:17:45All's well that ends well. Except for the fact that he kills her and cuts her into tiny pieces.
0:17:47 > 0:17:52Here's an early clip from Star Trek: The Next Generation
0:17:52 > 0:17:55and new Number One, Will Riker, is looking for the holodeck.
0:17:55 > 0:17:57The computer tells him it's...
0:17:57 > 0:17:59'The next hatchway on your right.'
0:17:59 > 0:18:01- You mean left, surely?- Thank you.
0:18:01 > 0:18:06- He's bluffing. Riker knows that the new Enterprise computer is an idiot. - I do.
0:18:06 > 0:18:07And goes left instead.
0:18:07 > 0:18:13In the future, many things will be different, but apparently, men still don't trust directions from a woman.
0:18:15 > 0:18:19US drama Fringe, and this bonkers boffin has invented a camera
0:18:19 > 0:18:21that can photograph a corpse
0:18:21 > 0:18:26and capture the last image seen by a person before their death.
0:18:26 > 0:18:29- Ready?- I know, it's rubbish, but go with it.
0:18:29 > 0:18:33Let's listen to the doc's advice.
0:18:33 > 0:18:37Goggles, all of you. Do not look directly into the light.
0:18:37 > 0:18:40- MIMICS:- "Goggles, all of you. Do not look directly into the light."
0:18:40 > 0:18:44Got it. Camera, dangerous. Goggles, essential.
0:18:44 > 0:18:48But spin on through the rubbish, and see what happens.
0:18:48 > 0:18:51They've taken them off. Oi! And you! Put them back on.
0:18:51 > 0:18:56The doctor said keep the goggles on while the camera is still flashing.
0:18:56 > 0:18:59Doc, tell them to... not you, as well. I give up. This programme is stupid.
0:19:01 > 0:19:04The OC crowd are in a nightclub
0:19:04 > 0:19:06when one of our old friends
0:19:06 > 0:19:09leaves an urgent message for his mate. Let's listen in.
0:19:09 > 0:19:12Luke, it's me. I want to make sure you took care of it.
0:19:12 > 0:19:14OK. Ryan said, "Luke, it's me.
0:19:14 > 0:19:19"I want to make sure you took care of it." And there was lots of noise in the background.
0:19:19 > 0:19:22Does Luke get the message? Yes. But not that one.
0:19:22 > 0:19:26- WITHOUT BACKGROUND NOISE: - Luke, it's me. I'm just calling to make sure you took care of it.
0:19:26 > 0:19:30"Luke, it's me. I'm just CALLING to make sure you took care of it."
0:19:30 > 0:19:34Different words and no background noise. Probably a network problem.
0:19:34 > 0:19:38There's a joke here somewhere about Orange County, but where are the good times?
0:19:40 > 0:19:43Writing a long-running show like Frasier is tricky,
0:19:43 > 0:19:46having to remember the characters' likes and dislikes
0:19:46 > 0:19:50and relatives. They're a nightmare, even when they're not real.
0:19:50 > 0:19:53Just listen to Frasier's dad Martin in series one.
0:19:53 > 0:19:54I never had a brother.
0:19:54 > 0:19:56Marty Crane never had a brother.
0:19:56 > 0:20:02- Oh, I've got the feeling he would have liked one, though, and by series five, he did.- There he is!
0:20:02 > 0:20:06Well! This is so exciting! You two must have so much to talk about. Uncle Walt, hello!
0:20:06 > 0:20:10That's either a mistake or someone needs a psychiatrist.
0:20:12 > 0:20:14- Marty.- Walt.
0:20:16 > 0:20:20SOUND problems are very common in television,
0:20:20 > 0:20:24partly because it would be impossible to control all the sounds around us
0:20:24 > 0:20:28and partly because most sound men are tone-deaf alcoholics whose only hope of noticing a pin drop
0:20:28 > 0:20:33is if you pull it out of a live grenade in front of them and throw it in their stupid faces.
0:20:33 > 0:20:37We in telly call the process of replacing sounds "dubbing" or "ADR",
0:20:37 > 0:20:40which stands for automatic dialogue replacement.
0:20:40 > 0:20:45Mind you, looking at these next clips, you'd think it stood for awful dialogue replacement!
0:20:45 > 0:20:47HE GUFFAWS EXAGGERATEDLY
0:20:52 > 0:20:55It's Doctor Izzie Stevens in Grey's Anatomy,
0:20:55 > 0:20:59who can say "ooh" without moving her lips.
0:20:59 > 0:21:01No really, she can. Look.
0:21:01 > 0:21:02Oh, ooh!
0:21:02 > 0:21:05Oh, I like that. Again?
0:21:05 > 0:21:08- Ooh!- Oh, go on then. Once more!
0:21:08 > 0:21:10- Ooh!- Ooh!
0:21:10 > 0:21:13Are you allowed to eat a cupcake in a sterile environment?
0:21:13 > 0:21:16Are you still working with Meredith?
0:21:16 > 0:21:20Ah, yes. Meredith, AKA Dr Grey herself.
0:21:20 > 0:21:22But don't stand on ceremony, she hates that.
0:21:22 > 0:21:24Dr Grey.
0:21:24 > 0:21:26- Meredith.- Meredith.
0:21:26 > 0:21:28We heard it but we didn't see it.
0:21:28 > 0:21:31That man did not say "Meredith".
0:21:31 > 0:21:34- Or did he?- Meredith.- No, he did not.
0:21:34 > 0:21:36At least not at the time.
0:21:36 > 0:21:39Maybe he hates the name Meredith and refused to say it.
0:21:39 > 0:21:42"Ah," they thought, "We'll just stick that on later in the edit."
0:21:42 > 0:21:44And they did. Badly.
0:21:44 > 0:21:47- Because I stayed in the OR to save a life.- Meredith.
0:21:49 > 0:21:52- Very good.- What have you go there?
0:21:52 > 0:21:55Pride and Prejudice, and keep your eyes and ears
0:21:55 > 0:21:57on that fine actress Alison Steadman.
0:21:57 > 0:22:00There she is, famous for her performance in Abigail's Party
0:22:00 > 0:22:04and loads of other parts that have been quite similar.
0:22:04 > 0:22:09But hark, only an actress with Alison's vocal skills could say different words than her own mouth.
0:22:09 > 0:22:13Lord knows I have no desire to be always going here and there at night.
0:22:13 > 0:22:18Oi, Steadman! Your mouth's writing cheques your voice can't cash! That doesn't make any sense.
0:22:18 > 0:22:21I have no desire to be always going here and there at night.
0:22:21 > 0:22:23But neither does poor-quality dubbing.
0:22:25 > 0:22:28# For Jesus Christ our saviour... #
0:22:28 > 0:22:31More Pride and Prejudice, and Mary's depressing everyone
0:22:31 > 0:22:34with her piano playing like some 19th-century Dido.
0:22:34 > 0:22:39But look, there in the back of shot, Maria's singing without moving her lips.
0:22:39 > 0:22:42- Maybe she's singing out of her... - HE WHISTLES
0:22:42 > 0:22:47- Now, you might call that a mistake but I call it some of the finest... - HE WHISTLES
0:22:47 > 0:22:48..singing I've ever heard.
0:22:50 > 0:22:54Everyone, I just wanted to say it really means a lot to me
0:22:54 > 0:22:58- that all of you came.- In this episode of Desperate Housewives,
0:22:58 > 0:23:01Carlos is giving a speech to friends about leaving to go to jail.
0:23:01 > 0:23:05But when they cut to a shot of Susan and Julie listening,
0:23:05 > 0:23:09we see Carlos isn't talking despite the fact we can still hear him.
0:23:09 > 0:23:11And when a man goes away to jail...
0:23:11 > 0:23:13- Now, he hasn't got a... - HE WHISTLES
0:23:13 > 0:23:18- ..so maybe he's talking out of his "ah-huh-huh". In which case, respect.- So, thanks.
0:23:20 > 0:23:24Look, everyone. It's Rachel off Friends, venting her spleen.
0:23:24 > 0:23:29So I was with Joshua for an hour today and he has not asked me out.
0:23:29 > 0:23:30Just so frustrating.
0:23:30 > 0:23:35I know, bad dubbing is very frustrating and I'll tell you what else is frustrating.
0:23:35 > 0:23:39Having Brad Pitt stolen away from you by Angelina Jolie.
0:23:39 > 0:23:42Curse you, Bradley Pitt.
0:23:42 > 0:23:43Just so frustrating.
0:23:43 > 0:23:45I know, but don't go on about it.
0:23:47 > 0:23:50I wondered what it'd be like to be a dude,
0:23:50 > 0:23:53walking through the halls in jeans and a ratty T-shirt...
0:23:53 > 0:23:57It's One Tree Hill, another one of those American shows full of cute people
0:23:57 > 0:24:01who've got everything they need. Except a good slap in the face!
0:24:01 > 0:24:03Maybe I'm into girls.
0:24:03 > 0:24:04SILENCE
0:24:04 > 0:24:07Whoa! Rachel just said that last line twice. No, really. Look.
0:24:07 > 0:24:09Maybe I'm into girls.
0:24:09 > 0:24:12- MIMICS:- Maybe I'm into girls.
0:24:12 > 0:24:14I think it's time for that slap in the face.
0:24:16 > 0:24:18Just give me a straight yes or no.
0:24:18 > 0:24:20Why should I give you...
0:24:20 > 0:24:23It's Only Fools and would you Adam and Eve it,
0:24:23 > 0:24:25Del Boy is about to put his plates of meat
0:24:25 > 0:24:31right in it and say something a bit apples and bassist, or whatever racist is in Cockney.
0:24:31 > 0:24:36What are the odds on you picking the only genuine weight watcher in London?
0:24:36 > 0:24:40Del's original line was "the only Provo weight watcher in London".
0:24:40 > 0:24:44- By the time the show aired, "Provo" had been overdubbed with the word...- Genuine...
0:24:44 > 0:24:48..which wouldn't be offensive to the people of Ireland or the IRA.
0:24:48 > 0:24:51Believe me, it doesn't take much to get THEM writing in to Points Of View.
0:24:53 > 0:24:58Most people in TV will tell you that actors can be difficult to work with.
0:24:58 > 0:25:00But take it from me, those people are LIARS.
0:25:00 > 0:25:03I wouldn't wee on them if they were on fire.
0:25:03 > 0:25:05No, CARS are difficult to work with.
0:25:05 > 0:25:09My old friend Ross Kemp now refuses to work with cars
0:25:09 > 0:25:16following a nasty incident with a dodgy 1974 Hillman Imp which very nearly acted him off the screen.
0:25:18 > 0:25:21A thrilling scene from Lost,
0:25:21 > 0:25:25the show about invisible polar bears on a desert island.
0:25:25 > 0:25:26Based on a true story.
0:25:26 > 0:25:30Here, the truck without the tailgate runs off the road.
0:25:33 > 0:25:38Oh, dear. There goes the truck. There goes the tailgate flying off that it didn't have a second ago.
0:25:38 > 0:25:42But luckily in the next shot, it's back on again.
0:25:42 > 0:25:46Look on the bright side, she's lost a truck but gained a tailgate.
0:25:46 > 0:25:50That might come in handy later, polar bears hate car parts.
0:25:50 > 0:25:52I hate continuity errors.
0:25:55 > 0:25:59Nip/Tuck now and watch these two teenagers.
0:25:59 > 0:26:00Oh, dear.
0:26:00 > 0:26:06Who'd have thought an argument between a pair of stoners in a speeding car could end so badly?
0:26:06 > 0:26:09These lads have left a nasty pair of skid marks.
0:26:10 > 0:26:14But when they go and check out the damage, the skid marks have disappeared.
0:26:14 > 0:26:17Well, the ones on the road have!
0:26:17 > 0:26:19GUFFAWS EXAGGERATEDLY
0:26:19 > 0:26:22I mean, you know, the ones in their pants are still there, yeah?
0:26:22 > 0:26:24Nice one! The woman's dead, by the way.
0:26:24 > 0:26:26I think we hit a bird.
0:26:28 > 0:26:31It's Bo and Luke Duke doing what they do well, driving fast
0:26:31 > 0:26:32and talking nonsense.
0:26:32 > 0:26:36But what's that strange appendage fastened to the right rear wheel?
0:26:36 > 0:26:42It couldn't be a camera, could it? To film them flying through the air? Yes, it could.
0:26:45 > 0:26:47SHE SCREAMS
0:26:47 > 0:26:50Buffy The Vampire Slayer, a show that attracts geeks
0:26:50 > 0:26:52like dog poo attracts new trainers.
0:26:52 > 0:26:59Here, the Buffster's mate, Cordelia, is having a driving lesson and not a moment too soon.
0:26:59 > 0:27:01Wahoo!
0:27:03 > 0:27:06If we spin on, we can see and hear...
0:27:06 > 0:27:08her slam the car door shut.
0:27:08 > 0:27:11But in the next shot it's open.
0:27:11 > 0:27:15So that this oncoming truck can smash into it, as per the script.
0:27:15 > 0:27:17CORDELIA SCREAMS
0:27:20 > 0:27:25Crisis averted. In the circumstances, the best option. Either that or reshoot it properly.
0:27:25 > 0:27:28- Nah.- What's happening? I can't see anything.
0:27:28 > 0:27:29Dozy cow.
0:27:31 > 0:27:36Hawaii Five-0 and Steve McGarrett is off to the scene of a crime
0:27:36 > 0:27:38in his beloved Ford.
0:27:38 > 0:27:41But what crime exactly? Grand theft auto, that's what.
0:27:41 > 0:27:47Cos when Steve pulls up at the crime scene, his car has grown a couple more doors.
0:27:47 > 0:27:50Yep, he pulls away in a two-door coupe
0:27:50 > 0:27:53and arrives in a four-door sedan.
0:27:53 > 0:27:56Book him, Danno, for crimes against continuity.
0:27:59 > 0:28:03One part of every show normally immune from TV mistakes
0:28:03 > 0:28:05is the titles.
0:28:05 > 0:28:09Not the famous opening title sequence from Sex And The City, though. Oh, no.
0:28:09 > 0:28:11We all know what's coming next.
0:28:11 > 0:28:14SJP gets splashed by a bus full of commuters
0:28:14 > 0:28:18but look what happens when the same bus turns left moments later.
0:28:18 > 0:28:20It's deserted. Maybe they all fainted.
0:28:20 > 0:28:23It's not every day you see a Yorkshire terrier in a Tutu.
0:28:25 > 0:28:28When visiting LA, there are two things you simply MUST do.
0:28:28 > 0:28:30One is rent a fabulous car.
0:28:30 > 0:28:33The Sex And The City girls have gone west.
0:28:33 > 0:28:36Hey, bet you don't know what the most popular car in LA is?
0:28:36 > 0:28:39It's the green four-door sedan.
0:28:39 > 0:28:41Look, there's one going past now.
0:28:41 > 0:28:43And going past again.
0:28:43 > 0:28:45That's very distracting.
0:28:45 > 0:28:49Spin on, and almost enough to make the girls crash into another car...
0:28:49 > 0:28:52SCREAMING, HORN HONKS
0:28:52 > 0:28:54..that's not there any more.
0:28:54 > 0:28:58- OK, that's enough!- Phew, that was close. Did I say close?
0:28:58 > 0:28:59I meant badly filmed.
0:28:59 > 0:29:03I'm not going to die in this tin can. I have a date with a dildo.
0:29:05 > 0:29:07Here's one of those FREAKS from Heroes now,
0:29:07 > 0:29:10using his superpower to defrost a car.
0:29:10 > 0:29:13Finally, a superpower with a practical use.
0:29:13 > 0:29:16What does it say on that car windscreen? "Automatic."
0:29:16 > 0:29:20I wasn't looking for an automatic. It's a nice car though. I'm definitely interested.
0:29:20 > 0:29:25Actually, it's almost exactly what I'm looking for. I like the colour, the make, the price,
0:29:25 > 0:29:30it's just if only instead of being automatic it was say, low-mileage.
0:29:30 > 0:29:32He-hey, now it is!
0:29:32 > 0:29:34That's what I call superpower.
0:29:34 > 0:29:36And art department incompetence.
0:29:38 > 0:29:40BEEPING
0:29:40 > 0:29:43Ashes To Ashes, and a chance to enjoy
0:29:43 > 0:29:48all that painstakingly-recreated '80s period detail.
0:29:48 > 0:29:52Everything exactly as it would have been 30 years ago.
0:29:52 > 0:29:54Except for that N-reg 1993 Rover 600,
0:29:54 > 0:29:58which didn't go into production for another 12 years.
0:29:58 > 0:30:01- ..before the turns to the high street, copy that.- Who cares?
0:30:01 > 0:30:06- COCKNEY ACCENT: - We're remaking The Sweeney and we haven't had any dinner!
0:30:06 > 0:30:09Here's a clip from 24, and Jack Bauer is under surveillance.
0:30:09 > 0:30:13See, there's the minicam, at the front left of the windscreen.
0:30:13 > 0:30:18His every move is being watched, except by the remaining audience. They fell asleep hours ago.
0:30:18 > 0:30:22Now, look as we see the window from the inside of the car.
0:30:22 > 0:30:24The minicam's gone! A mistake?
0:30:24 > 0:30:26Well, yes, but these people are saving the world.
0:30:26 > 0:30:29They can't remember everything!
0:30:31 > 0:30:35Here's Knight Rider, David Hasselhoff, telling KITT
0:30:35 > 0:30:37to round up some other cars,
0:30:37 > 0:30:39a bit like a two-tonne metal sheepdog,
0:30:39 > 0:30:41with an engine and bumpers.
0:30:41 > 0:30:45Talking of bumpers, why are all those covered in plastic?
0:30:45 > 0:30:48It's almost as if they've been fitted with protective guards
0:30:48 > 0:30:50to prevent scratches.
0:30:50 > 0:30:54No, they wouldn't do that. That'd be almost as bad as letting us see
0:30:54 > 0:30:58the stuntman that really drives KITT, slumped in the front seat.
0:31:01 > 0:31:03Well, his arm.
0:31:03 > 0:31:05At least he didn't pull a moonie!
0:31:07 > 0:31:12The great thing about animals is the fact that they will literally work for peanuts.
0:31:12 > 0:31:16Over the years, animals have given us some classic TV moments.
0:31:16 > 0:31:19Who can forget the infamous Blue Peter elephant, who for
0:31:19 > 0:31:22years carried the blame for Peter Purves's violent bout of diarrhoea.
0:31:22 > 0:31:26The following clips might be less well-known, but they are sure
0:31:26 > 0:31:30to delight fans of TV mistakes and mild animal cruelty alike.
0:31:33 > 0:31:34A humorous little set piece
0:31:34 > 0:31:38from Grey's Anatomy now, following doctors Burke and Yang's
0:31:38 > 0:31:41street chat, George's bagel gets pooed on by a bird
0:31:41 > 0:31:45and, devastated, he throws it to the pavement,
0:31:45 > 0:31:46where it's immediately pounced upon
0:31:46 > 0:31:49by a grateful pigeon, just like in the script.
0:31:49 > 0:31:52How do they do that? Was it a stunt pigeon?
0:31:52 > 0:31:57No, it was a plain old ordinary pigeon, tied to a length of wire.
0:31:57 > 0:31:59Time to give the man responsible the push.
0:32:01 > 0:32:03Too late, he jumped.
0:32:05 > 0:32:09This horrible 19th-century singing is upsetting me and the dog.
0:32:09 > 0:32:12- HOWLING - Hark at him howling!
0:32:12 > 0:32:17Well, not so much "howling", more "looking", silently looking up at
0:32:17 > 0:32:20the doggy treat being waved by his handler off-camera.
0:32:20 > 0:32:23"But we need him to howl," said the director.
0:32:23 > 0:32:25"It'll be fine," said the sound man,
0:32:25 > 0:32:27"we'll just stick some howling effects on later,
0:32:27 > 0:32:29"and no-one'll notice."
0:32:29 > 0:32:31Well, we did. Oh,shut up, dear!
0:32:33 > 0:32:35How DO they train dumb animals to act?
0:32:35 > 0:32:37I'm talking about the dog!
0:32:37 > 0:32:40They use handlers, of course.
0:32:40 > 0:32:42Handlers like him.
0:32:42 > 0:32:43I've always wanted to see
0:32:43 > 0:32:46what the top of a dog handler's head looks like. Hairy.
0:32:48 > 0:32:54At the top of the show, what you might call "the beginning", we saw a clip montage,
0:32:54 > 0:32:56what you might call a "collection",
0:32:56 > 0:33:00in which the camera crew accidentally found themselves in shot.
0:33:00 > 0:33:03What you might call "shocking unprofessionalism".
0:33:03 > 0:33:07Not all such unscheduled on-screen appearances are easy to spot.
0:33:07 > 0:33:13Shop windows, car doors, and poorly-placed mirrors are all catnip to the careless cameraman.
0:33:13 > 0:33:16Yes, nothing has the power to confuse and confound
0:33:16 > 0:33:19these highly-trained industry professionals
0:33:19 > 0:33:22like a reflection, or their own shadows!
0:33:22 > 0:33:23Which don't do that.
0:33:25 > 0:33:27You know what Eurisko means?
0:33:27 > 0:33:29Back on those X Files,
0:33:29 > 0:33:32Dave and Gill are about to be shown a mysterious video tape,
0:33:32 > 0:33:36which is what people in the past had instead of DVDs.
0:33:36 > 0:33:39It was like a roll of black ribbon in a box. Trust me, it was rubbish.
0:33:39 > 0:33:43Anyway, look what happens before it starts to play.
0:33:43 > 0:33:45Oh,dear, once more, the mysterious effect
0:33:45 > 0:33:47of what some people call "a reflection"
0:33:47 > 0:33:50catches out another entire telly crew.
0:33:50 > 0:33:53- Let me show you something. - We've seen enough, thank you.
0:33:55 > 0:33:58'80s classic Knight Rider will always be remembered
0:33:58 > 0:34:00less for its high production standards
0:34:00 > 0:34:02and more for being a pile of arse.
0:34:02 > 0:34:06How's that for a shadow? Not the best shot in the series, but if you
0:34:06 > 0:34:09look carefully, you can see one of the soundmen doing a shadow puppet
0:34:09 > 0:34:11of a crocodile eating a sausage.
0:34:11 > 0:34:14So not a complete disaster.
0:34:16 > 0:34:18- No, but can you?- Two Pints Of Lager.
0:34:18 > 0:34:21Here's Gaz and Donna on their way to visit Donna's mum,
0:34:21 > 0:34:24but they're not the only visitors.
0:34:24 > 0:34:26Keep your eye on the bay window.
0:34:26 > 0:34:29Peepo! That's either a cameraman or Will Mellor's stalker.
0:34:29 > 0:34:31SHE LAUGHS
0:34:31 > 0:34:34Don't laugh. They don't always follow celebrities.
0:34:36 > 0:34:38..party, not a shareholders' meeting.
0:34:38 > 0:34:40I love Arrested Development.
0:34:40 > 0:34:43Although, admittedly, this isn't the best bit.
0:34:43 > 0:34:45Watch Jeffrey Tambor's fetching shades.
0:34:45 > 0:34:48Because, you know what sunglasses do? They reflect.
0:34:48 > 0:34:50I knew it was against the law!
0:34:50 > 0:34:53Ooh! There's the entire Arrested Development crew!
0:34:53 > 0:34:56Hi guys, great show, bad shot!
0:34:58 > 0:35:01It's Thunderbirds, and as the cameraman
0:35:01 > 0:35:03moves into spy on this puppet lady,
0:35:03 > 0:35:05which is itself a bit wrong,
0:35:05 > 0:35:07we catch sight of him in the window.
0:35:07 > 0:35:11There he is, holding the camera, lowering the camera... Pervert.
0:35:13 > 0:35:15We're just getting a breath of fresh air.
0:35:15 > 0:35:17Now, who wants to see
0:35:17 > 0:35:20what the third assistant director on Skins looks like?
0:35:20 > 0:35:23Ready? There he is!
0:35:23 > 0:35:26Bless! There's his little face reflected in the taxi window.
0:35:26 > 0:35:28Bet he got into trouble for that one.
0:35:28 > 0:35:31Don't worry, though, he's still working in the TV industry,
0:35:31 > 0:35:34putting up satellite dishes in the Solihull area.
0:35:36 > 0:35:40Now, who wants to see what the rest of the Skins crew looks like?
0:35:40 > 0:35:43There they are, merrily dollying along the pavement,
0:35:43 > 0:35:44reflected in the bay windows.
0:35:44 > 0:35:46Didn't even wave!
0:35:50 > 0:35:53Vicky Pollard is thrown out of a shop,
0:35:53 > 0:35:57and oh, there's the reflection of the camera crew.
0:35:57 > 0:36:01Standing around, wondering what's about to happen next.
0:36:01 > 0:36:04Is it that? Yes, it was that.
0:36:08 > 0:36:11More crew caught out by cars in 24.
0:36:11 > 0:36:14Cooee, Mr Cameraman.
0:36:14 > 0:36:17Whose stupid idea was it to polish that vehicle?
0:36:17 > 0:36:20Don't worry, Jack Bauer's got 24 hours to find them.
0:36:20 > 0:36:22And some more consonants for his surname.
0:36:25 > 0:36:27Is that you?
0:36:27 > 0:36:29Here's a heart-rending scene
0:36:29 > 0:36:33from Dr Who, as Mickey has an emotional reunion with his grandma.
0:36:33 > 0:36:37And the boom mic operator, reflected in Granny's sunglasses.
0:36:37 > 0:36:40A lovely moment.
0:36:43 > 0:36:45This is a cracker. The housewives are desperate,
0:36:45 > 0:36:48but when it comes to reflections,
0:36:48 > 0:36:51the crew are just plain stupid. OK, fair play.
0:36:51 > 0:36:54This shot's all right, no reflections in the car window there.
0:36:54 > 0:36:58But just look what happens when Susan pulls away.
0:36:58 > 0:37:03Ooh! That is one dirty great camera, and one dirty great cameraman.
0:37:03 > 0:37:05Time for a Twinkie!
0:37:10 > 0:37:14Back on Wisteria Lane, Gaby's Maserati is about to be repossessed,
0:37:14 > 0:37:19but oh,dear, whenever I see a shiny object on a TV show, I always fear the worst.
0:37:19 > 0:37:21And here's why.
0:37:21 > 0:37:24Where there's a boom pole, there's a sound man.
0:37:24 > 0:37:30Eva Longoria has been in 128 episodes of Desperate Housewives. And the crew have been in about 12!
0:37:30 > 0:37:33You call this a paint job?
0:37:35 > 0:37:39Only Fools, and here's Del Boy with Mike and Boycie and Trigger
0:37:39 > 0:37:42and the shadow of an enormous camera.
0:37:42 > 0:37:44All together now - "You plonker!"
0:37:46 > 0:37:52When TV crews aren't wandering in, or crawling through, or squatting down in the back of shot,
0:37:52 > 0:37:58ruining the hard work of so many others, they're forgetting to clear away their filthy bits of gear.
0:37:58 > 0:38:02And I'm not just talking about flasks of tea or copies of Warhammer magazine.
0:38:02 > 0:38:07I'd like to say that these next clips were memorable for their excellent dialogue or performances,
0:38:07 > 0:38:11but instead, I'm forced to report that they were all but destroyed
0:38:11 > 0:38:14by the unwanted presence of poorly-positioned TV kit.
0:38:14 > 0:38:18Lights, cameras, are just two of the items you'll see. Here's the clips.
0:38:20 > 0:38:22Years ago, trucker named Bubba.
0:38:22 > 0:38:26Ah, Dawson's Creek. Look, there's tiny Katie Holmes-y,
0:38:26 > 0:38:28back when she was only trapped in a TV soap
0:38:28 > 0:38:30and not in a marriage to Tom Cruise.
0:38:30 > 0:38:33Wait a second! That's either Katie's radio mic
0:38:33 > 0:38:36or the box by which Tom Cruise controls her every movement.
0:38:36 > 0:38:38No, she hadn't met Tom back then.
0:38:38 > 0:38:40She does have one now, though.
0:38:44 > 0:38:46Another clip from Pride And Prejudice,
0:38:46 > 0:38:48starring dishy Colin Firth,
0:38:48 > 0:38:51and a scene oozing with sexual tension. Hardly surprising.
0:38:51 > 0:38:54Look at that dancing! That is hot.
0:38:54 > 0:38:55But hang on a minute, what's that?
0:38:55 > 0:38:58An electric light in the early 19th century?
0:38:58 > 0:39:00Oh, I hate anachronistic errors!
0:39:00 > 0:39:03I daren't think what Jane Austen's going to make of that when she sees it.
0:39:05 > 0:39:08She's the real deal.
0:39:08 > 0:39:10Joey told you about the leg?
0:39:10 > 0:39:12Now as we know, sound men often
0:39:12 > 0:39:18use a boom pole to record sound so the microphone won't get into shot.
0:39:18 > 0:39:21Except sometimes when a sound man has had a very busy morning on set
0:39:21 > 0:39:26or an even busier lunch down the pub, the boom does drop into shot.
0:39:29 > 0:39:33D'oh! There it is, did you see it?
0:39:33 > 0:39:36Oh, wake up you sandal-wearing lush!
0:39:38 > 0:39:42Another clip from Friends and proof that firing the boom operator
0:39:42 > 0:39:45isn't the answer because in all likelihood,
0:39:45 > 0:39:47the next one will be just as bad.
0:39:47 > 0:39:49D'oh, hello!
0:39:52 > 0:39:54Of course.
0:39:54 > 0:39:56Here's a scary scene from Supernatural.
0:39:56 > 0:39:58Two men reading a book?
0:39:58 > 0:40:01Ooh, someone could get a paper cut or an overdue library fine.
0:40:01 > 0:40:05Hey, there's something behind that lampshade. It's a television camera.
0:40:05 > 0:40:09Oh, it doesn't get any more exciting than this.
0:40:10 > 0:40:12Oh, it does.
0:40:15 > 0:40:17Stir up a hornets' nest.
0:40:17 > 0:40:22The Wire. A flawless show in every respect. Well, mostly.
0:40:22 > 0:40:25Look, the cameraman moves back too far and, bang,
0:40:25 > 0:40:29that enormous TV light has just been seen by millions of viewers.
0:40:29 > 0:40:32Well, at least the ones that sit three inches from the screen,
0:40:32 > 0:40:37staring at the extreme right of frame instead of at the action, like me.
0:40:37 > 0:40:39GUNFIRE
0:40:41 > 0:40:42He's in here.
0:40:45 > 0:40:49Two Pints Of Lager, and Donna has dragged Gaz to meet her family.
0:40:49 > 0:40:52And this boom mic.
0:40:52 > 0:40:55Hello, there you go, short and sweet, a bit like me.
0:40:55 > 0:40:57Apart from the short bit, obviously.
0:40:57 > 0:40:59He works away a lot.
0:41:01 > 0:41:04She tastes of lard.
0:41:04 > 0:41:06More pints of light comedy lager,
0:41:06 > 0:41:09and stand by for another brief cameo from the boom mic,
0:41:09 > 0:41:13instantly upstaging Ralf Little, and the other one,
0:41:13 > 0:41:14by being twice as funny.
0:41:16 > 0:41:18Peepo! Peep! Peep!
0:41:18 > 0:41:20Thanks, Mr Boom Mic Operator.
0:41:20 > 0:41:22We owe you a drink.
0:41:22 > 0:41:23No, I just kissed her.
0:41:25 > 0:41:28You have absolutely no sense of humour, do you?
0:41:28 > 0:41:31Fawlty Towers, a truly great sitcom
0:41:31 > 0:41:33that wasn't afraid to break the rules.
0:41:33 > 0:41:37Like the one about not leaving monitor screens lying around in the back of shot.
0:41:37 > 0:41:42There it is. You can even make out the very same shot of Basil running
0:41:42 > 0:41:47into the kitchen on the screen, and if you look at the monitor on the monitor, you can even...
0:41:47 > 0:41:51Actually I'll stop there before or I go mad and start insulting some Germans.
0:41:54 > 0:41:57It's the live EastEnders, and as Bradley lies dying,
0:41:57 > 0:42:01everyone crowds into the Square. Even the boom mic.
0:42:03 > 0:42:05Hell, take my daughter for example.
0:42:05 > 0:42:09The wonderful Arrested Development, and it's time to be
0:42:09 > 0:42:14perfectly honest, of all the "boom mic in shot" shots I've seen, this has to be in my favourite 50.
0:42:14 > 0:42:17A glorious Sunday afternoon. She won't tell me.
0:42:17 > 0:42:20Wotcher. I think you'll agree that was worth waiting for.
0:42:20 > 0:42:22What play?
0:42:24 > 0:42:27Editing is, of course, the simplest of all the jobs
0:42:27 > 0:42:30that people do in television that nobody really cares about.
0:42:30 > 0:42:34All an editor has to do is sit in a room with a producer or director
0:42:34 > 0:42:38and cut out of the stuff that didn't work and stick together all the stuff that did.
0:42:38 > 0:42:43But as we've already seen, mistakes get made, especially in a busy edit suite where teas
0:42:43 > 0:42:47and coffees have to be ordered and lunch menus read from cover to cover.
0:42:47 > 0:42:50Yes, between them, producers, directors and editors can make some
0:42:50 > 0:42:55pretty surprising decisions when it comes to selecting which shots to use and which to throw away.
0:42:55 > 0:42:59Take, for example, the decision to re-shoot all of my links here today
0:42:59 > 0:43:03instead of using the ones I recorded myself yesterday in the shower. Ridiculous.
0:43:07 > 0:43:11Here's a clip from American series Bones, and the perennial question,
0:43:11 > 0:43:14how do you pass the time on a long trip through the desert?
0:43:14 > 0:43:18I know. How about looking at the back projection and trying to spot
0:43:18 > 0:43:25when the cyclorama suddenly changes from flat scrub to mountainscape in a split second. Are we there yet?
0:43:25 > 0:43:28There we are. Your turn.
0:43:28 > 0:43:30And...cut.
0:43:30 > 0:43:33Great work, everybody. Who wants to play I-spy?
0:43:33 > 0:43:38I spy with my little eye something beginning with C.
0:43:38 > 0:43:39It's Crap FX, isn't it?
0:43:43 > 0:43:44It's Skins, and lovely Tony
0:43:44 > 0:43:47is about to tuck into a delicious tuna sandwich.
0:43:47 > 0:43:52Mmm, I love sandwiches. Conversely, most directors hate them.
0:43:52 > 0:43:54They're a continuity nightmare.
0:43:54 > 0:43:58And we're off. Bite one to the left.
0:43:58 > 0:43:59Which is now two bites big.
0:43:59 > 0:44:02That'd really put a dampener on your day.
0:44:02 > 0:44:05And whole again. First bite again to the left.
0:44:05 > 0:44:06Look what you're doing to your mate.
0:44:06 > 0:44:08He doesn't know what day it is.
0:44:08 > 0:44:11- But now multiple bites to left and right.- Have some tuna sandwich.
0:44:11 > 0:44:15- It'll make you feel better.- Are you sure? I'm feeling a bit dizzy.
0:44:15 > 0:44:16No, no, no, leave it.
0:44:16 > 0:44:19Leave it. He's at it as well.
0:44:19 > 0:44:22Tony is back to a one-bite sandwich. Two bites.
0:44:22 > 0:44:25Bites right and left.
0:44:25 > 0:44:27No, two bites to the left.
0:44:27 > 0:44:31- Hi, Tony.- Oh, beat it, kids, I'm trying to concentrate.
0:44:31 > 0:44:33Multiple bites again right and left.
0:44:33 > 0:44:36Oh, I've changed my mind, I hate tuna sandwiches.
0:44:38 > 0:44:40So the chair's a write-off?
0:44:40 > 0:44:44Miranda and Carrie are in the city taking a break from all that sex
0:44:44 > 0:44:48to enjoy a nice sit-down and... Oh, dear, cupcakes.
0:44:48 > 0:44:52Carrie's cupcake continuity is immaculate, but in a moment,
0:44:52 > 0:44:58Miranda's muffin goes from well-eaten to cake-o intacta.
0:44:58 > 0:45:00Actually, that wasn't too bad.
0:45:00 > 0:45:02Tony from Skins, pay attention.
0:45:04 > 0:45:06You got a whacking lot of doughnuts.
0:45:06 > 0:45:11Yes, food is a continuity nightmare, especially on Skins.
0:45:11 > 0:45:15Look, Pandora dives into this bag of doughnuts and grabs one with yellow icing.
0:45:15 > 0:45:18Takes a couple of bites, one, two.
0:45:18 > 0:45:20Now it's half-gone.
0:45:20 > 0:45:23Suddenly, it's all gone.
0:45:23 > 0:45:24Takes a pink one.
0:45:24 > 0:45:26Which is now yellow.
0:45:26 > 0:45:31And back to pink with two bites out of it.
0:45:31 > 0:45:33Then just one bite.
0:45:33 > 0:45:34And now it's gone.
0:45:34 > 0:45:36Hello.
0:45:36 > 0:45:38And back again!
0:45:38 > 0:45:42- That's doughnut madness. - Effie. So glad to meet you.
0:45:44 > 0:45:47In telly, one of the jobs of the director, besides shouting
0:45:47 > 0:45:49and drinking coffee, is blocking,
0:45:49 > 0:45:53which means telling the cameras and actors where to stand,
0:45:53 > 0:45:55though not always in the right place.
0:45:55 > 0:45:59Look, as Jenna goes to wake Gan, who's that loitering in the background?
0:45:59 > 0:46:03It's either an alien or Vila, arms folded, looking bored.
0:46:03 > 0:46:05Gan, come on, wake up.
0:46:05 > 0:46:07- What's wrong, Jenna? - And cue Vila.
0:46:07 > 0:46:10- Something's happened to them. - Where is he?
0:46:10 > 0:46:12If the future turns out to be anything like Blake's 7,
0:46:12 > 0:46:15- I'm going to be so disappointed. - What are you up to now?
0:46:17 > 0:46:19Go on, my son, go on, go on!
0:46:19 > 0:46:23Classic comedy from Only Fools And Horses, with some less-than-classic
0:46:23 > 0:46:27"standing around waiting for a cue" work from actor Lennard Pearce.
0:46:27 > 0:46:31Here it comes. Wait for it, Lennard.
0:46:31 > 0:46:33Oh, Lennard!
0:46:33 > 0:46:37I blame the director. It's not really Grandad's fault.
0:46:37 > 0:46:40He's so old. He's probably just stuck to the lino.
0:46:42 > 0:46:45It's Friends in Vegas.
0:46:45 > 0:46:50Here comes Chandler. He sees Monica having fun with another fellow,
0:46:50 > 0:46:53and all melancholy, he turns to leave.
0:46:53 > 0:46:59And leave again. You might think they just used the same shot twice, and you'd be right.
0:47:01 > 0:47:03You will not be better until they've...
0:47:03 > 0:47:07In this clip from the first series of Red Dwarf, Craig Charles
0:47:07 > 0:47:12is enjoying Craig Ferguson's lines and big acting so much, he joins in.
0:47:12 > 0:47:14I don't know, is it some place near Uruguay?
0:47:14 > 0:47:16Oh, you missed it, didn't you?
0:47:16 > 0:47:19Try again and keep your eyes on little Craig.
0:47:19 > 0:47:22- HIGH-PITCHED:- "I don't know, is it some place near Uruguay?"
0:47:22 > 0:47:24Lovely bit of close-harmony acting.
0:47:26 > 0:47:29Just let her go.
0:47:29 > 0:47:33- Go ahead, shoot.- Agent Mulder is in a stand off with a villain.
0:47:33 > 0:47:35He's probably an alien in disguise, they usually are.
0:47:35 > 0:47:39Like all good FBI agents, though, he's got his earpiece in so that
0:47:39 > 0:47:42he can listen to Chris Moyles and fight the alien hordes.
0:47:42 > 0:47:44Which is harder? You decide.
0:47:44 > 0:47:48This scene is crying out for a close-up of Mulder wrestling with his conscience
0:47:48 > 0:47:50and finally shooting the baddie.
0:47:50 > 0:47:53Unfortunately, they didn't get one, so they'd to film it later
0:47:53 > 0:47:56when he wasn't wearing an earpiece.
0:47:56 > 0:47:58Embarrassed in front of millions.
0:47:58 > 0:48:00Sorry, Dave.
0:48:03 > 0:48:07Mulder and Scully are pursuing a suspect.
0:48:07 > 0:48:11Either that, or another dissatisfied guest is leaving the FBI hotel
0:48:11 > 0:48:13via this half-open window.
0:48:14 > 0:48:16Oh, it's fallen on him.
0:48:16 > 0:48:18No, it hasn't.
0:48:20 > 0:48:23- Get your hands up!- Yeah, he will if you sort that window out.
0:48:23 > 0:48:25Max?
0:48:27 > 0:48:28It's Mulder again,
0:48:28 > 0:48:32and he's spotted something odd about this enormous tree trunk.
0:48:32 > 0:48:35Wait a minute, I think I know what it is.
0:48:37 > 0:48:40One minute, it's big with no green and no hand, but in close-up,
0:48:40 > 0:48:45it's suddenly much smaller and gained a pointy hand and some green.
0:48:45 > 0:48:49- I've never seen a ring like that before.- Me neither. Rubbish, wasn't it?
0:48:53 > 0:48:55Here's the lovely Jennifer Ehle
0:48:55 > 0:48:57in Pride And Prejudice, playing the piano.
0:48:57 > 0:49:00Except she isn't, because when we see inside,
0:49:00 > 0:49:02none of the hammers are moving.
0:49:02 > 0:49:05Although, she's definitely got my hammers moving,
0:49:05 > 0:49:06if you know what I mean.
0:49:06 > 0:49:09Actually, I'm not sure if even I know what that means.
0:49:11 > 0:49:16This party's rocking. That's not tea they're sipping, it's rum.
0:49:16 > 0:49:18Mmm... All off their 19th-century faces.
0:49:18 > 0:49:20The editor certainly had a few.
0:49:20 > 0:49:23Look what happens when he cuts to a wide shot.
0:49:23 > 0:49:27..can't express what we feel about your kindness to our dear Lydia.
0:49:27 > 0:49:32Suddenly, these two blokes are talking to each other and not listening to Alison Steadman,
0:49:32 > 0:49:37who's now chatting to someone sitting beside her, who isn't even there.
0:49:37 > 0:49:41Not so much Pride And Prejudice as Pride And Pretty Poor Wide Shot!
0:49:41 > 0:49:43- HE GUFFAWS - Oh, dear!
0:49:45 > 0:49:48And let us toast also Dr Soong.
0:49:48 > 0:49:54Star Trek NG, and Good Data and Bad Data are drinking champagne.
0:49:54 > 0:49:57A perfect match for my mind.
0:49:57 > 0:50:00- My body.- Good Data has been poisoned by Bad Data.
0:50:00 > 0:50:05Good Data topples backwards and somehow lands on his face.
0:50:05 > 0:50:10It's almost as if they had to redo it because the way he fell the first time was rubbish.
0:50:10 > 0:50:12They're good, these androids. I'm getting one.
0:50:14 > 0:50:16He had it shipped over from Scotland.
0:50:16 > 0:50:20Ever wondered what Superman's teenage years were like?
0:50:20 > 0:50:23Me neither, but that didn't stop them making Smallville.
0:50:23 > 0:50:28In between popping zits and shouting at his parents, Clark has found time to visit young Lex Luthor.
0:50:28 > 0:50:29Nice house.
0:50:29 > 0:50:33Shame you can see those two pieces of white tape on the parquet floor,
0:50:33 > 0:50:36put there by the crew to let Lex know where to stand.
0:50:36 > 0:50:39That's what we in TV call a mark.
0:50:39 > 0:50:42- And a mistake.- What's the matter?
0:50:42 > 0:50:45- You don't like it?- No, it very bad.
0:50:50 > 0:50:53The Black Adder, AKA Rowan Atkinson.
0:50:53 > 0:50:57Funny comedian, fine actor, always hits his mark.
0:50:59 > 0:51:03Mainly because it's clearly visible right there under his shoe.
0:51:05 > 0:51:06Three days after my funeral,
0:51:06 > 0:51:10Lynette replaced her grief with a much more useful emotion.
0:51:10 > 0:51:14In this clip from Desperate Housewives, Lynette is at the mall
0:51:14 > 0:51:18with those three naughty sons of hers and the baby, in pink, in the trolley.
0:51:18 > 0:51:20I can only imagine.
0:51:20 > 0:51:23Uh-oh, two of the boys have done a runner.
0:51:23 > 0:51:27But one bad pick-up shot later, and it looks like all four have scarpered.
0:51:27 > 0:51:30At least she's still got her pink blanket.
0:51:30 > 0:51:33Whichever way you look at it, that is borderline careless.
0:51:33 > 0:51:36- Lynette Scavo?- Crap.
0:51:38 > 0:51:40Classic Tom Baker-era Dr Who and,
0:51:40 > 0:51:43as one of the mummies from the Pyramids of Mars attacks Sarah Jane,
0:51:43 > 0:51:46he smashes this important device,
0:51:46 > 0:51:49known as a Marconiscope, to smithereens.
0:51:51 > 0:51:53Except in the very next shot, he hasn't.
0:51:53 > 0:51:56If you want to find out what a Marconiscope is,
0:51:56 > 0:51:59just go to any Dr Who fan site. They'll know.
0:51:59 > 0:52:01Just don't ask them what day it is.
0:52:04 > 0:52:07With live TV, you just have to go with it.
0:52:07 > 0:52:10In this climactic scene in the live 'StEnders episode,
0:52:10 > 0:52:13see if you can spot the moment when the cameraman trips.
0:52:16 > 0:52:18Oh!
0:52:20 > 0:52:24Dr George, played by TR Knight, is badly let down by the editing
0:52:24 > 0:52:26of this scene from Grey's Anatomy,
0:52:26 > 0:52:31as we see him remove his surgical topcoat not once but twice.
0:52:31 > 0:52:36A sloppy choice of shots in the edit and a great actor's career lies in ruins.
0:52:38 > 0:52:41# Here's what she said... #
0:52:41 > 0:52:43Great, it's The Simpsons,
0:52:43 > 0:52:46and here is Ned Flanders on top of a hill, singing.
0:52:46 > 0:52:47And here comes everyone else.
0:52:47 > 0:52:50That's funny. Wait a minute, so is that.
0:52:50 > 0:52:54Apu's skin is yellow, which in The Simpsons, means white,
0:52:54 > 0:52:58but he's Asian, and usually brown, which in The Simpsons means brown.
0:52:58 > 0:53:00Which he was, but he isn't any more.
0:53:00 > 0:53:03Who does he think he is, Michael Jackson?
0:53:03 > 0:53:06Sorry, shouldn't joke, he's dead. Jacko, I mean, not Apu.
0:53:06 > 0:53:07That would have been horrible.
0:53:07 > 0:53:10# Que sera, se... #
0:53:10 > 0:53:11Run!
0:53:13 > 0:53:15DOOR OPENS Clark!
0:53:15 > 0:53:19Martha from Smallville has sustained a nasty cut.
0:53:19 > 0:53:22There it is, just above her right eye.
0:53:22 > 0:53:27And here it is on her left eye.
0:53:27 > 0:53:29And back to the right.
0:53:29 > 0:53:34Yep, the director had "crossed the line", telly speak for "cocking up the camera position".
0:53:34 > 0:53:37Then he tried to fix it in the edit by flipping the shot.
0:53:37 > 0:53:41You might be able to get gaffes like that past Superman, but not us.
0:53:47 > 0:53:51Here is a sequence to make the Avatar team blush and then pat
0:53:51 > 0:53:55the Dr Who effects department on the head and say, "Oh, bless."
0:53:55 > 0:54:01When this spaceship crashes into the tower of Big Ben, suddenly, the numerals on her back-to-front.
0:54:01 > 0:54:04Because someone made a boob in the CGI and had to
0:54:04 > 0:54:07flip the shot to make it look like the spaceship enters from the right.
0:54:09 > 0:54:15The technique of flipping can also be used on your own TV remote every time Simon Cowell comes on.
0:54:17 > 0:54:20The king will therefore be requiring a new mistress.
0:54:20 > 0:54:22Dr Tennant again, in this clip,
0:54:22 > 0:54:25leaning on a balustrade in 18th-century France,
0:54:25 > 0:54:27spying on Madame Pompadour.
0:54:27 > 0:54:30She senses his presence, turns, but sees nothing.
0:54:30 > 0:54:33Not even his hand clutching the wall.
0:54:33 > 0:54:37Cos he isn't. But, in the next shot, he clearly still is.
0:54:37 > 0:54:39Maybe he's developed the power of invisibility.
0:54:39 > 0:54:42She's in for a surprise at bedtime.
0:54:44 > 0:54:46..on my brand-new camera.
0:54:46 > 0:54:49A less-than-thrilling clip from Dr Who,
0:54:49 > 0:54:52and Mark Warren is being filmed by a mate on his camcorder.
0:54:52 > 0:54:56The producers of the show are making sure we understand we're looking
0:54:56 > 0:55:01through a camcorder or by putting these frame lines on the screen.
0:55:01 > 0:55:05But spin on through the tedium, and the little lines have gone.
0:55:05 > 0:55:08Have dark forces tampered with the fabric of time and space?
0:55:08 > 0:55:11- I still don't know.- Well, I do.
0:55:11 > 0:55:15No, the editor got distracted by his Facebook page and forgot to put them on.
0:55:17 > 0:55:21And finally, if it's bad shot choices you're after,
0:55:21 > 0:55:23and who isn't, then check this. Here's Buffy,
0:55:23 > 0:55:27undertaking a vampire slayer's least onerous of tasks,
0:55:27 > 0:55:29picking up and putting down a pair of glasses.
0:55:29 > 0:55:31See if you can spot the gaffe.
0:55:33 > 0:55:36Yep.
0:55:36 > 0:55:38Wearing two pink rings on her fingers,
0:55:38 > 0:55:42she places the specs on the table, unfolded, with both hands.
0:55:42 > 0:55:45But in the close-up, the glasses have been folded,
0:55:45 > 0:55:48and are now put down by a single hand wearing a silver ring
0:55:48 > 0:55:50on a completely different table.
0:55:50 > 0:55:55- That, with the best will in the world, was really- BLEEP.
0:55:55 > 0:55:58Well, there it is, TV's Greatest Mistakes.
0:55:58 > 0:56:04Writers, directors, cameramen, editors, producers, set designers, wardrobe, hair and make-up minions.
0:56:04 > 0:56:09I salute you, albeit in a slack, cack-handed and rather incompetent way.
0:56:09 > 0:56:11You were the best!
0:56:11 > 0:56:14And by the best, of course, I mean the worst!
0:56:14 > 0:56:16- HE LAUGHS - Bye-bye! Get out of the way.
0:56:36 > 0:56:39Subtitles by Red Bee Media Ltd