Browse content similar to Episode 3. Check below for episodes and series from the same categories and more!
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Hello, I'm Robert Webb. | 0:00:13 | 0:00:15 | |
Welcome to Great TV Mistakes. | 0:00:15 | 0:00:18 | |
Over the next half hour, we'll be revealing the worst howlers ever broadcast. | 0:00:18 | 0:00:22 | |
Mistakes my crack team of square-eyed OCD numpties refuse to rest | 0:00:22 | 0:00:27 | |
until THEY have managed to show YOU the foul-ups THEY didn't want YOU to see. | 0:00:27 | 0:00:32 | |
They meaning them, not you. | 0:00:32 | 0:00:35 | |
Coming up - mistakes from: | 0:00:35 | 0:00:37 | |
..and many more! | 0:00:44 | 0:00:45 | |
To misquote the great Salt-N-Pepa, let's talk about sets. | 0:00:45 | 0:00:50 | |
Set designers do an incredible job, and I hate to spoil the magic of television, but sometimes what | 0:00:51 | 0:00:57 | |
appears to be real is actually made of elaborately painted wood, much like Amanda Holden's face. | 0:00:57 | 0:01:03 | |
This wall behind me, that's not brick, that's papier mache, | 0:01:03 | 0:01:06 | |
expertly knocked together by the Great TV Mistakes set designers. | 0:01:06 | 0:01:09 | |
Trust me, there's nothing we in television can't convincingly recreate. | 0:01:09 | 0:01:13 | |
The inside of the White House, the outside of a spaceship, | 0:01:13 | 0:01:16 | |
even an entire 15th century English village. | 0:01:16 | 0:01:19 | |
Everything, in fact, except Daphne in Frasier's Mancunian accent, | 0:01:19 | 0:01:24 | |
And all of these shocking set-related howlers. | 0:01:24 | 0:01:26 | |
Hey, Magnum's in Friends. | 0:01:28 | 0:01:30 | |
Look at the size of the bloke. They're having to widen the shot just to squeeze him in. | 0:01:30 | 0:01:34 | |
A bit too wide, if you ask me. | 0:01:34 | 0:01:36 | |
That is the edge of the set. Unless there's always been an enormous hole in Joey and Chandler's wall. | 0:01:36 | 0:01:42 | |
In which case, why does everyone still use the door? | 0:01:42 | 0:01:45 | |
Well, we had a table in college. | 0:01:45 | 0:01:46 | |
Filming historical storylines is always a challenge. | 0:01:49 | 0:01:54 | |
Take this episode of Doctor Who, set in Victorian London with Charles Dickens and some zombies. | 0:01:54 | 0:01:58 | |
But forget about them, because that is an electric light switch. | 0:01:58 | 0:02:04 | |
Edison didn't test the first light bulb until nine years after Charles Dickens' death. | 0:02:04 | 0:02:08 | |
If that isn't a mistake, my name isn't Robert Webb. | 0:02:08 | 0:02:11 | |
Which it is. | 0:02:11 | 0:02:14 | |
It's Doctor Who, '70s-style. And problems with the TARDIS have forced him to get these alien builders in. | 0:02:19 | 0:02:24 | |
See the alien builder on the left, keep your eyes on his feet. | 0:02:24 | 0:02:29 | |
D'oh! That's torn it, literally. | 0:02:29 | 0:02:31 | |
Light, too much light! | 0:02:31 | 0:02:35 | |
Yep, he's got his space boat caught under the Axminster. You idiot. | 0:02:35 | 0:02:38 | |
I know what you're thinking, how's he going to get his foot out from under the carpet? | 0:02:38 | 0:02:43 | |
Pick it up or just kick the carpet out of the way? | 0:02:43 | 0:02:46 | |
And he... Yeah, he just kicks it out of the way. Nice one. | 0:02:46 | 0:02:50 | |
Goddamn alien cowboy builders! | 0:02:50 | 0:02:52 | |
The IT Crowd, and Jen's up on the top floor. | 0:02:54 | 0:02:57 | |
I feel like I'm on top of the world. | 0:02:57 | 0:03:00 | |
Well, the top floor anyway, which is... | 0:03:00 | 0:03:03 | |
Floor 34. | 0:03:03 | 0:03:04 | |
Yes, floor 34. | 0:03:04 | 0:03:06 | |
-OK, where am I going? -All the way down to the basement. | 0:03:06 | 0:03:11 | |
From floor 34. But, hang on. | 0:03:11 | 0:03:15 | |
That lift's only got 31 buttons, meaning there's only 31 floors. | 0:03:15 | 0:03:18 | |
This doesn't make any sense. | 0:03:18 | 0:03:20 | |
I'm beginning to think these people don't take their pretend lift buttons seriously. | 0:03:20 | 0:03:24 | |
A brilliantly silly sequence from Wonder Woman now, | 0:03:26 | 0:03:30 | |
starring killer ape Gargantua | 0:03:30 | 0:03:32 | |
and this bloke in specs, who kicks off a classic dust-up | 0:03:32 | 0:03:36 | |
by throwing a balsawood coffee table like a massive girl. | 0:03:36 | 0:03:40 | |
Then, after some more "acting", he goes running for the door and that large red emergency button. | 0:03:40 | 0:03:46 | |
Gargantua throws a poorly constructed dummy across the room and, hey, it's a military rozzer. | 0:03:46 | 0:03:52 | |
He tries to press the button, misses it, but it goes off anyway. He's out of the game. | 0:03:52 | 0:03:57 | |
But here comes his mate, who's elderly. | 0:03:57 | 0:04:00 | |
He ignores the emergency button, cos it's not there any more, | 0:04:00 | 0:04:02 | |
and bounces off Gargantua like a septuagenarian pinball. | 0:04:02 | 0:04:06 | |
Yes, there was an error there but I'll be damned if I could spot it. | 0:04:06 | 0:04:09 | |
Here's pathologist turned serial killer, Dexter, | 0:04:11 | 0:04:15 | |
examining a dead body. Now, hold it there. | 0:04:15 | 0:04:18 | |
Time check. 11 minutes past 4. | 0:04:18 | 0:04:20 | |
And play. | 0:04:20 | 0:04:22 | |
Dexter takes a quick shufti at the cadaver. | 0:04:22 | 0:04:25 | |
And hold again. Ooh, it's 4:17. | 0:04:25 | 0:04:28 | |
That little look took six minutes. | 0:04:28 | 0:04:30 | |
Doesn't time fly when you're sniffing at a corpse? | 0:04:30 | 0:04:34 | |
Here's Lucy Lawless as Xena | 0:04:38 | 0:04:40 | |
in the best fighting form of her life, taking on baddie Deiphobus | 0:04:40 | 0:04:43 | |
Go, Xena! She's hard as a rock. | 0:04:43 | 0:04:46 | |
In fact, much harder than a rock. | 0:04:46 | 0:04:48 | |
Especially THAT rock. Boing! | 0:04:48 | 0:04:50 | |
Doing! | 0:04:52 | 0:04:54 | |
Hmm, did they have foam in ancient Greece? | 0:04:54 | 0:04:58 | |
Remember the time that you almost drowned... | 0:05:00 | 0:05:02 | |
Now, I don't want to suggest that they knocked some of these sets up in an afternoon, | 0:05:02 | 0:05:06 | |
cos often they don't have that long, but there is something a bit crap about this clip from Xena, | 0:05:06 | 0:05:11 | |
in which we see a Greek fortress, which history tells us were made of stone. | 0:05:11 | 0:05:15 | |
Stone, that geology tells us isn't known for its wobbly properties. | 0:05:15 | 0:05:20 | |
But look, over he goes, with a wibble and a wobble and a half pipe twist | 0:05:20 | 0:05:24 | |
that gymnastics tells us is an 8.5. I bet you can't do that again. | 0:05:24 | 0:05:28 | |
Wibble wobble, wibble wobble. Oh, he can. | 0:05:28 | 0:05:32 | |
That was the one I was trying to get a look at, not that Australian hayseed. | 0:05:34 | 0:05:39 | |
All's not well at Fawlty Towers, for a change. | 0:05:39 | 0:05:42 | |
Try as he might, Basil just can't get through to wife Sybil, for a change. | 0:05:42 | 0:05:47 | |
She's so annoyed and slams the door, along with half the wall. | 0:05:47 | 0:05:51 | |
That is some very unstable brickwork. Will somebody please call a builder? | 0:05:51 | 0:05:55 | |
And not Mr O'Reilly. Little joke for the fans there. | 0:05:55 | 0:05:58 | |
Just in case you're not one, O'Reilly is Basil's regular builder, very cheap and less than competent. | 0:06:01 | 0:06:07 | |
Look, he's blocked up the door to the dining room, blocked solid. | 0:06:07 | 0:06:11 | |
Well, not entirely. | 0:06:11 | 0:06:14 | |
No one puts up a wobblier wall than Basil Fawlty's builder. | 0:06:14 | 0:06:18 | |
Apart from a BBC set designer. | 0:06:18 | 0:06:20 | |
Sometimes not even a cheap set can ruin a scene, if the scene is a classic. | 0:06:23 | 0:06:28 | |
Basil's trying to catch one of the guests with a girl in his room but he's got the wrong window. | 0:06:28 | 0:06:33 | |
Keep your eyes on the pane of "glass". | 0:06:33 | 0:06:36 | |
It's plastic. And smeary, scratched plastic at that. | 0:06:37 | 0:06:42 | |
All in all, a gold star for BBC comedy and a brown smear for programme finance. | 0:06:42 | 0:06:47 | |
It's Blackadder II, and Queenie and Edmund are staking a wager with Lord Melchett. | 0:06:49 | 0:06:56 | |
Namely, how long can Stephen Fry last before going "Behhh"? | 0:06:56 | 0:07:00 | |
Watch what happens when Rowan waltzes out and, in his own words, the wall goes wibble. | 0:07:00 | 0:07:07 | |
I know what Stephen Fry would have said if he had seen that. | 0:07:07 | 0:07:09 | |
"Behhhhh!" | 0:07:09 | 0:07:11 | |
-Where have you been? -Where haven't I been? Woof! | 0:07:13 | 0:07:17 | |
Blackadder was a studio show, so you'd expect the build quality of the sets to be a bit dodgy. | 0:07:17 | 0:07:22 | |
As we know, that's just part of British sitcom law, | 0:07:22 | 0:07:24 | |
although in the case of these doors, | 0:07:24 | 0:07:26 | |
surely even balsawood would have been a better choice than polystyrene. | 0:07:26 | 0:07:31 | |
Will Smith is living it up in his uncle's mansion, a cardboard mansion. | 0:07:35 | 0:07:40 | |
Boom, shake the room! | 0:07:40 | 0:07:42 | |
I hope that's not a supporting wall. | 0:07:42 | 0:07:44 | |
Right, they leave me no choice. | 0:07:50 | 0:07:52 | |
A classic Thunderbirds car chase. | 0:07:52 | 0:07:55 | |
Watch what happens when the baddies' car spins off the road. | 0:07:55 | 0:07:59 | |
Timber! | 0:07:59 | 0:08:01 | |
Either the biggest squirrel in the world is in those trees | 0:08:01 | 0:08:04 | |
or the set guy just ran out of glue. | 0:08:04 | 0:08:06 | |
I think he makes half of it up. | 0:08:08 | 0:08:10 | |
Doctor Who's been on the telly for 47 years and 42 of those have been spent in corridors. | 0:08:10 | 0:08:17 | |
That's because corridors are cheap and impossible to get wrong, mostly. | 0:08:17 | 0:08:21 | |
Freeze the shot. | 0:08:21 | 0:08:23 | |
Notice the sign on the left for Torchwood. | 0:08:23 | 0:08:25 | |
Now, spin forward, and it's Billie's turn to try and fill some airtime. | 0:08:25 | 0:08:29 | |
That's it, Billie, create a bit of tension. Keep the dads watching. | 0:08:31 | 0:08:34 | |
And look at that. | 0:08:34 | 0:08:36 | |
The sign's gone all bigger with loads of added signery that just wasn't there a moment ago. | 0:08:36 | 0:08:41 | |
"Will the set designer please report to base, where an arse-kicking is waiting? Thank you." | 0:08:43 | 0:08:48 | |
You think you can kill a cop and get away with it? | 0:08:53 | 0:08:56 | |
Why not? I've done it before. | 0:08:56 | 0:08:58 | |
Star Trek: The Next Generation, | 0:08:58 | 0:09:00 | |
and Captain Picard and Data have got all mixed up with some '30s gangster types on the holodeck. | 0:09:00 | 0:09:06 | |
Meanwhile, outside in the corridor, we can clearly see there's | 0:09:07 | 0:09:11 | |
absolutely no second corridor leading off to the side. | 0:09:11 | 0:09:15 | |
Except when the gangsters step outside, there is. | 0:09:15 | 0:09:19 | |
In space, no-one can hear you scream, "That was rubbish!" | 0:09:19 | 0:09:23 | |
-It's not going to work. -Excellent, John, you're evolving. | 0:09:25 | 0:09:28 | |
Here's one for fans of Lost, assuming there are any left. | 0:09:28 | 0:09:34 | |
In this scene, Locke is required to throw a plastic tray at a stone wall, | 0:09:34 | 0:09:38 | |
but see how the plastic tray makes the stone wall tremble. | 0:09:38 | 0:09:42 | |
Normally, I'd say that was a TV mistake but this is Lost, | 0:09:44 | 0:09:48 | |
so you know, anything's possible. I blame the polar bears. | 0:09:48 | 0:09:51 | |
Hi, just so you know, we didn't mean... | 0:09:53 | 0:09:57 | |
Back to Friends, which was, of course, always filmed in front of | 0:09:57 | 0:10:00 | |
a live studio audience, and a very wobbly set. | 0:10:00 | 0:10:03 | |
Hmm, about as convincing as that bloke's beard. | 0:10:05 | 0:10:08 | |
Merry Christmas! | 0:10:10 | 0:10:11 | |
This is an episode of Friends called The One With The Self-Opening Door. | 0:10:11 | 0:10:16 | |
Oh God, you're the best! | 0:10:16 | 0:10:18 | |
Door closed... | 0:10:18 | 0:10:20 | |
Door open. If that isn't final proof of the existence of the supernatural, I don't know what is. | 0:10:21 | 0:10:29 | |
Ronnie Barker in the excellent Porridge and the inmates of Slade are out | 0:10:32 | 0:10:37 | |
for the day, under the supervision of Mr Barraclough in an old church. | 0:10:37 | 0:10:41 | |
Well, the outside bits were filmed in an old church, but the interiors certainly weren't. | 0:10:41 | 0:10:46 | |
Want proof? Just look what happens when Melvyn leans on a column. | 0:10:46 | 0:10:50 | |
Yes, it wobbles in a way that most Saxon stonework just doesn't. | 0:10:50 | 0:10:56 | |
TV is divided into on and off-screen talent. And for good reason. | 0:11:01 | 0:11:07 | |
I'm on-screen talent, because I'm beautiful and incredibly clever. | 0:11:07 | 0:11:10 | |
The camera people, make-up assistants and wardrobe - | 0:11:10 | 0:11:13 | |
flunkies, are off-screen talent, because they're ugly. | 0:11:13 | 0:11:17 | |
Trust me, you do not want to see these people. | 0:11:17 | 0:11:19 | |
I'm facing some of them right now and just looking at them is giving me such violent | 0:11:19 | 0:11:23 | |
stomach cramps it's a wonder I don't vomit all over the camera. | 0:11:23 | 0:11:26 | |
So, hold on to your lunches, cos our first set of clips are | 0:11:26 | 0:11:29 | |
littered with off-screen bods making fleeting on-screen appearances. | 0:11:29 | 0:11:34 | |
Not so much in a knowing, ironic, Alfred Hitchcock kind of a way, more a sort of "Oi, bacon-face, shift!" | 0:11:34 | 0:11:40 | |
sort of a way. Eww... | 0:11:40 | 0:11:42 | |
Hey, look, those crafty ancient Greeks are attacking Troy | 0:11:44 | 0:11:47 | |
after sneaking into the city in the belly of the Trojan horse. | 0:11:47 | 0:11:52 | |
There they are, in their rubber helmets. | 0:11:52 | 0:11:54 | |
But, according to this episode of Xena, they weren't alone. | 0:11:56 | 0:11:59 | |
It's your job to fight her first. | 0:11:59 | 0:12:01 | |
Oh, no, cos also stowed away in the horse's bumhole was... | 0:12:01 | 0:12:05 | |
This bloke! There he is, squatting on the battlements. You numpty. | 0:12:05 | 0:12:09 | |
Here's Sarah Michelle Gellar walking through a creepy wood late at night. | 0:12:11 | 0:12:18 | |
Careful, Buffy, watch out for vampires! | 0:12:18 | 0:12:21 | |
Oh, my God, what's that?! | 0:12:21 | 0:12:23 | |
It's a monster with a huge...! | 0:12:23 | 0:12:25 | |
Microphone. Oh dear, it's the boom operator. | 0:12:25 | 0:12:28 | |
Thunderbirds, and ignore this foreign baddie. | 0:12:30 | 0:12:34 | |
Damn those Welsh Iraqi pilots. | 0:12:35 | 0:12:37 | |
Watch Tintin, held in the vice-like grip of this serial killer turned puppeteer. | 0:12:37 | 0:12:43 | |
His nails aren't normally that dirty, he'd just finished burying another body. | 0:12:43 | 0:12:47 | |
So what did you do that made Dad cut you off? | 0:12:48 | 0:12:51 | |
OK, team, no clues. | 0:12:51 | 0:12:53 | |
See if you can spot the mistake in this clip from Friends. | 0:12:53 | 0:12:57 | |
Yeah, but it wasn't for me, it was for a friend. | 0:12:57 | 0:12:59 | |
Boy, did we make friends with the wrong sister. | 0:12:59 | 0:13:02 | |
You missed it, didn't you? Forget the pretty actors, look at the pretty cameraman. | 0:13:02 | 0:13:07 | |
It's amazing what you miss when you're laughing. And when you're not. | 0:13:07 | 0:13:10 | |
It's gourmet night at Fawlty Towers and a very funny scene featuring | 0:13:14 | 0:13:18 | |
a fine example of the easily missable TV mistake. | 0:13:18 | 0:13:22 | |
Missed it, didn't you? Here it is again. | 0:13:24 | 0:13:25 | |
This time, forget the action and concentrate on the BBC techie bloke squatting behind the double doors. | 0:13:25 | 0:13:32 | |
A classic mistake from a classic comedy that just got funnier with age. | 0:13:32 | 0:13:36 | |
If only the same could be said for John Cleese. | 0:13:36 | 0:13:39 | |
I mean, look at that! | 0:13:39 | 0:13:40 | |
-Can I help? -Yes, go and kill yourself! | 0:13:40 | 0:13:44 | |
Sam and Dean from Supernatural are having trouble with a couple of amateur ghost hunters. | 0:13:45 | 0:13:50 | |
Question is, what's behind that door? | 0:13:50 | 0:13:53 | |
Guys, you want to go open that door for us? | 0:13:53 | 0:13:57 | |
Everyone's terrified and armed to the teeth - must be the Jehovah's Witnesses. | 0:13:57 | 0:14:03 | |
It's a ghost, or at least a ghost who can be hurt by bullets. | 0:14:03 | 0:14:09 | |
I can't decide what's worse about this clip, the ghost who's afraid of bullets | 0:14:09 | 0:14:13 | |
or the cameraman who doesn't know where to stand. | 0:14:13 | 0:14:16 | |
Hmm, it's the cameraman. | 0:14:16 | 0:14:19 | |
Its Charmed, the series about a bunch of friendly witches. Or am I thinking of Loose Women? | 0:14:22 | 0:14:27 | |
Anyway, ignore this trespasser and instead feast your eyes on | 0:14:27 | 0:14:31 | |
the director sitting in the next room listening to his iPod. | 0:14:31 | 0:14:35 | |
You're supposed to sit behind the camera, not in front of the pointy end. See that book? | 0:14:35 | 0:14:40 | |
As soon as they turn the camera off, they're going to hit him with that. | 0:14:40 | 0:14:45 | |
It's Doctor Who from 1975, back when children everywhere could | 0:14:45 | 0:14:51 | |
be found hiding behind the sofa, avoiding gaffes like this. | 0:14:51 | 0:14:54 | |
Keep your eyes on the baddie's bottom, or rather what's under it. | 0:14:54 | 0:14:58 | |
-I can move! -Oh, dear. | 0:14:58 | 0:14:59 | |
That floor assistant's thinking "If I move my hand away slowly, no-one will see a thing." | 0:15:02 | 0:15:07 | |
But we did. | 0:15:07 | 0:15:08 | |
Here's Blackadder staging an elaborate con trick, but not the one | 0:15:11 | 0:15:15 | |
where he gets massive laughs from repeatedly saying the word "Bob." | 0:15:15 | 0:15:19 | |
No, he's pretending he's built a time machine. | 0:15:19 | 0:15:21 | |
Of course, it's not real, and you can tell, cos it's made of wood | 0:15:21 | 0:15:25 | |
and bits of old junk and requires one of the crew to push the door shut. | 0:15:25 | 0:15:31 | |
Well done, Balders, this is very impressive. | 0:15:31 | 0:15:35 | |
The maybe of Mike Delphino. | 0:15:35 | 0:15:37 | |
It's Desperate Housewives, and Susan's just broken into a neighbour's house | 0:15:37 | 0:15:42 | |
to return a Pyrex jug, but finds time to take a moment alone with just her thoughts for company. | 0:15:42 | 0:15:48 | |
And that bloke crawling behind the sofa. | 0:15:48 | 0:15:52 | |
Yes, it's the guy who just set fire to the curtains, | 0:15:52 | 0:15:55 | |
whose idea of keeping out of shot is crawling across the screen on his hands and knees. | 0:15:55 | 0:16:00 | |
Wait for it. You're... Fired! | 0:16:00 | 0:16:03 | |
Ha-ha! Sorry. | 0:16:03 | 0:16:05 | |
Here's a clip from Scrubs, the American sitcom set in a hospital. | 0:16:08 | 0:16:12 | |
It's a bit like Casualty but with fewer laughs. | 0:16:12 | 0:16:16 | |
Here, Dr Turk is about to bite into a sarnie when all of a sudden, there's an emergency. | 0:16:16 | 0:16:20 | |
Thankfully, someone's there to lend a hand. | 0:16:20 | 0:16:23 | |
That's either a member of the crew holding the door open | 0:16:23 | 0:16:26 | |
or one of the patients has fallen out of bed again. | 0:16:26 | 0:16:28 | |
-Make those dreams happen. -Yes. | 0:16:30 | 0:16:33 | |
You can always tell when a TV series is working, | 0:16:33 | 0:16:35 | |
cos everyone on screen looks like they're really enjoying themselves. | 0:16:35 | 0:16:39 | |
Take Arrested Development, a show which is obviously so much fun | 0:16:39 | 0:16:43 | |
even the crew like to get on, just once... Boo! | 0:16:43 | 0:16:47 | |
Or twice. Boo! | 0:16:47 | 0:16:50 | |
-An emotional farewell scene in Lost as Charlie says goodbye to Hurley. -That's uncool, man. | 0:16:52 | 0:16:58 | |
But for once, try to keep your eyes off the unfolding drama and Hurley's boobs, | 0:16:58 | 0:17:03 | |
and on the cameraman clearly visible to the left of shot. | 0:17:03 | 0:17:07 | |
You can see his sandals, his camera and if you really squint, his P45. | 0:17:07 | 0:17:12 | |
Wait! | 0:17:12 | 0:17:13 | |
It's 24, and everything, as always, is very, very tense. | 0:17:16 | 0:17:20 | |
A tense Tony is ignoring a call from a tense Nina. | 0:17:20 | 0:17:23 | |
Come on, Sammy, pick up. | 0:17:23 | 0:17:25 | |
Unbeknown to tense Nina, there's someone else in the barn with her. | 0:17:25 | 0:17:28 | |
And here he comes, wandering in from the right. | 0:17:28 | 0:17:31 | |
A cameraman. | 0:17:31 | 0:17:34 | |
And if you want to know how he's feeling, I'll tell you. Tense. | 0:17:34 | 0:17:38 | |
Whenever there's a conversation about the world's hardest jobs, | 0:17:42 | 0:17:46 | |
the same professions come up time and time again. | 0:17:46 | 0:17:49 | |
Trauma surgeon, soldier, air traffic controller, and of course, actor. | 0:17:49 | 0:17:54 | |
And out of these jobs, actor is surely the hardest. | 0:17:54 | 0:17:58 | |
Actors do a very difficult job. | 0:17:58 | 0:18:00 | |
If we're not learning lines, then we're signing autographs or doing | 0:18:00 | 0:18:03 | |
stuff for free with wonky kids, we're having to stand up in front | 0:18:03 | 0:18:06 | |
of loads of strangers and say words that sometimes we don't even understand. | 0:18:06 | 0:18:11 | |
Consequently, every now and again, through no fault of our own, stuff does go a bit wrong. | 0:18:11 | 0:18:18 | |
I'm sorry, the party got a little out of hand. | 0:18:20 | 0:18:22 | |
People your age, they have finished college... | 0:18:22 | 0:18:24 | |
Oh, the poor little rich girls of The OC. | 0:18:24 | 0:18:26 | |
Here's Hayley, tidying up after another crazy party. | 0:18:26 | 0:18:31 | |
Well, I say tidying up, but what Amanda Rugetti is actually doing | 0:18:31 | 0:18:36 | |
is picking up tiny pieces of invisible rubbish. | 0:18:36 | 0:18:39 | |
Look, she's dropping little bits of air into that bin bag. | 0:18:39 | 0:18:42 | |
That, ladies and gentlemen, is what you call method acting... | 0:18:44 | 0:18:47 | |
if your method is piss-poor. | 0:18:47 | 0:18:51 | |
You know, this scene was filmed eight years ago | 0:18:51 | 0:18:53 | |
but unsurprisingly, she only finished tidying the room last Thursday. | 0:18:53 | 0:18:57 | |
Oh, we're back in The OC | 0:18:57 | 0:18:59 | |
and here comes Mischa Barton, sulking her way into the room. | 0:18:59 | 0:19:03 | |
"Nuh, nuh, nuh, I'm Mischa Barton." | 0:19:03 | 0:19:06 | |
And she dumps her jacket down on the right, and then moments later, | 0:19:06 | 0:19:11 | |
there it is on the left. | 0:19:11 | 0:19:12 | |
That's not going to improve her mood. | 0:19:12 | 0:19:15 | |
To Albert Square and that live anniversary episode. | 0:19:18 | 0:19:21 | |
And Stace and Bradley are talkin' abaht fings with Max and Scott when Scott forgets his lines. | 0:19:21 | 0:19:28 | |
You held the fact from the pl... Look, it's a motive, you've held it against the public... | 0:19:28 | 0:19:32 | |
-Look, we all have... -Well, I'll explain that. | 0:19:32 | 0:19:34 | |
-Oh, dear, no retakes here. This is live. -Found out what she, what... | 0:19:34 | 0:19:39 | |
Oh, he's gone again. Oh, tricky business, this live telly. | 0:19:39 | 0:19:42 | |
Bless him. I'd leave it, Scott, it ain't worth it! | 0:19:42 | 0:19:45 | |
It's a classic Phil-Mitchell-in-a-rage scene and Ian's on the receiving end. | 0:19:47 | 0:19:52 | |
But when you want someone to cease doing something, what do you say? | 0:19:52 | 0:19:54 | |
Is it A, stop, or B, slop? | 0:19:54 | 0:19:58 | |
-Slop. -What? -Slop. -I'll give you one more guess. | 0:19:58 | 0:20:03 | |
-Slop. -I'm sorry, Ian, the answer I was looking for was A, stop. | 0:20:03 | 0:20:07 | |
Received and acknowledged, sir. Picard out. | 0:20:09 | 0:20:12 | |
Jean Luc Picard, ever the stern- faced model of professionalism. | 0:20:12 | 0:20:16 | |
Except when he goes through the turbo lift doors and has a quick girn. You missed it, didn't you? | 0:20:16 | 0:20:22 | |
Don't worry, here it is again. | 0:20:22 | 0:20:24 | |
He just boldly girned where no man has girned before. | 0:20:27 | 0:20:30 | |
In this clip from Buffy, fiendish but foxy teacher Miss French is making herself a sandwich. | 0:20:32 | 0:20:38 | |
She's a sucker for fresh ingredients. | 0:20:38 | 0:20:41 | |
I think I had one of those myself from a motorway services. | 0:20:41 | 0:20:44 | |
But there's something very wrong here. | 0:20:44 | 0:20:46 | |
Besides a lady chewing live insects. | 0:20:46 | 0:20:48 | |
Because when she starts eating, her sleeves are up, then she opens the box, her sleeves are down. | 0:20:48 | 0:20:54 | |
And finally, they're back up again. | 0:20:54 | 0:20:56 | |
Add to that the insect sandwich and all the vampire business and you've | 0:20:56 | 0:21:00 | |
got a scene that's more disturbing than Andrew Lloyd Webber's smile. | 0:21:00 | 0:21:03 | |
-More odd goings on in Buffy. -The werewolf! | 0:21:06 | 0:21:09 | |
A werewolf has gone AWOL and they need to find him/it quickly. | 0:21:09 | 0:21:14 | |
But Giles isn't wearing his glasses. | 0:21:14 | 0:21:16 | |
Oh, he is. Problem solved. | 0:21:16 | 0:21:18 | |
Problem unsolved! And solved again. | 0:21:18 | 0:21:22 | |
I think we're sorted. That werewolf is history. My mistake! The glasses are. | 0:21:22 | 0:21:26 | |
Grey's Anatomy and Patrick Dempsey takes his earphones out cos he's | 0:21:28 | 0:21:32 | |
being talked at by a lady. | 0:21:32 | 0:21:34 | |
-But he pretends he still can't hear her anyway. -Am I invisible? I'm feeling strangely invisible. | 0:21:34 | 0:21:38 | |
-Also inaudible. -What? -And who can blame him, she really is banging on. | 0:21:38 | 0:21:44 | |
-So I guess dinner shopping is out? -Yeah. -Might as well wrap the headphones up. | 0:21:44 | 0:21:49 | |
-Sorry. -You're not. I'm just trying to figure out why you're not. | 0:21:49 | 0:21:52 | |
And up. A very long wire. | 0:21:52 | 0:21:53 | |
And put them away. | 0:21:53 | 0:21:56 | |
D'oh! Hang on, they're still round his neck. | 0:21:56 | 0:21:59 | |
Unless that's his spare set. | 0:21:59 | 0:22:01 | |
Pat, there's only so much Peter Andre a man can listen to. | 0:22:01 | 0:22:05 | |
When it comes to bad dead acting, you'd have to go back a long way to find a poorer example than this. | 0:22:08 | 0:22:14 | |
Centuries back, to be precise. In this clip from Xena, everyone thinks the great warrior princess is dead. | 0:22:14 | 0:22:21 | |
Though quite why is anyone's guess. | 0:22:21 | 0:22:22 | |
Clue one, blood is still coursing through her jugular ten to the dozen. | 0:22:22 | 0:22:28 | |
Clue two, in a moment, she clearly blinks. | 0:22:28 | 0:22:31 | |
And clue three, this is season one. | 0:22:31 | 0:22:33 | |
-There's another five series of this rubbish. -We've got to get out of here. | 0:22:33 | 0:22:37 | |
Yes, no, no, I did not book this one. | 0:22:39 | 0:22:42 | |
This clip from Arrested Development will delight fans of continuity errors and flowers alike. | 0:22:42 | 0:22:47 | |
There's the vicious and sexy Lindsey, who's just got back with some shopping. | 0:22:47 | 0:22:53 | |
We see her take out this bunch of posies and put them on the counter. | 0:22:53 | 0:22:57 | |
So far so good. Jason Bateman does some talking. | 0:22:57 | 0:23:00 | |
Back to Linds and this enormous vase that she's about to dump the flowers into. When... | 0:23:00 | 0:23:07 | |
They're suddenly back in the bag again. | 0:23:07 | 0:23:09 | |
Yeah, that is a TV mistake and I'll be honest, I'm disappointed by that. | 0:23:09 | 0:23:15 | |
And so's he. | 0:23:15 | 0:23:16 | |
Band of Brothers, and Sergeant Major Schwimmer is furious with one of his soldiers. | 0:23:22 | 0:23:27 | |
Christiansen, why is there no water in your canteen?! | 0:23:27 | 0:23:31 | |
It's not just about the water. Look, this soldier's gun keeps jumping from one shoulder to the other. | 0:23:31 | 0:23:37 | |
There it is on the right. | 0:23:37 | 0:23:39 | |
-And there it is on the left. -You will repeat all 12 miles...! | 0:23:39 | 0:23:42 | |
And back again. That's dangerous with a loaded weapon. | 0:23:42 | 0:23:46 | |
He was a good man, your father. | 0:23:48 | 0:23:51 | |
Here's Uncle Junior in The Sopranos and he's hopping mad. | 0:23:51 | 0:23:55 | |
He must have lost the remote or worse, forgot to tape Minder. | 0:23:55 | 0:23:59 | |
Whatever, it's made him so angry that his glasses momentarily disappear. | 0:23:59 | 0:24:05 | |
Just don't anyone tell him he accidentally put a red sock in with the whites. | 0:24:05 | 0:24:09 | |
Kate must have a tiny vagina. | 0:24:11 | 0:24:14 | |
Here we are in that city where there's all that sex. | 0:24:14 | 0:24:17 | |
And the girls are in the khazi doing lady things. | 0:24:17 | 0:24:20 | |
Sometimes you just know. | 0:24:20 | 0:24:21 | |
With the right match, it's fate. | 0:24:21 | 0:24:23 | |
Sarah Jessica Parker's sorting her hair out. | 0:24:23 | 0:24:26 | |
She's tying it out in a scrunchie, but that's SJP hair, so it'll need special restraints. | 0:24:26 | 0:24:32 | |
So she straps it down twice with the same scrunchie. | 0:24:32 | 0:24:36 | |
But spin on, cos it was all worth it. | 0:24:36 | 0:24:38 | |
Now she looks lovely | 0:24:38 | 0:24:39 | |
and not at all like a Yorkshire terrier with a Croydon facelift. Super. | 0:24:39 | 0:24:43 | |
Oh, look, it's only 10. How nice. | 0:24:45 | 0:24:47 | |
-There's no coffee. -The Gilmore Girls, and Lorelai is chatting to | 0:24:47 | 0:24:50 | |
Luke as he tries to fix a toaster by shoving a screwdriver into it. | 0:24:50 | 0:24:53 | |
In a minute, he's going to try and fix the waste disposal | 0:24:53 | 0:24:57 | |
by sticking his winkie into it. | 0:24:57 | 0:24:59 | |
See how he goes to get coffee, leaving the screwdriver in the hole, | 0:24:59 | 0:25:03 | |
and when he returns, screwdriver gone. | 0:25:03 | 0:25:06 | |
Oh, there it is by the side of the toaster. | 0:25:06 | 0:25:09 | |
Right, where's that waste disposal? | 0:25:09 | 0:25:13 | |
Here's Sam and here's his brother, Dean. | 0:25:13 | 0:25:17 | |
Ignore the girl. The ghostbusting siblings from Supernatural. | 0:25:17 | 0:25:21 | |
Dean is played by an actor called Jenson - ignore the girl - and Sam by an actor called Jared. | 0:25:21 | 0:25:27 | |
Are we all clear? Dean is played by Jenson and Sam is played by Jared. | 0:25:27 | 0:25:32 | |
How do I know? Well, in this scene, when they're all meant to be acting, | 0:25:32 | 0:25:36 | |
Dean doesn't call Sam "Sam", he calls him Jared. | 0:25:36 | 0:25:38 | |
Jared, check it out. | 0:25:38 | 0:25:39 | |
Yeah, "Jared, check it out. | 0:25:39 | 0:25:41 | |
"I just ballsed up the scene by calling you by your real name." | 0:25:41 | 0:25:45 | |
Yes, more dumbarsery from the Brothers Grimm. | 0:25:48 | 0:25:52 | |
In this scene, they're supposed to be acting all angry cos they've just been outwitted by this lady. | 0:25:52 | 0:25:56 | |
Although, I reckon a pigeon could outwit these two. | 0:25:56 | 0:26:01 | |
Anyway, the script might be calling for fury but all Jared can manage is a poorly concealed snigger. | 0:26:01 | 0:26:06 | |
-Son of a bitch! -Remember, this was presumably the best take, the one they actually used. | 0:26:06 | 0:26:12 | |
Makes you wonder how bad the others were. He probably weed himself. | 0:26:12 | 0:26:14 | |
Pride and Prejudice, and I've got to say, Jennifer Ehle makes playing the piano look effortless. | 0:26:16 | 0:26:22 | |
Colin's Impressed. He always uses his fingers. | 0:26:22 | 0:26:25 | |
Not Jen, though, her hands and arms are barely moving. | 0:26:25 | 0:26:28 | |
Do you know, I think she's miming. | 0:26:28 | 0:26:31 | |
-I know you find great enjoyment in professing opinions which are not your own. -And in miming. | 0:26:31 | 0:26:36 | |
Either that or she's just brilliant at playing the piano. | 0:26:36 | 0:26:39 | |
It's the first thing though, isn't it? | 0:26:39 | 0:26:41 | |
Generous of him, is it not? | 0:26:41 | 0:26:42 | |
What do you think about this? | 0:26:44 | 0:26:46 | |
Here's Tasha and Troy, surely two of Star Trek: The Next Generation's least favourite characters. | 0:26:46 | 0:26:52 | |
-It's not for you. -Tasha is covered in scarves. Fast forward but they're | 0:26:52 | 0:26:56 | |
made from some weird futuristic space fabric which just disappears. | 0:26:56 | 0:27:01 | |
-Never mind. -Oh, but I do mind. | 0:27:01 | 0:27:03 | |
They're scarves, Jim, but not as we know it. | 0:27:03 | 0:27:06 | |
They don't half have some trouble with bag straps in Six Feet Under, and props in general. | 0:27:08 | 0:27:13 | |
Just watch these two. | 0:27:13 | 0:27:15 | |
So, who do you think plays Parker in the movie of her life? | 0:27:15 | 0:27:18 | |
Sandy Bullock or Julia Roberts? | 0:27:18 | 0:27:21 | |
They both pull their rucksacks on twice and she loses her water bottle. | 0:27:21 | 0:27:27 | |
They're just not taking this camping thing seriously. | 0:27:27 | 0:27:30 | |
-Anyway, I just wanted to say how wonderful... -Back to Friends, and a special guest appearance | 0:27:32 | 0:27:36 | |
by Susan Sarandon, the thinking person's MILF, playing a hard- drinking, chain-smoking actress. | 0:27:36 | 0:27:43 | |
Ever the pro, Susan manages to cram both into this scene. | 0:27:43 | 0:27:47 | |
Chain-smoker. | 0:27:47 | 0:27:48 | |
Hard drinker. | 0:27:48 | 0:27:50 | |
Chain-smoker. | 0:27:50 | 0:27:52 | |
I hope my fingers are than nimble when I'm 80. | 0:27:52 | 0:27:55 | |
Well, there it is, TV's Greatest Mistakes. | 0:27:57 | 0:28:00 | |
I'd just like to say thanks to all the people involved tonight | 0:28:00 | 0:28:03 | |
for being so very sloppy in your chosen careers. | 0:28:03 | 0:28:06 | |
It's a good job it's just telly and nothing of any importance | 0:28:06 | 0:28:09 | |
because if this had been a paper round or a Saturday job in a burger bar, you'd have been fired. | 0:28:09 | 0:28:13 | |
Bye-bye. | 0:28:13 | 0:28:15 | |
Subtitles by Red Bee Media Ltd | 0:28:39 | 0:28:42 |