Browse content similar to Episode 4. 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 | 0:00:23 | |
Mistakes my crack team of square-eyed OCD numpties | 0:00:23 | 0:00:26 | |
refuse to rest until they have managed to show you the foul-ups | 0:00:26 | 0:00:30 | |
they didn't want you to see. | 0:00:30 | 0:00:32 | |
They meaning them, not you. | 0:00:32 | 0:00:34 | |
Coming up - mistakes from... | 0:00:35 | 0:00:37 | |
..and many, many more! | 0:00:44 | 0:00:45 | |
TV shows are a huge investment of time, money and effort, | 0:00:45 | 0:00:49 | |
but you can spend months and months getting something right, | 0:00:49 | 0:00:52 | |
hiring the very best actors, camera persons, writers and crew, | 0:00:52 | 0:00:56 | |
only to have the whole thing ruined by some extra in the background being a tit. | 0:00:56 | 0:01:01 | |
These people are a menace, wandering in and out of the back of every shot, | 0:01:01 | 0:01:05 | |
trying to be ordinary members of the public, who are the only things worse than extras. | 0:01:05 | 0:01:09 | |
Nothing causes more trouble on set than members of the public. | 0:01:09 | 0:01:13 | |
I hate them all. Apart from you, obviously. | 0:01:13 | 0:01:17 | |
Some muscle-Mary slow-mo running now from legendary | 0:01:20 | 0:01:23 | |
beachfront twaddle merchants Baywatch. | 0:01:23 | 0:01:26 | |
See their toned torsos as they pound along the sand, | 0:01:26 | 0:01:30 | |
see their hair blown by the gentle Pacific breeze, | 0:01:30 | 0:01:33 | |
see the kid in the background pulling a moonie. | 0:01:33 | 0:01:36 | |
That's worth a second look. | 0:01:36 | 0:01:38 | |
Everyone's a critic. | 0:01:40 | 0:01:42 | |
You don't have to. I'm sure you were freaked out. | 0:01:44 | 0:01:46 | |
Totally. | 0:01:46 | 0:01:48 | |
See this woman with the tartan top? | 0:01:48 | 0:01:50 | |
Now remember her, cos this lady is about to take the art | 0:01:50 | 0:01:53 | |
of the attention-seeking TV extra to a whole new dimension. | 0:01:53 | 0:01:57 | |
This is Buffy's high school, and she is presumably the most mature student. | 0:01:57 | 0:02:01 | |
I...think you're the coolest. | 0:02:01 | 0:02:04 | |
There she is, drawing attention to herself with that big red bag. | 0:02:04 | 0:02:07 | |
Now, spin on. And there she is again, walking in the opposite direction. | 0:02:07 | 0:02:13 | |
No, she's not. She's over there, walking up some stairs, | 0:02:13 | 0:02:16 | |
drawing attention to herself like those extras aren't supposed to. | 0:02:16 | 0:02:20 | |
Back for more stair climbing, this time without the bag. Clever. | 0:02:20 | 0:02:24 | |
Still going up the stairs. | 0:02:24 | 0:02:26 | |
Mind you, at least we know where she is. No, we don't. | 0:02:26 | 0:02:29 | |
Buffy, now she's behind you. | 0:02:29 | 0:02:32 | |
"Right, I've had enough of this," said the director. "Get that woman out of my sight. | 0:02:32 | 0:02:37 | |
"Nobody lets her back on this set." | 0:02:37 | 0:02:39 | |
Whoa, how did that happen? | 0:02:41 | 0:02:42 | |
Crafty cow, she's taken off her horrible tartan jacket and given the red bag to someone else. | 0:02:42 | 0:02:47 | |
Damn you, nightmare tartan extra lady! | 0:02:47 | 0:02:51 | |
Still, the jacket's gone, the bag's gone, and, finally, so is she. | 0:02:51 | 0:02:56 | |
Or not. | 0:02:56 | 0:02:57 | |
Ever get the feeling you're being followed? | 0:02:59 | 0:03:03 | |
In this episode of Buffy, | 0:03:03 | 0:03:05 | |
the lovely Eliza Dushku certainly does, and with good reason. | 0:03:05 | 0:03:09 | |
The winners of the 2002 Most American Couple award | 0:03:09 | 0:03:12 | |
walk behind her once, which is fine. Nothing wrong there. | 0:03:12 | 0:03:16 | |
But twice is pushing it. | 0:03:18 | 0:03:19 | |
That's borderline harassment. | 0:03:19 | 0:03:21 | |
Three times is frankly unacceptable. | 0:03:25 | 0:03:27 | |
That's a restraining order right there. | 0:03:27 | 0:03:30 | |
They won't be trying that again... from the same direction. | 0:03:30 | 0:03:34 | |
For Pete's sake, leave lovely Eliza alone! | 0:03:34 | 0:03:37 | |
They'll be hiding in that bush outside her house next, and that's mine. | 0:03:37 | 0:03:41 | |
Sex And The City, a show about four single young women. | 0:03:43 | 0:03:48 | |
Well, three young women and the one who plays Samantha. | 0:03:48 | 0:03:51 | |
But let's rewind and look at those two extras on the left of picture sitting side by side. | 0:03:51 | 0:03:57 | |
Now, spin on and clearly one of them has dropped a massive guff | 0:03:57 | 0:04:01 | |
because next time we see them, | 0:04:01 | 0:04:03 | |
they're sitting miles away from each other in separate rows. | 0:04:03 | 0:04:06 | |
Poor Sam. Must have been a pretty serious guff. Someone open a window! | 0:04:06 | 0:04:11 | |
OK, listen everyone, we've got to get out of here. | 0:04:13 | 0:04:15 | |
Back to the doctor, and here, Mickey is attempting to save | 0:04:15 | 0:04:19 | |
a room full of headphone-wearing children. | 0:04:19 | 0:04:21 | |
But they're all zombiefied. | 0:04:21 | 0:04:23 | |
Mickey must have a background in IT cos he resorts to the tried and tested solution | 0:04:23 | 0:04:28 | |
of just yanking out the plug and hoping for the best. | 0:04:28 | 0:04:30 | |
Magically, it works, and removes the kids' headphones. | 0:04:30 | 0:04:35 | |
And off they go, trudging out of a doomed building, smirking. | 0:04:35 | 0:04:39 | |
Good work, kids, you're hired. | 0:04:39 | 0:04:41 | |
This is where I was born. | 0:04:43 | 0:04:46 | |
And this is where I died. | 0:04:46 | 0:04:49 | |
More Doctor Who, and Billie's on the bus in contemplative mood. | 0:04:49 | 0:04:53 | |
The first 19 years of my life, nothing happened. | 0:04:53 | 0:04:56 | |
But keep your eyes on the extra who sits in the row behind her. | 0:04:56 | 0:05:00 | |
Not ever. | 0:05:00 | 0:05:01 | |
Oh, Billie, come on. Incredible things are happening all around you. | 0:05:01 | 0:05:05 | |
That bloke jumped through time and space | 0:05:05 | 0:05:07 | |
simply to get a better seat. Pay attention, girl. | 0:05:07 | 0:05:10 | |
The X-Files, and Scully has a mysterious dead body to investigate. | 0:05:14 | 0:05:18 | |
In this case, | 0:05:18 | 0:05:19 | |
the mystery is why they chose | 0:05:19 | 0:05:21 | |
the most fidgety man in North America to play the corpse. | 0:05:21 | 0:05:24 | |
See how the faintest prod from Scully makes the big wuss blink. | 0:05:24 | 0:05:27 | |
Not so much dead man's body, more big girl's blouse. | 0:05:27 | 0:05:31 | |
But just in case anyone missed that, moments later, | 0:05:31 | 0:05:35 | |
he leaves everyone at home in no doubt that this is just acting | 0:05:35 | 0:05:39 | |
as Scully unwisely decides to balance | 0:05:39 | 0:05:41 | |
this heavy plastic ruler on his tummy-wummy. "Ow, it's cold!" | 0:05:41 | 0:05:46 | |
We've got a breather! | 0:05:46 | 0:05:48 | |
I love Lost. It's top-notch allegorical surrealist drama | 0:05:51 | 0:05:56 | |
with a satirical subtext. | 0:05:56 | 0:05:58 | |
Plus, it's got that funny fat bloke with a beard. | 0:05:58 | 0:06:01 | |
Yeah, he's got boobs like a lady. | 0:06:01 | 0:06:04 | |
In fact, the only problem with this show is that it makes no sense. | 0:06:04 | 0:06:08 | |
That, and the decision to use an extra with chronic asthma | 0:06:08 | 0:06:11 | |
to play a corpse and then put him in the front of shot. | 0:06:11 | 0:06:14 | |
Just look at this. | 0:06:14 | 0:06:15 | |
Mind you, that fat bloke's funny. Oh, dear... | 0:06:23 | 0:06:27 | |
I mean, dogs can find pot and bombs so... | 0:06:29 | 0:06:32 | |
Time for more weird goings on in Lost, and look out for the lovely | 0:06:32 | 0:06:36 | |
couple walking past in the background. | 0:06:36 | 0:06:38 | |
Probably off to catch some fish. | 0:06:38 | 0:06:40 | |
Wish they'd walk past again. Oh, lovely. | 0:06:40 | 0:06:42 | |
That's the trouble with being marooned on a desert island, nothing to do but walk round in circles. | 0:06:42 | 0:06:48 | |
This clip from Sex And The City proves that not all New Yorkers | 0:06:50 | 0:06:53 | |
are used to seeing TV crews. | 0:06:53 | 0:06:55 | |
This lady simply can't believe her eyes | 0:06:55 | 0:06:57 | |
and has to peer over her specs to check they aren't deceiving her. | 0:06:57 | 0:07:01 | |
Yes, it's a camera crew. | 0:07:01 | 0:07:04 | |
But best of all, if we rewind, here comes my personal favourite. | 0:07:04 | 0:07:08 | |
Look at the wonder in her eyes. | 0:07:08 | 0:07:10 | |
"Thems is some telly people." | 0:07:10 | 0:07:13 | |
And so ends one deeply unremarkable woman's brief glimpse of celebrity. | 0:07:13 | 0:07:18 | |
Here's another spot from Friends. | 0:07:22 | 0:07:24 | |
Phoebe is returning a dog. | 0:07:24 | 0:07:26 | |
But look in the background at the neighbour getting out of the car and walking up to her house. | 0:07:26 | 0:07:31 | |
Twice. | 0:07:32 | 0:07:34 | |
Fair play to her, though. | 0:07:34 | 0:07:35 | |
She's got that whole "neighbour repeatedly walking up to her house" thing down to a tee. | 0:07:35 | 0:07:40 | |
Bad news for 24's Jack Bauer. | 0:07:42 | 0:07:45 | |
His daughter's been kidnapped | 0:07:45 | 0:07:46 | |
and the series is suddenly very short-staffed. | 0:07:46 | 0:07:49 | |
Look at this hospital orderly. | 0:07:49 | 0:07:51 | |
He's here. | 0:07:51 | 0:07:54 | |
He's there. | 0:07:54 | 0:07:56 | |
He's everywhere. | 0:07:56 | 0:08:00 | |
If you work in this hospital, you have to be in three places at once. | 0:08:01 | 0:08:05 | |
Just like the NHS. | 0:08:05 | 0:08:06 | |
Dawson's Creek. | 0:08:08 | 0:08:09 | |
Gretchen's about to have a heart-to-heart with Dawson. | 0:08:09 | 0:08:13 | |
But I'm more concerned | 0:08:13 | 0:08:14 | |
with the partner-swapping swingers in the background. | 0:08:14 | 0:08:17 | |
Look, first there's an old man and an old woman in a denim jacket. | 0:08:17 | 0:08:22 | |
And a young man in a blue shirt and chinos with a blonde girl. | 0:08:22 | 0:08:25 | |
Then, moments later, the young man with the blue shirt wanders past again with another woman! | 0:08:25 | 0:08:31 | |
He just picked her up! What a floozy. But he's not done yet. | 0:08:31 | 0:08:34 | |
Now he's back with the blonde girl and they're heading for the water. | 0:08:34 | 0:08:38 | |
What's going on? He must have finished with that other woman | 0:08:38 | 0:08:41 | |
and got back with the first one, which is nice - I liked her. | 0:08:41 | 0:08:44 | |
I'm glad they made up. | 0:08:44 | 0:08:47 | |
Shut up, Dawson! Look, the old fella's back with the older woman. | 0:08:47 | 0:08:50 | |
Thank heavens for that. | 0:08:50 | 0:08:53 | |
Aye-aye. There's the younger man with the blonde again, this time | 0:08:53 | 0:08:56 | |
walking away from the water from the right, heading up the hill. | 0:08:56 | 0:09:00 | |
What have they been up to? | 0:09:00 | 0:09:01 | |
I don't know, but I'm betting it was rude and watery. | 0:09:01 | 0:09:04 | |
Now, whenever I'm on the telly, which is a lot, | 0:09:06 | 0:09:09 | |
I take great care over my hair and make-up. | 0:09:09 | 0:09:12 | |
That's not vanity. It's necessity. | 0:09:12 | 0:09:14 | |
You see, we need make-up experts to compensate for the "bleaching out" effects | 0:09:14 | 0:09:19 | |
caused by the powerful lights we use, | 0:09:19 | 0:09:21 | |
and hair experts to compensate for the "loss of hair" effects | 0:09:21 | 0:09:25 | |
caused by the powerful hairspray that we use. | 0:09:25 | 0:09:28 | |
The girls and, what might loosely be described as guys, of the hair and make-up department | 0:09:28 | 0:09:33 | |
are important, albeit tiny, cogs in the great TV wheel. | 0:09:33 | 0:09:36 | |
I call them my little miracle workers. | 0:09:36 | 0:09:39 | |
That's because I enjoy patronising my colleagues. | 0:09:39 | 0:09:42 | |
Of course, they too make mistakes. | 0:09:42 | 0:09:44 | |
Mistakes like these. | 0:09:44 | 0:09:45 | |
Someone's locked David Banner | 0:09:47 | 0:09:49 | |
in this fiendish Oriental torture contraption, which he won't like. | 0:09:49 | 0:09:54 | |
It'll send him all green and hulky. | 0:09:54 | 0:09:56 | |
He's so excited he's passed out. | 0:09:56 | 0:09:58 | |
Wow, that's what Vin Diesel would look like if you smeared him in mushy peas. | 0:09:58 | 0:10:02 | |
Oh, he's making that solid carbon steel look like plywood, which it is. | 0:10:02 | 0:10:08 | |
Hold up, he's got tights on! | 0:10:08 | 0:10:10 | |
The Hulk's wearing panty hose to stop his pinkies getting all hurty. | 0:10:10 | 0:10:14 | |
Oh, bless. | 0:10:14 | 0:10:16 | |
It's Skins. Young people doing cool things, | 0:10:19 | 0:10:22 | |
like drugs and snogging, and dribbling ketchup down their chins. | 0:10:22 | 0:10:25 | |
Wow, it's so real. | 0:10:25 | 0:10:28 | |
Hey, that ketchup dribble just changed. | 0:10:28 | 0:10:31 | |
-Well, I think you're going to like this, Sid. -I'm not. He's re dribbled. | 0:10:31 | 0:10:35 | |
Three dribbles, one chin? Something's got to give. | 0:10:35 | 0:10:38 | |
And, sure enough, now it's gone completely. | 0:10:40 | 0:10:43 | |
Now it's back! | 0:10:43 | 0:10:45 | |
Oh, he's dropped his knife. | 0:10:47 | 0:10:49 | |
Now they've started snogging and, look, the old dribble's back again. | 0:10:49 | 0:10:52 | |
Oh, I'm lost. I'm just lost and so is the make-up department. | 0:10:52 | 0:10:56 | |
Look, I take it back. That's not cool, it's a TV mistake. | 0:10:56 | 0:10:59 | |
You're looking, aren't you? ALL: No. | 0:11:02 | 0:11:04 | |
Back to Skins, and look, there's Dev Patel | 0:11:04 | 0:11:06 | |
before he won the Slumdog lottery | 0:11:06 | 0:11:08 | |
and he's having a wee up that tree. | 0:11:08 | 0:11:11 | |
Did you know, it was his weeing-up-a-tree acting | 0:11:11 | 0:11:14 | |
that won him the role in the film? | 0:11:14 | 0:11:15 | |
Of course you didn't, because it's not true. | 0:11:15 | 0:11:18 | |
And neither is this. | 0:11:18 | 0:11:19 | |
Look, the car with the spliffed-up teens rolls into the canal. | 0:11:19 | 0:11:24 | |
And everyone inside goes into the water apart from Dev. | 0:11:24 | 0:11:28 | |
But then, in the next scene, Dev is wet through just like the others. | 0:11:30 | 0:11:34 | |
Why is he all wet? | 0:11:34 | 0:11:35 | |
He didn't go in the water, he was weeing up that tree! You know what? | 0:11:35 | 0:11:39 | |
I bet he just jumped in the canal to be one of the gang. Cor, teenagers! | 0:11:39 | 0:11:43 | |
They'll do anything to fit in. | 0:11:43 | 0:11:45 | |
More Skins now, and more wee-wee. | 0:11:47 | 0:11:51 | |
And the age-old conundrum, how do you do a wee with a stiffy? | 0:11:51 | 0:11:55 | |
Here's Chris calculating a combination of angles | 0:11:55 | 0:11:58 | |
that even Ronnie O'Sullivan would struggle with. | 0:11:58 | 0:12:01 | |
And, oh, he wees up his own nose | 0:12:01 | 0:12:03 | |
but when he stands up again, it's all gone. | 0:12:03 | 0:12:07 | |
Now, that is one young man with wonderfully absorbent skin. | 0:12:07 | 0:12:11 | |
In this next clip, pay attention, if you will, | 0:12:14 | 0:12:16 | |
to the cute smear of grease on Deborah Messing's cheek. | 0:12:16 | 0:12:20 | |
That just changed into a completely different smear of grease! | 0:12:20 | 0:12:24 | |
-OK, this is not a problem. -I'll be the judge of that! | 0:12:24 | 0:12:26 | |
Yep, there's another. | 0:12:26 | 0:12:28 | |
Now it's the same mark, just a bit darker. | 0:12:28 | 0:12:32 | |
Guess that's why they call it a "to go" cup. | 0:12:32 | 0:12:34 | |
-You OK? -And now it's all smudged. | 0:12:34 | 0:12:37 | |
Hey, you know what they should have called this show, don't you? | 0:12:37 | 0:12:41 | |
Will & Grease. Yeah. | 0:12:41 | 0:12:43 | |
-Here's Will from Will & Grace sitting on a sofa. -Surprise! | 0:12:46 | 0:12:51 | |
He's gay, so he's naked, obviously. | 0:12:52 | 0:12:55 | |
Or is he? Are those flesh-coloured pants I see? | 0:12:55 | 0:12:58 | |
Well, they are flesh-coloured pants, but only if your flesh | 0:12:59 | 0:13:02 | |
is a sort of deathly greyish white. | 0:13:02 | 0:13:04 | |
Although Eric McCormack wasn't really naked in this scene, | 0:13:06 | 0:13:09 | |
-I can confirm that he did genuinely slam his -BLEEP -in that book. | 0:13:09 | 0:13:13 | |
A powerful moment from 24. Sorry, did I say powerful? | 0:13:17 | 0:13:20 | |
I meant incomprehensible. | 0:13:20 | 0:13:22 | |
Mum wants troubled teenager to shoot his already dead girlfriend. | 0:13:22 | 0:13:26 | |
Nobody said relationships were easy, especially when one of you's murdered. | 0:13:26 | 0:13:30 | |
But he's not used to handling a gun, so why not let Mum do it? | 0:13:30 | 0:13:35 | |
There you go. Right in the waist. | 0:13:35 | 0:13:38 | |
Oh, here comes Dad and he's so proud. | 0:13:39 | 0:13:42 | |
In their strange fictional foreign culture, shooting | 0:13:42 | 0:13:45 | |
your already dead girlfriend in the belly button is a rite of passage. | 0:13:45 | 0:13:50 | |
Hang on! The bullet wound's moved up to her ribcage. What a brilliant trick. | 0:13:50 | 0:13:54 | |
The reason I'm asking is cos we didn't get the bill. | 0:13:56 | 0:13:59 | |
It's The Sopranos and Tony's turned up for a chat with Uncle Junior, | 0:13:59 | 0:14:03 | |
who's been shaving. | 0:14:03 | 0:14:04 | |
Although, as you can see, he's washed all the shaving foam off, apart from that bit near his ear. | 0:14:04 | 0:14:10 | |
-But, spin forward and... whoa! -You've got shaving cream all over you. | 0:14:10 | 0:14:14 | |
Where in the name of Don Corleone did all that come from? | 0:14:14 | 0:14:17 | |
That's what's known in Mafia circles as omerta, which is Italian for "bad continuity error". | 0:14:17 | 0:14:23 | |
Oh, it's Buffy The Vampire Slayer. | 0:14:26 | 0:14:28 | |
So-called because half the viewers want to see her in the buffy. | 0:14:28 | 0:14:32 | |
Ak-ak-ak-a! | 0:14:32 | 0:14:35 | |
Here's the slightly lovely Sarah Michelle Gellar facing a hideous ghoul from beyond the grave. | 0:14:35 | 0:14:40 | |
He's been underground for centuries. He's in a bad way. | 0:14:40 | 0:14:43 | |
Just look at the state of those fingernails. | 0:14:43 | 0:14:45 | |
They're so bad, one's practically falling off. | 0:14:45 | 0:14:48 | |
That's because it's a fake! | 0:14:48 | 0:14:50 | |
Buffy The Vampire Slayer's make-up department, I trusted you! | 0:14:50 | 0:14:54 | |
Everybody thinks being a pro is just NBA. | 0:14:58 | 0:15:01 | |
One Tree Hill and Hayley and Skills | 0:15:01 | 0:15:04 | |
are having a chat about being from California. | 0:15:04 | 0:15:07 | |
So when y'all roll through on the world tour, | 0:15:07 | 0:15:09 | |
we can remember this day, sit back and laugh about it. | 0:15:09 | 0:15:12 | |
He's a bit annoying. Hayley's very pregnant. | 0:15:12 | 0:15:15 | |
Or is she? That's no baby! That's just a cushion shoved up her top! | 0:15:15 | 0:15:19 | |
Some people will do anything to jump the housing queue. | 0:15:19 | 0:15:22 | |
She's got a tongue like an electric eel | 0:15:26 | 0:15:28 | |
and she likes the taste of a man's tonsils. | 0:15:28 | 0:15:30 | |
A classic scene from Blackadder II in which Flashheart storms into | 0:15:30 | 0:15:34 | |
Edmund's wedding, steals the bride and the scene. | 0:15:34 | 0:15:37 | |
No-one does upstagery quite like Rik Mayall. | 0:15:37 | 0:15:40 | |
Apart from that fake moustache that's threatening to fall off his face at any moment. | 0:15:40 | 0:15:45 | |
I've got a plan and it's as hot as my pants. | 0:15:45 | 0:15:48 | |
Mmm. Mmm. Of course, a lot of people come up to me and say, "Robert, what is a prop?" | 0:15:51 | 0:15:57 | |
And I say, "I don't know who you are, | 0:15:57 | 0:15:59 | |
"but if you don't get out of my bath I'll shoot you down like a dog." | 0:15:59 | 0:16:02 | |
I'm joking, of course. I don't even own a gun. Or a bath. | 0:16:02 | 0:16:06 | |
As an actor, I don't need to because I live my life surrounded by props. | 0:16:06 | 0:16:09 | |
This lamp. This chair. | 0:16:09 | 0:16:11 | |
This table. Basically, props are just the things we all have in our homes, | 0:16:11 | 0:16:15 | |
except in our case, they really are our property rather than stuff you've got on credit. | 0:16:15 | 0:16:21 | |
Unfortunately, this doesn't make them any less likely to cause trouble. | 0:16:21 | 0:16:26 | |
Band Of Brothers and this soldier is looking concerned. | 0:16:28 | 0:16:32 | |
He's seen the next scene. | 0:16:32 | 0:16:33 | |
A stealth raid across a river and an elementary mistake from the soldier in the foreground. | 0:16:33 | 0:16:38 | |
Did you spot it? | 0:16:38 | 0:16:40 | |
Let's go back and have another look. | 0:16:40 | 0:16:42 | |
He's rowing with no oar. | 0:16:42 | 0:16:45 | |
Which, I suppose, will at least make their approach much, much quieter. | 0:16:45 | 0:16:49 | |
But, and I'm no military expert, much, much slower. | 0:16:49 | 0:16:53 | |
Hannah Montana, that little singing sensation. | 0:16:56 | 0:17:00 | |
The sensation being nausea. | 0:17:00 | 0:17:02 | |
But get a load of this continuity howler as wacky goofball Jackson | 0:17:04 | 0:17:08 | |
walks into his room. | 0:17:08 | 0:17:09 | |
He pats the muscle man standee. | 0:17:10 | 0:17:12 | |
Grabs his towel. And suddenly the muscle man's behind the door. | 0:17:12 | 0:17:16 | |
It's a good thing I straightened up. | 0:17:16 | 0:17:19 | |
But not now. Whoops, Hannah's going to be furious about that. | 0:17:19 | 0:17:23 | |
She'll probably throw a pop sock at the director. A rolled-up one. | 0:17:23 | 0:17:27 | |
To be fair to the makers of 24, | 0:17:30 | 0:17:32 | |
they only have one day to make each series. | 0:17:32 | 0:17:35 | |
And that's with no sleep at all. It's like being a junior doctor, | 0:17:35 | 0:17:38 | |
but with a lower body count. | 0:17:38 | 0:17:39 | |
Here's Jack in rare stand-easy mode. | 0:17:39 | 0:17:42 | |
-We're resuming our approach. Good work. -Cheers, Jack. | 0:17:42 | 0:17:45 | |
Time to sheath that dangerous weapon in your bottom holster. | 0:17:45 | 0:17:49 | |
But fast forward a few seconds, and, crikey, | 0:17:49 | 0:17:52 | |
Jack's now so relaxed he's putting his gun away again. | 0:17:52 | 0:17:55 | |
It's either another TV gaffe, or that young man has got two guns hidden in his pants. | 0:17:55 | 0:18:01 | |
If, like me, you're a fan of scenes where actors mistakenly | 0:18:04 | 0:18:07 | |
put their pistols away twice, | 0:18:07 | 0:18:09 | |
then you'll love this clip from the soon-to-be-remade Hawaii Five-O. | 0:18:09 | 0:18:14 | |
The team are at a tense siege situation | 0:18:14 | 0:18:16 | |
but nothing gets in the way of Steve McGarrett's tea break. | 0:18:16 | 0:18:19 | |
So, at ease, Lieutenant. You can put your gun back in your holster. | 0:18:19 | 0:18:23 | |
No need for firearms at elevenses. | 0:18:23 | 0:18:25 | |
I wonder if you can use a bucket like that to build sandcastles. | 0:18:25 | 0:18:29 | |
Anyway, here he comes and there goes the gun again. | 0:18:29 | 0:18:32 | |
Back in the holster for a second time. Now, who's brought the thermos? | 0:18:32 | 0:18:36 | |
A tense game of chess in the X-Files | 0:18:41 | 0:18:43 | |
and a moody Russian is taking on an American kid in specs. | 0:18:43 | 0:18:46 | |
Textbook. | 0:18:46 | 0:18:48 | |
-Checkmate. -Suddenly, the Russian is shot by an assassin | 0:18:51 | 0:18:55 | |
and falls onto the floor, dragging the chess board with him. | 0:18:55 | 0:18:59 | |
Except in the next shot, it's clearly on the table. | 0:18:59 | 0:19:03 | |
They managed the logistical nightmare of filling this auditorium with about 5,000 people, | 0:19:03 | 0:19:08 | |
but couldn't cope with one bit of elementary prop continuity. | 0:19:08 | 0:19:12 | |
The truth is out there. The incompetence is in here! | 0:19:12 | 0:19:15 | |
-Have you ever been to the Louvre? -No, not yet. | 0:19:17 | 0:19:20 | |
Bones. A series about forensics. | 0:19:20 | 0:19:21 | |
A branch of medical science | 0:19:21 | 0:19:23 | |
that's all about detail. So how come they missed this clanger? | 0:19:23 | 0:19:28 | |
-Here's a patronising little girl... -What you do is pretty awesome... | 0:19:28 | 0:19:31 | |
..who's diagnosed with smugness. | 0:19:31 | 0:19:33 | |
She's also an agent of TV mistakery. | 0:19:33 | 0:19:36 | |
When she hands over her sketch, it's a small drawing in the centre of the page. | 0:19:36 | 0:19:41 | |
But when the doctor looks at it, it's gone all big! But nobody notices. | 0:19:41 | 0:19:46 | |
The character dies, though, so all's well that ends well. | 0:19:46 | 0:19:49 | |
An ice hockey game | 0:19:51 | 0:19:52 | |
and Ross from Friends has got one of those big foam fingers. | 0:19:52 | 0:19:55 | |
Of course, this is New York and seconds later, it's gone. | 0:19:55 | 0:19:59 | |
Someone's nicked it. It's a rough town. | 0:19:59 | 0:20:02 | |
My eye doctor is Richard. I can't go to him when I don't have a boyfriend. | 0:20:04 | 0:20:07 | |
Oh, poor Monica. As if it's not bad enough having something in your eye, | 0:20:07 | 0:20:11 | |
she can't even watch TV because it's all switched off. | 0:20:11 | 0:20:14 | |
Although, moments later... | 0:20:14 | 0:20:16 | |
my mistake! It's on. No-one's even watching it. | 0:20:16 | 0:20:19 | |
That's not very green. | 0:20:19 | 0:20:21 | |
Can I bum a cigarette? | 0:20:23 | 0:20:24 | |
Feel those hormones as bad boy meets annoying girl in The OC. | 0:20:24 | 0:20:29 | |
Blimey, they're smoking in California, which is practically a shooting offence. | 0:20:29 | 0:20:34 | |
Luckily, Ryan is smoking one of the special cigarettes, | 0:20:34 | 0:20:37 | |
you know, the ones that burn down to a butt in half a second. | 0:20:37 | 0:20:40 | |
Long ciggy. Tiny ciggy. | 0:20:40 | 0:20:43 | |
To think, I used to love The OC! | 0:20:43 | 0:20:45 | |
Elsewhere in The OC, is Ben going to commit suicide | 0:20:48 | 0:20:52 | |
before Ryan and Marissa can get to him? | 0:20:52 | 0:20:54 | |
He's emptying all his pills onto the table. | 0:20:56 | 0:20:59 | |
And mixing them up. But, whoa! | 0:20:59 | 0:21:01 | |
In an instant, they've sorted themselves into colour-coded piles. | 0:21:01 | 0:21:05 | |
Or, at least, an inattentive member of the production team has. | 0:21:05 | 0:21:09 | |
Ben's made up. He's forgotten all about suicide. | 0:21:09 | 0:21:12 | |
He's just going to bung them in with his grandfather's ashes. | 0:21:12 | 0:21:15 | |
Job done. | 0:21:15 | 0:21:18 | |
Oh, dear. After having one or maybe 12 too many tequilas, Marissa | 0:21:21 | 0:21:25 | |
from The OC, leaves her handbag at the bar. And staggers outside. | 0:21:25 | 0:21:30 | |
Ryan and the others are scouring the streets for her. | 0:21:30 | 0:21:34 | |
But tiddly Marissa is now spark out in this alley, legless, and, of course, bagless. | 0:21:34 | 0:21:39 | |
Then, Ryan and the others turn up. | 0:21:39 | 0:21:42 | |
He spots her and bagless races down the alley and kneels beside her with the bag in his hand. | 0:21:42 | 0:21:48 | |
Either that's a mistake, or everyone in Orange County has the same handbag. | 0:21:48 | 0:21:52 | |
Well, they're a funny lot in California. | 0:21:52 | 0:21:55 | |
More continuity malfunctions on the holodeck for Captain Picard. | 0:21:59 | 0:22:03 | |
The 1920s news vendor hands over the paper folded. | 0:22:03 | 0:22:07 | |
But Pickard takes it unfolded. | 0:22:07 | 0:22:10 | |
A small mistake but even in a holographic past, a tiny error like that could have changed the future. | 0:22:10 | 0:22:15 | |
If so, let's hope next time there'll be less Star Trek. | 0:22:15 | 0:22:18 | |
A clip from Heroes now. | 0:22:20 | 0:22:22 | |
A strange group of people all with bizarre superpowers. | 0:22:22 | 0:22:26 | |
Watch how these two | 0:22:26 | 0:22:27 | |
find a mysterious key that's wrapped in sticky tape. | 0:22:27 | 0:22:30 | |
About half a second later, it's suddenly unwrapped. | 0:22:30 | 0:22:33 | |
He's got super fingers. | 0:22:33 | 0:22:34 | |
No wonder she looks pleased. | 0:22:34 | 0:22:36 | |
I'm their hero. | 0:22:39 | 0:22:40 | |
More prop-related cockuppery | 0:22:40 | 0:22:42 | |
as Hiro appears with his samurai sword pointing backwards. | 0:22:42 | 0:22:47 | |
And, a moment later, stands with it pointing forwards. | 0:22:47 | 0:22:50 | |
A handy mistake, though. | 0:22:51 | 0:22:52 | |
Otherwise he would have stabbed him with the blunt end, | 0:22:52 | 0:22:55 | |
and that would almost certainly have been less dramatic. | 0:22:55 | 0:22:58 | |
It's a blueprint. | 0:23:01 | 0:23:03 | |
How does Grace from Will & Grace take her coffee? | 0:23:03 | 0:23:07 | |
Always black. Sometimes with a stick in her hand. | 0:23:07 | 0:23:09 | |
And sometimes with a tiny carton of milk. | 0:23:09 | 0:23:12 | |
But always in a urine sample jar. | 0:23:14 | 0:23:17 | |
And he's obviously very fond of you. | 0:23:19 | 0:23:20 | |
A clip now from madcap sitcom, Absolutely Fabulous. | 0:23:20 | 0:23:25 | |
Or as you know it, Ab Fab. | 0:23:25 | 0:23:27 | |
Or, as I know it, AaFa. But, surely, no-one knows what is going on | 0:23:27 | 0:23:31 | |
with Miranda Richardson's glass. | 0:23:31 | 0:23:34 | |
Witchcraft. Pure and simple. | 0:23:35 | 0:23:38 | |
Back in my day, she'd have got the ducking stool for that. | 0:23:38 | 0:23:40 | |
It's US comedy drama Weeds. | 0:23:42 | 0:23:45 | |
And Nancy's just found out that her late husband was cheating on her. | 0:23:45 | 0:23:49 | |
Yeah, that might not be covered under the contents insurance. | 0:23:49 | 0:23:53 | |
Not much comedy here. This is one of the more drama-y moments. | 0:23:53 | 0:23:57 | |
But see all the stuff on the table? | 0:23:57 | 0:23:58 | |
Watch what happens as her son walks outside. | 0:23:58 | 0:24:01 | |
Yep, it's all gone empty. | 0:24:02 | 0:24:04 | |
I reckon the kid was a decoy. His mates have nicked the lot. | 0:24:04 | 0:24:07 | |
So, actually, that probably will be covered. | 0:24:07 | 0:24:09 | |
I suppose I just fall in love too fast. | 0:24:11 | 0:24:14 | |
Here are Niles and Daphne sharing an intimate fireside moment. | 0:24:14 | 0:24:18 | |
According to that carriage clock, the time is 11:15pm. | 0:24:18 | 0:24:23 | |
Only, moments later, we see the clock again and now it's 11:45pm. | 0:24:23 | 0:24:27 | |
And 10:55pm. | 0:24:30 | 0:24:33 | |
And 11:20pm. | 0:24:33 | 0:24:35 | |
And 10:59pm. Frasier is filmed in front of a live studio audience. | 0:24:35 | 0:24:40 | |
At least they were when they started recording this scene four days ago. | 0:24:40 | 0:24:43 | |
You two have proved yourselves | 0:24:45 | 0:24:47 | |
to be just as talented as one another at karaoke. | 0:24:47 | 0:24:50 | |
-By which, I mean you're equally -BLEEP. | 0:24:50 | 0:24:53 | |
It's Two Pints Of Lager And A Packet Of Crisps. | 0:24:53 | 0:24:56 | |
A show which has split the critics into those who hate it, and those who don't like it much. | 0:24:56 | 0:25:01 | |
This episode is great because it's all about magazine competitions. | 0:25:01 | 0:25:04 | |
Mind you, if there's one thing I love more than competitions, it's "competions". | 0:25:04 | 0:25:10 | |
By the way, that's the new issue of Dyslexic Monthly. | 0:25:10 | 0:25:14 | |
-May as well give up now. -I would if I were you. | 0:25:14 | 0:25:16 | |
Now, I admit I don't know a lot about How I Met Your Mother. | 0:25:20 | 0:25:23 | |
Other than this guy is called Ted and that when he pays a visit | 0:25:23 | 0:25:27 | |
to a lady, he doesn't bring a bottle, he brings veg. | 0:25:27 | 0:25:31 | |
Wilted veg in a creased-up paper bag. Sexy blighter. | 0:25:31 | 0:25:34 | |
But guess who also carries a steam iron in his Y fronts? | 0:25:34 | 0:25:37 | |
That bag's now suddenly smooth. | 0:25:37 | 0:25:40 | |
Looks like a baby's bottom. A papery baby with vegetables for a head. | 0:25:40 | 0:25:44 | |
-That's the stupidest thing I've ever said. -Me too. | 0:25:44 | 0:25:46 | |
Of all the classic moments in The Office, | 0:25:49 | 0:25:51 | |
this is Ricky Gervais' personal favourite. | 0:25:51 | 0:25:54 | |
-Whassup? -Don't do that. -Gareth's holding a briefcase | 0:25:54 | 0:25:57 | |
in his right hand, the paper in his left, but, look! | 0:25:57 | 0:25:59 | |
Now the briefcase is in his left hand, and the paper is in his right! | 0:25:59 | 0:26:03 | |
That's a TV Mistakes Golden Globe right there! | 0:26:03 | 0:26:06 | |
Friends. Series eight. | 0:26:10 | 0:26:12 | |
Sorry, SEASON eight. And Monica starts to tear open this present. | 0:26:12 | 0:26:18 | |
She's finished. It's open. | 0:26:18 | 0:26:20 | |
Ssh. The guys don't know yet. Do they? | 0:26:20 | 0:26:22 | |
-No. -No, she's wrapped it up again. | 0:26:22 | 0:26:26 | |
And opened it again. | 0:26:26 | 0:26:29 | |
And wrapped it up. | 0:26:29 | 0:26:31 | |
And opened it again. Oh, for God's sake, woman, make your mind up! | 0:26:31 | 0:26:34 | |
Poor Ross has clonked his head, | 0:26:36 | 0:26:38 | |
so Rachel is administering a comedy ice pack because she wuvs him. | 0:26:38 | 0:26:42 | |
We ripped that couple apart and kept the pieces for ourselves. | 0:26:42 | 0:26:46 | |
-Wuvs him not. -What a beautiful story. | 0:26:46 | 0:26:50 | |
Wuvs him. A small error, perhaps, | 0:26:50 | 0:26:52 | |
but as rudimentary errors go, that was a blinder. | 0:26:52 | 0:26:55 | |
Tony. | 0:26:58 | 0:26:59 | |
Here's Nicholas Hoult as Tony in Skins, | 0:26:59 | 0:27:02 | |
who's learning how to write. | 0:27:02 | 0:27:03 | |
He's written "Tony". He's written his name. Well done, Tony. | 0:27:03 | 0:27:07 | |
Although if we spin forward... | 0:27:07 | 0:27:10 | |
that doesn't say "Tony", it says "Tohy". | 0:27:10 | 0:27:13 | |
Let's see the first one again. | 0:27:13 | 0:27:15 | |
And the second one. | 0:27:15 | 0:27:18 | |
Now both together. | 0:27:18 | 0:27:20 | |
I might be wrong, but I think that's a different piece of paper | 0:27:20 | 0:27:23 | |
with the word "Tony" written by a different person. | 0:27:23 | 0:27:26 | |
The props department are trying to make you look stupid, Tony. I mean, Tohy. | 0:27:26 | 0:27:30 | |
Well, there it is, TV's Greatest Mistakes. | 0:27:32 | 0:27:35 | |
I'd just like to say thanks to all the people involved tonight | 0:27:35 | 0:27:39 | |
for being so very sloppy in your chosen careers. | 0:27:39 | 0:27:41 | |
It's a good job it's just telly and nothing of any importance, | 0:27:41 | 0:27:45 | |
because if this had been a paper round or a Saturday job in a burger bar, you'd have been fired. Bye-bye. | 0:27:45 | 0:27:50 | |
Subtitles by Red Bee Media Ltd | 0:28:10 | 0:28:13 |