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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 | 0:00:22 | 0:00:26 | |
refuse to rest until they have managed to show you the foul-ups they didn't want you to see. | 0:00:26 | 0:00:31 | |
They meaning them, not you. | 0:00:31 | 0:00:35 | |
Coming up, mistakes from... | 0:00:35 | 0:00:37 | |
In TV, we have a special nickname for special effects. | 0:00:45 | 0:00:49 | |
We call them special FX. | 0:00:49 | 0:00:51 | |
Aren't we brilliant? These days, the effects on TV are so special, | 0:00:51 | 0:00:55 | |
they can often leave you, the viewer, wide eyed, slack jawed and dumbstruck, even more than usual. | 0:00:55 | 0:01:00 | |
Yes, thanks to computer technology, the only limit to modern SFX | 0:01:00 | 0:01:04 | |
is the producer's imagination, which is a shame, because | 0:01:04 | 0:01:07 | |
most producers' imaginations are limited to saying, "Hey, why don't we just get Ant and Dec to do it." | 0:01:07 | 0:01:12 | |
And then ordering the sushi. Which sadly means every now and again, the SPECIAL effects are anything but. | 0:01:12 | 0:01:19 | |
A high-speed chase in Knight Rider and Michael is in pursuit of two blokes who have kidnapped a lady. | 0:01:24 | 0:01:29 | |
Oh, she's a terrible back-seat driver. | 0:01:29 | 0:01:31 | |
That car is all over the shop. Three drivers, one steering wheel, that's asking for trouble. | 0:01:32 | 0:01:38 | |
Oh, no, no, no, no, leave it. | 0:01:39 | 0:01:42 | |
Sit down, you silly cow! Oh, too late, she's jumped. | 0:01:42 | 0:01:45 | |
Well, somebody did. | 0:01:45 | 0:01:47 | |
-Crazy broad jumped out! -I'm afraid that was your unconscious female. | 0:01:47 | 0:01:51 | |
No, it wasn't, KITT, you're talking out of your tailpipe. | 0:01:51 | 0:01:55 | |
That's a stunt double in an ill-fitting blonde wig. | 0:01:55 | 0:01:58 | |
She's less lookalike and more look nothing like. | 0:01:58 | 0:02:02 | |
It's 24 and look out, the guy in the car is about to get all shooty. | 0:02:04 | 0:02:07 | |
But when he discharges his weapon.... | 0:02:07 | 0:02:11 | |
Through the car window, the glass all falls inwards, in defiance of all the laws of physics. | 0:02:11 | 0:02:16 | |
Let's see that again. Take that, Newton. | 0:02:16 | 0:02:20 | |
Look, he's got Stagler. | 0:02:22 | 0:02:24 | |
Here we are, back in that brilliant episode | 0:02:24 | 0:02:26 | |
of Wonder Woman, and Gargantua the Gorilla is making his escape carrying that bloke from Magnum. | 0:02:26 | 0:02:32 | |
But he's made a terrible error. | 0:02:32 | 0:02:34 | |
In the confusion, he's grabbed a poorly constructed dummy instead. | 0:02:34 | 0:02:38 | |
See it flailing in the breeze just like human bodies don't. | 0:02:38 | 0:02:42 | |
Look, his legs have gone all trembly, something, something, Wembley. | 0:02:42 | 0:02:47 | |
That doesn't make any sense, and neither does this episode of Wonder Woman. | 0:02:47 | 0:02:51 | |
Yes, it's high time Lynda Carter twirled into her crime fighting boob tube and hot pants. | 0:02:53 | 0:02:59 | |
Bad news for bad guys, good news for randy 14-year-old boys. | 0:02:59 | 0:03:02 | |
But look how this spectacular metamorphosis also has the power to | 0:03:04 | 0:03:07 | |
change this humble biro into thin air. | 0:03:07 | 0:03:11 | |
Yeah, it's probably just rolled under the desk. | 0:03:11 | 0:03:14 | |
The Doctor again, and this is what I call thrilling stuff. | 0:03:17 | 0:03:21 | |
There again, I'm quite easily thrilled. | 0:03:21 | 0:03:24 | |
Oh, look, the Doctor is climbing up that giant television aerial, | 0:03:24 | 0:03:26 | |
trying to stop Maureen Lipman being transmitted. | 0:03:26 | 0:03:29 | |
You cannot stop the wire. Soon I shall become... | 0:03:29 | 0:03:34 | |
Then, as Dave's a-dangling from the pylon, his foot suddenly disappears. | 0:03:34 | 0:03:38 | |
Here it is, here it isn't. | 0:03:41 | 0:03:43 | |
Yes, the BBC's blue screen is no larger than a tea towel. | 0:03:43 | 0:03:47 | |
Mac and Guy from Green Wing are heading for a very literal end-of-series cliffhanger. | 0:03:50 | 0:03:54 | |
Ever wonder how they do stunts like this? Well, the clues are here | 0:03:58 | 0:04:02 | |
and here. That is a safety harness and that is a dirty great support cable. | 0:04:02 | 0:04:08 | |
Less Italian Job, more bodged job. | 0:04:08 | 0:04:11 | |
OK, no argument, the Hulk has always been incredible. | 0:04:14 | 0:04:18 | |
But on the '70s TV show, the effects were anything but. | 0:04:18 | 0:04:22 | |
Here, a couple of local thugs have unwisely locked David Banner in the steam room. | 0:04:22 | 0:04:28 | |
He gets angry, goes green, and picks them and half the wall up using the strength of 100 men. | 0:04:28 | 0:04:32 | |
Or should that be by making them stand on a hidden trolley | 0:04:34 | 0:04:36 | |
and pushing them back using the strength of three caterpillars? | 0:04:36 | 0:04:40 | |
You decide. | 0:04:40 | 0:04:42 | |
The friends from Friends are on holiday and, oh, dear, it's chucking it down. | 0:04:44 | 0:04:49 | |
But what's worser, their lovely beach house is full of wet sand. | 0:04:49 | 0:04:53 | |
What's with all this sand? | 0:04:53 | 0:04:55 | |
Oh, yeah, Bob said there might be flood damage. | 0:04:55 | 0:04:58 | |
Either that or he has a really big cat. | 0:04:58 | 0:05:00 | |
But now it's dry. | 0:05:00 | 0:05:02 | |
They must have under-sand heating. | 0:05:02 | 0:05:04 | |
A clip from classic Dr Who episode Genesis Of The Daleks, | 0:05:06 | 0:05:10 | |
and keep your eyes on the Dalek chatting with Davros | 0:05:10 | 0:05:14 | |
and the light bulb flashing on his head. | 0:05:14 | 0:05:16 | |
That's how deaf people know that a Dalek is talking, by the way, it's a courtesy thing. | 0:05:16 | 0:05:20 | |
Hold on a sec, his light's gone out. | 0:05:20 | 0:05:22 | |
Maybe he forgot to pay the Da-lecky bill. | 0:05:22 | 0:05:25 | |
But then, between takes, while Davros practises his shouting... | 0:05:27 | 0:05:30 | |
You will obey me! | 0:05:30 | 0:05:33 | |
..there's a chance to unscrew the bulb and pop a new one in. | 0:05:33 | 0:05:36 | |
We are the superior beings. | 0:05:36 | 0:05:38 | |
On with the serious business of mass extermination and sink plunging. | 0:05:38 | 0:05:43 | |
Exterminate! | 0:05:43 | 0:05:45 | |
More from Genesis Of The Daleks now, | 0:05:46 | 0:05:49 | |
and the Thals are about to detonate a bomb using this rickety old plunger. | 0:05:49 | 0:05:54 | |
But even before that happens, some smoke wafts through the doors. | 0:05:54 | 0:05:58 | |
That bomb has either detonated itself, or one of those Daleks is having a crafty fag. | 0:05:58 | 0:06:03 | |
This is X-Files rain, heavy and persistent, like Mulder, | 0:06:05 | 0:06:10 | |
apart for the heavy bit. | 0:06:10 | 0:06:12 | |
Dana and Fox are in hot pursuit of a woman doing some top-notch driving-in-heavy-rain acting. | 0:06:12 | 0:06:18 | |
Moving the steering wheel about, frowning at rain... | 0:06:20 | 0:06:23 | |
and then she hits a cloudy ghost. Bosh! | 0:06:23 | 0:06:26 | |
But when Mulder and Scully pull over seconds later, all the rain has gone. Spooky. | 0:06:30 | 0:06:36 | |
# Da-da-da-doo, da-da-da-doo... # Sorry, that's The Twilight Zone, sorry. | 0:06:36 | 0:06:40 | |
-I can see her. -Michelle! -Help! | 0:06:40 | 0:06:43 | |
Considering it was made in the '60s, the effects on Thunderbirds are pretty FAB. | 0:06:47 | 0:06:51 | |
Of course, every now and again, they were less than perfect. | 0:06:51 | 0:06:55 | |
Look what happens when the aircraft explodes. | 0:06:55 | 0:06:57 | |
This bit of debris flies off and bounces off the back projection screen. Boing. | 0:06:57 | 0:07:03 | |
For some reason, at that moment in that half-finished foxhole, all I could think about was the 4th July. | 0:07:06 | 0:07:11 | |
Band Of Brothers now, and those German mortars are really doing some damage. | 0:07:11 | 0:07:14 | |
Thank God they're only aiming at the trees. Yeah, Nazis hate trees. | 0:07:14 | 0:07:17 | |
Especially these ones. They're birch trees, they make Nazis furious. | 0:07:17 | 0:07:21 | |
Boom! Take that. Hold on a minute, it did. | 0:07:21 | 0:07:25 | |
A bomb that only causes minimal bark damage. Let's have another look. | 0:07:25 | 0:07:29 | |
Yeah, that must have been a smart bomb. | 0:07:31 | 0:07:33 | |
They only destroy certain trees. If that had been a willow, it would be dead. | 0:07:33 | 0:07:37 | |
A thrilling FX scene from Blake's 7, the doddery senile granddad of the TV sci-fi family. | 0:07:41 | 0:07:48 | |
Once again, the audience at home are on the edge of their seats, getting up to leave the room. | 0:07:48 | 0:07:52 | |
But gasp as the bad guy is sucked into space. | 0:07:52 | 0:07:56 | |
Although, he's not so much being sucked as dangled by that highly visible safety harness. | 0:07:56 | 0:08:02 | |
Wheeee! | 0:08:02 | 0:08:03 | |
Clothes. | 0:08:05 | 0:08:08 | |
Clothes can go seriously wrong. | 0:08:08 | 0:08:10 | |
Just look at Lady Gaga or anyone from Germany. | 0:08:10 | 0:08:13 | |
If there's one department in telly that gets overlooked, it's wardrobe. | 0:08:13 | 0:08:16 | |
It's very rare to see wardrobes taking a leading role, | 0:08:16 | 0:08:19 | |
except in The Lion, The Witch And The Wardrobe, of course. | 0:08:19 | 0:08:22 | |
Though frankly, the lion and the witch got all the best lines. | 0:08:22 | 0:08:25 | |
Consequently, every now and again, the wardrobe department fights back. | 0:08:25 | 0:08:29 | |
It's Henry VIII in a scene from rollicking royal soap The Tudors. | 0:08:33 | 0:08:37 | |
Here's Henry's (divorced, beheaded, died, divorced, beheaded, survived), | 0:08:37 | 0:08:41 | |
first wife Catherine of Aragon, looking moody, and who can blame her? | 0:08:41 | 0:08:45 | |
Getting a rousing reception from this crowd of 16th century peasants. | 0:08:45 | 0:08:49 | |
Although, for a bunch of proles, they're doing pretty well for themselves, because, look again. | 0:08:49 | 0:08:55 | |
Verily, sire, that's a nice wrist watch. | 0:08:55 | 0:08:57 | |
He made that himself out of straw and bits of the plague. | 0:08:57 | 0:09:00 | |
Lovely Buffy. Not only is she sexy, fun, and good at killing vampires, she can swap shoes in a microsecond. | 0:09:04 | 0:09:11 | |
See, as she attacks the vampire wearing white party pumps... | 0:09:11 | 0:09:15 | |
Then, alley-oop, suddenly swaps them for a pair of | 0:09:15 | 0:09:18 | |
black boots when required to kick him in his undead nuts. | 0:09:18 | 0:09:21 | |
That is my kind of woman. | 0:09:21 | 0:09:23 | |
Where are your jibes now? | 0:09:23 | 0:09:26 | |
We want to swim and you can't stop us! | 0:09:27 | 0:09:30 | |
It's Desperate Housewives, and another wardrobe-related oversight is about to kick off | 0:09:30 | 0:09:34 | |
thanks to these cheeky kids who are refusing to get out of the water. | 0:09:34 | 0:09:38 | |
In you go, Mum, sort them out. | 0:09:38 | 0:09:41 | |
She walks into the pool in heels, | 0:09:41 | 0:09:43 | |
wades through the water in heels, | 0:09:43 | 0:09:46 | |
walks out again in heels, but then, having done the hard part, she's suddenly barefoot. | 0:09:46 | 0:09:52 | |
It's confusing. No wonder her kids are a nightmare. | 0:09:52 | 0:09:54 | |
-No parental consistency. -Paul, we have to leave now. | 0:09:54 | 0:09:58 | |
24, and watch this woman exiting the loo, or rather, her shoes. | 0:10:02 | 0:10:06 | |
A pair of good old-fashioned all-American sneakers. | 0:10:06 | 0:10:09 | |
Nothing wrong there. In fact, everything right. | 0:10:09 | 0:10:12 | |
But spin on, | 0:10:12 | 0:10:14 | |
and during a simple walk to her desk, they've been changed, | 0:10:14 | 0:10:17 | |
switched, perverted, into high heels. | 0:10:17 | 0:10:20 | |
Free-world flatties wiped off the face of the earth, replaced by high-heeled extremism. | 0:10:20 | 0:10:25 | |
And where's Jack Bauer? | 0:10:25 | 0:10:28 | |
Running a minicab firm. | 0:10:28 | 0:10:29 | |
"51 to base, passenger POB, Rog." | 0:10:29 | 0:10:32 | |
James Corden is a bit of a quick-change artist on the side. Oh, yeah, look. | 0:10:35 | 0:10:41 | |
One minute he's wearing his dinner jacket, and the next, he's lost it. | 0:10:41 | 0:10:45 | |
The jacket, not his temper. Although it's a wedding, there's always one fight. | 0:10:45 | 0:10:49 | |
Here's classic '70s drama Hawaii Five-0, as in five acting expressions, oh dear. | 0:10:54 | 0:11:00 | |
Steve McGarrett is on the case and there's no time to lose. | 0:11:00 | 0:11:04 | |
Except to change his suit on the way up the stairs. | 0:11:04 | 0:11:07 | |
-Mr Dennison, please. -Never mind all that, what have you done with your grey suit? | 0:11:08 | 0:11:13 | |
Look, he gets out of the car in the grey one, and walks into the office wearing the blue. | 0:11:13 | 0:11:18 | |
Mr Dennison, please. | 0:11:18 | 0:11:19 | |
Actually, good work, Steve. No-one wants to be arrested by a man in a sweaty suit. | 0:11:19 | 0:11:24 | |
Under normal circumstances, the last person I'd want to see frolicking in a wet T-shirt is Hurley from Lost. | 0:11:26 | 0:11:33 | |
Unless, of course, he was dancing around a pole, and even then only maybe. | 0:11:33 | 0:11:37 | |
Here he is teaching Charlie to fish and how to be both sopping wet... | 0:11:37 | 0:11:42 | |
..and dry at the same time. | 0:11:43 | 0:11:45 | |
Maybe he's just really hot. | 0:11:45 | 0:11:47 | |
Hot warm, not hot sexy. Unless he was dancing around a pole. Phwoar! | 0:11:47 | 0:11:52 | |
The poacher, I heard him fishing only a few nights ago. | 0:11:54 | 0:11:58 | |
What, with all his sartorial eccentricities, | 0:11:58 | 0:12:01 | |
Doctor Who has always been a strain on the wardrobe department, in whichever incarnation. | 0:12:01 | 0:12:05 | |
In this clip, Tom Baker's jaunty hat is the problem. | 0:12:05 | 0:12:08 | |
He leaves it on the chair and exits, and then in the next scene, | 0:12:08 | 0:12:12 | |
he's walking through the woods wearing it. | 0:12:12 | 0:12:14 | |
Maybe they'd shot a scene where he remembered, thought "huh" and went back for it, but then didn't use it. | 0:12:14 | 0:12:20 | |
Yeah, better check the director's cut. | 0:12:20 | 0:12:22 | |
Little Britain, famous for its comedy characters. | 0:12:24 | 0:12:27 | |
Here's Matt Lucas as Bubbles DeVere. | 0:12:27 | 0:12:30 | |
Bubbles dives under the tanning machine, naked, | 0:12:30 | 0:12:33 | |
but if we spin forward, | 0:12:33 | 0:12:36 | |
she emerges some time later burnt to a crisp and now mysteriously wearing a pair of blue goggles. | 0:12:36 | 0:12:42 | |
Will you excuse me for a moment, please, Mr Hutton, I'm a little bit on fire. | 0:12:47 | 0:12:50 | |
How.... | 0:12:53 | 0:12:54 | |
you...a doing? | 0:12:54 | 0:12:58 | |
I love Friends. I could watch it all day. | 0:12:58 | 0:13:00 | |
And thanks to E4, I can. | 0:13:00 | 0:13:03 | |
Here's Joey chatting up a girl in the apartment opposite. | 0:13:03 | 0:13:06 | |
He can't wait to get over there and introduce himself. | 0:13:06 | 0:13:08 | |
And yet, he still has time to miraculously change his black shirt on the way over. | 0:13:08 | 0:13:14 | |
Sweaty black shirt morphs into clean purple one. | 0:13:14 | 0:13:17 | |
But as he knocks on the door, | 0:13:17 | 0:13:19 | |
it's back to black. | 0:13:19 | 0:13:21 | |
Black, purple and black. The three colours of the bad continuity flag. | 0:13:21 | 0:13:27 | |
Another moment of drama in Grey's Anatomy. | 0:13:30 | 0:13:33 | |
Sandra Oh rips off her surgical topcoat and exits the operating theatre. | 0:13:33 | 0:13:38 | |
Meanwhile, out in the corridor, there's a bomb scare. | 0:13:38 | 0:13:41 | |
These doctors can't go faster than .000003 miles an hour | 0:13:41 | 0:13:46 | |
or they'll blow up or something. | 0:13:46 | 0:13:49 | |
Then, just as you thought this scene couldn't get any more confusing, out pops Sandra with her coat on again. | 0:13:49 | 0:13:55 | |
It's a bit like the film Speed but with less speed and more mistakes. | 0:13:55 | 0:13:59 | |
We're moving to an OR further away from the oxygen line. | 0:13:59 | 0:14:02 | |
Hey, David Banner is rescuing a bit-part actress from a cliff. | 0:14:06 | 0:14:10 | |
Spin on, and sure enough, he turns into The Incredible Hulk. | 0:14:10 | 0:14:15 | |
And as usual, his massive green muscles completely tear the shirt from his back. | 0:14:15 | 0:14:20 | |
But seconds later, the shirt reappears, | 0:14:20 | 0:14:23 | |
then disappears, then finally reappears again, | 0:14:23 | 0:14:27 | |
having mounted its curious green host once more. | 0:14:27 | 0:14:31 | |
All right, come on, come on! | 0:14:31 | 0:14:33 | |
Well, there was a lady present. | 0:14:33 | 0:14:35 | |
But sadly, no continuity person. | 0:14:35 | 0:14:37 | |
All great telly starts with a script. | 0:14:39 | 0:14:43 | |
You need writers who can really write words good comma, | 0:14:43 | 0:14:46 | |
and make the things we actors and presenters say in their mouths have, like, pizzazz and that. | 0:14:46 | 0:14:51 | |
Yes, script and story are crucial. | 0:14:51 | 0:14:53 | |
Confused story lines and dialogue, and character errors can spoil an entire series in seconds. | 0:14:53 | 0:14:58 | |
That's why broadcasters spend enormous amounts of money hiring professional writers and executives | 0:14:58 | 0:15:03 | |
to ensure this doesn't happen and why they get so disappointed when it still does. | 0:15:03 | 0:15:08 | |
Take a look at this little lot. | 0:15:08 | 0:15:10 | |
24, and here's Jack Bauer giving his exact location to headquarters. | 0:15:12 | 0:15:17 | |
We're at 21408 Kipling, North Hollywood. | 0:15:17 | 0:15:20 | |
That's 21408 Kipling, North Hollywood. 21408. Now, spin on, | 0:15:20 | 0:15:28 | |
and the car is here. But spin on again, and we can see they've pulled up outside 21048. | 0:15:28 | 0:15:36 | |
Well, that's no good. Kiefer's at 21408. | 0:15:36 | 0:15:40 | |
But hang on, he is here, at 21048, | 0:15:40 | 0:15:45 | |
-and not... -21408 Kipling, North Hollywood. | 0:15:45 | 0:15:48 | |
Where he said he was a moment ago. | 0:15:48 | 0:15:49 | |
Still, it's only the Secret Service in a race against time to save lives, | 0:15:49 | 0:15:53 | |
nothing important, like a pizza delivery. | 0:15:53 | 0:15:56 | |
Here's Ashes To Ashes, | 0:15:58 | 0:15:59 | |
the disappointing follow-up to Life On Mars. | 0:15:59 | 0:16:02 | |
It's July 1981. | 0:16:02 | 0:16:03 | |
And a shocked Keeley Hawes | 0:16:03 | 0:16:04 | |
has just found herself mysteriously back in the 1980s. | 0:16:04 | 0:16:07 | |
She's trying to find out the date from Gene Hunt's steam-driven computer. | 0:16:07 | 0:16:11 | |
Let's check it. 17th July 1981. | 0:16:11 | 0:16:14 | |
There's nothing on this hard drive but the time and date. | 0:16:14 | 0:16:17 | |
Spin on, and later, in her new '80s flat, we see that she's marked her arrival date as July 20th. | 0:16:17 | 0:16:25 | |
She's lost three days. | 0:16:25 | 0:16:26 | |
There are easier ways to lose three days, Keeley. | 0:16:26 | 0:16:29 | |
Try drinking five pints of gin. | 0:16:29 | 0:16:31 | |
Works for me. | 0:16:31 | 0:16:34 | |
Here's an IT blunder from serial-killing drama, Dexter. | 0:16:36 | 0:16:40 | |
As Rudy Cooper opens an e-mail from [email protected]... | 0:16:40 | 0:16:46 | |
..presses reply, | 0:16:48 | 0:16:49 | |
and suddenly he's writing back to [email protected]. | 0:16:49 | 0:16:54 | |
Don't worry, though, thanks to the confusing power of telly, | 0:16:54 | 0:16:57 | |
Frozen Barbie still gets the e-mail anyway. | 0:16:57 | 0:17:00 | |
All's well that ends well. Except for the fact that he kills her and cuts her into tiny pieces. | 0:17:00 | 0:17:06 | |
Here's an early clip from Star Trek: The Next Generation | 0:17:08 | 0:17:11 | |
and new Number One, Will Riker, is looking for the holodeck. | 0:17:11 | 0:17:16 | |
The computer tells him it's... | 0:17:16 | 0:17:18 | |
'The next hatchway on your right.' | 0:17:18 | 0:17:20 | |
-You mean left, surely? -Thank you. | 0:17:20 | 0:17:22 | |
-He's bluffing. Riker knows that the new Enterprise computer is an idiot. -I do. | 0:17:22 | 0:17:27 | |
And goes left instead. | 0:17:27 | 0:17:28 | |
In the future, many things will be different, but apparently, men still don't trust directions from a woman. | 0:17:28 | 0:17:34 | |
US drama Fringe, and this bonkers boffin has invented a camera | 0:17:36 | 0:17:40 | |
that can photograph a corpse | 0:17:40 | 0:17:42 | |
and capture the last image seen by a person before their death. | 0:17:42 | 0:17:47 | |
-Ready? -I know, it's rubbish, but go with it. | 0:17:47 | 0:17:51 | |
Let's listen to the doc's advice. | 0:17:51 | 0:17:54 | |
Goggles, all of you. Do not look directly into the light. | 0:17:54 | 0:17:58 | |
-MIMICS: -"Goggles, all of you. Do not look directly into the light." | 0:17:58 | 0:18:02 | |
Got it. Camera, dangerous. Goggles, essential. | 0:18:02 | 0:18:05 | |
But spin on through the rubbish, and see what happens. | 0:18:05 | 0:18:09 | |
They've taken them off. Oi! And you! Put them back on. | 0:18:09 | 0:18:13 | |
The doctor said keep the goggles on while the camera is still flashing. | 0:18:13 | 0:18:17 | |
Doc, tell them to... Not you, as well. I give up. This programme is stupid. | 0:18:17 | 0:18:21 | |
The OC crowd are in a nightclub | 0:18:23 | 0:18:25 | |
when one of our old friends | 0:18:25 | 0:18:27 | |
leaves an urgent message for his mate. Let's listen in. | 0:18:27 | 0:18:30 | |
Luke, it's me. I wanted to make sure you took care of it. | 0:18:30 | 0:18:33 | |
OK. Ryan said, "Luke, it's me. | 0:18:33 | 0:18:35 | |
"I want to make sure you took care of it." And there was lots of noise in the background. | 0:18:35 | 0:18:40 | |
Does Luke get the message? Yes. But not that one. | 0:18:40 | 0:18:43 | |
-WITHOUT BACKGROUND NOISE: -Luke, it's me. I'm just calling to make sure you took care of it. | 0:18:43 | 0:18:48 | |
"Luke, it's me. I'm just CALLING to make sure you took care of it." | 0:18:48 | 0:18:52 | |
Different words and no background noise. Probably a network problem. | 0:18:52 | 0:18:55 | |
There's a joke here somewhere about Orange County, but where are the good times? | 0:18:55 | 0:19:00 | |
Writing a long-running show like Frasier is tricky, | 0:19:02 | 0:19:05 | |
having to remember the characters' likes and dislikes | 0:19:05 | 0:19:08 | |
and relatives. They're a nightmare, even when they're not real. | 0:19:08 | 0:19:11 | |
Just listen to Frasier's dad Martin in series one. | 0:19:11 | 0:19:14 | |
I never had a brother. | 0:19:14 | 0:19:15 | |
Marty Crane never had a brother. | 0:19:15 | 0:19:18 | |
-Oh, I've got the feeling he would have liked one, though, and by series five, he did. -There he is! | 0:19:18 | 0:19:23 | |
Well! This is so exciting! You two must have so much to talk about. Uncle Walt, hello! | 0:19:23 | 0:19:28 | |
That's either a mistake or someone needs a psychiatrist. | 0:19:28 | 0:19:32 | |
-Marty. -Walt. | 0:19:34 | 0:19:36 | |
The great thing about animals is the fact that they will literally work for peanuts. | 0:19:38 | 0:19:43 | |
Over the years, animals have given us some classic TV moments. | 0:19:43 | 0:19:47 | |
Who can forget the infamous Blue Peter elephant, who for | 0:19:47 | 0:19:50 | |
years carried the blame for Peter Purves's violent bout of diarrhoea? | 0:19:50 | 0:19:54 | |
The following clips might be less well-known, but they are sure | 0:19:54 | 0:19:57 | |
to delight fans of TV mistakes and mild animal cruelty alike. | 0:19:57 | 0:20:01 | |
A humorous little set piece | 0:20:04 | 0:20:06 | |
from Grey's Anatomy now, following doctors Burke and Yang's | 0:20:06 | 0:20:09 | |
street chat, George's bagel gets pooed on by a bird | 0:20:09 | 0:20:13 | |
and, devastated, | 0:20:13 | 0:20:14 | |
he throws it to the pavement, | 0:20:14 | 0:20:16 | |
where it's immediately pounced upon by a grateful pigeon, just like in the script. | 0:20:16 | 0:20:20 | |
How do they do that? Was it a stunt pigeon? | 0:20:20 | 0:20:24 | |
No, it was a plain old ordinary pigeon, tied to a length of wire. | 0:20:24 | 0:20:28 | |
Time to give the man responsible the push. | 0:20:28 | 0:20:31 | |
Too late, he jumped. | 0:20:32 | 0:20:34 | |
This horrible 19th-century singing is upsetting me and the dog. | 0:20:36 | 0:20:41 | |
HOWLING | 0:20:41 | 0:20:42 | |
Hark at him howling! | 0:20:42 | 0:20:44 | |
Well, not so much "howling", more "looking", silently looking up at | 0:20:44 | 0:20:49 | |
the doggy treat being waved by his handler off-camera. | 0:20:49 | 0:20:51 | |
"But we need him to howl," said the director. | 0:20:51 | 0:20:54 | |
"It'll be fine," said the sound man, | 0:20:54 | 0:20:56 | |
"we'll just stick some howling effects on later, | 0:20:56 | 0:20:58 | |
"and no-one'll notice." | 0:20:58 | 0:21:00 | |
Well, we did. Oh shut up, dear! | 0:21:00 | 0:21:02 | |
How DO they train dumb animals to act? | 0:21:04 | 0:21:07 | |
I'm talking about the dog! | 0:21:07 | 0:21:08 | |
They use handlers, of course. | 0:21:08 | 0:21:11 | |
Handlers like him. | 0:21:11 | 0:21:13 | |
I've always wanted to see what the top of a dog handler's head looks like. Hairy. | 0:21:13 | 0:21:17 | |
Most people in TV will tell you that actors can be difficult to work with. | 0:21:19 | 0:21:23 | |
But take it from me, those people are LIARS. | 0:21:23 | 0:21:26 | |
I wouldn't wee on them if they were on fire. | 0:21:26 | 0:21:29 | |
No, CARS are difficult to work with. | 0:21:29 | 0:21:31 | |
My old friend Ross Kemp now refuses to work with cars | 0:21:31 | 0:21:35 | |
following a nasty incident with a dodgy 1974 Hillman Imp which very nearly acted him off the screen. | 0:21:35 | 0:21:41 | |
A thrilling scene from Lost, | 0:21:44 | 0:21:47 | |
the show about invisible polar bears on a desert island. | 0:21:47 | 0:21:51 | |
Based on a true story. | 0:21:51 | 0:21:52 | |
Here, the truck without the tailgate runs off the road. | 0:21:52 | 0:21:56 | |
Oh, dear. There goes the truck. There goes the tailgate flying off that it didn't have a second ago. | 0:21:59 | 0:22:04 | |
But luckily in the next shot, it's back on again. | 0:22:04 | 0:22:07 | |
Look on the bright side, she's lost a truck but gained a tailgate. | 0:22:07 | 0:22:12 | |
That might come in handy later, polar bears hate car parts. | 0:22:12 | 0:22:15 | |
I hate continuity errors. | 0:22:15 | 0:22:18 | |
Nip/Tuck now and watch these two teenagers. | 0:22:21 | 0:22:25 | |
Oh, dear. | 0:22:25 | 0:22:26 | |
Who'd have thought an argument between a pair of stoners in a speeding car could end so badly? | 0:22:26 | 0:22:31 | |
These lads have left a nasty pair of skid marks. | 0:22:31 | 0:22:34 | |
But when they go and check out the damage, the skid marks have disappeared. | 0:22:35 | 0:22:40 | |
Well, the ones on the road have! | 0:22:40 | 0:22:42 | |
GUFFAWS EXAGGERATEDLY | 0:22:42 | 0:22:44 | |
I mean, you know, the ones in their pants are still there, yeah? | 0:22:44 | 0:22:48 | |
Nice one! The woman's dead, by the way. | 0:22:48 | 0:22:50 | |
I think we hit a bird. | 0:22:50 | 0:22:52 | |
It's Bo and Luke Duke doing what they do well, driving fast | 0:22:54 | 0:22:57 | |
and talking nonsense. | 0:22:57 | 0:22:58 | |
But what's that strange appendage fastened to the right rear wheel? | 0:22:58 | 0:23:02 | |
It couldn't be a camera, could it? To film them flying through the air? Yes, it could. | 0:23:02 | 0:23:07 | |
SHE SCREAMS | 0:23:11 | 0:23:13 | |
Buffy The Vampire Slayer, a show that attracts geeks | 0:23:13 | 0:23:16 | |
like dog poo attracts new trainers. | 0:23:16 | 0:23:18 | |
Here, the Buffster's mate, Cordelia, is having a driving lesson and not a moment too soon. | 0:23:18 | 0:23:25 | |
Wahoo! | 0:23:25 | 0:23:27 | |
If we spin on, we can see and hear... | 0:23:28 | 0:23:32 | |
her slam the car door shut. | 0:23:32 | 0:23:34 | |
But in the next shot it's open. | 0:23:34 | 0:23:37 | |
So that this oncoming truck can smash into it, as per the script. | 0:23:37 | 0:23:41 | |
CORDELIA SCREAMS | 0:23:41 | 0:23:43 | |
Crisis averted. In the circumstances, the best option. Either that or reshoot it properly. | 0:23:46 | 0:23:51 | |
-Nah. -What's happening? I can't see anything. | 0:23:51 | 0:23:53 | |
Dozy cow. | 0:23:53 | 0:23:55 | |
Hawaii Five-O and Steve McGarrett is off to the scene of a crime | 0:23:57 | 0:24:02 | |
in his beloved Ford. | 0:24:02 | 0:24:04 | |
But what crime exactly? Grand theft auto, that's what. | 0:24:04 | 0:24:07 | |
Because when Steve pulls up at the crime scene, his car has grown a couple more doors. | 0:24:07 | 0:24:13 | |
Yep, he pulls away in a two-door coupe | 0:24:13 | 0:24:16 | |
and arrives in a four-door sedan. | 0:24:16 | 0:24:19 | |
Book him, Danno, for crimes against continuity. | 0:24:19 | 0:24:22 | |
One part of every show normally immune from TV mistakes | 0:24:25 | 0:24:29 | |
is the titles. | 0:24:29 | 0:24:30 | |
Not the famous opening title sequence from Sex And The City, though. Oh, no. | 0:24:30 | 0:24:35 | |
We all know what's coming next. | 0:24:35 | 0:24:37 | |
SJP gets splashed by a bus full of commuters | 0:24:37 | 0:24:40 | |
but look what happens when the same bus turns left moments later. | 0:24:40 | 0:24:43 | |
It's deserted. Maybe they all fainted. | 0:24:43 | 0:24:46 | |
It's not every day you see a Yorkshire terrier in a Tutu. | 0:24:46 | 0:24:49 | |
When visiting LA, there are two things you simply MUST do. | 0:24:51 | 0:24:54 | |
One is rent a fabulous car. | 0:24:54 | 0:24:56 | |
The Sex And The City girls have gone west. | 0:24:56 | 0:24:59 | |
Hey, bet you don't know what the most popular car in LA is? | 0:24:59 | 0:25:02 | |
It's the green four-door sedan. | 0:25:02 | 0:25:04 | |
Look, there's one going past now. | 0:25:04 | 0:25:07 | |
And going past again. | 0:25:07 | 0:25:09 | |
That's very distracting. | 0:25:09 | 0:25:11 | |
Spin on, and almost enough to make the girls crash into another car... | 0:25:11 | 0:25:15 | |
SCREAMING, HORN HONKS | 0:25:15 | 0:25:17 | |
..that's not there any more. | 0:25:17 | 0:25:20 | |
-OK, that's enough! -Phew, that was close. Did I say close? | 0:25:20 | 0:25:24 | |
I meant badly filmed. | 0:25:24 | 0:25:25 | |
I'm not going to die in this tin can. I have a date with a dildo. | 0:25:25 | 0:25:28 | |
Here's one of those FREAKS from Heroes now, | 0:25:30 | 0:25:33 | |
using his superpower to defrost a car. | 0:25:33 | 0:25:36 | |
Finally, a superpower with a practical use. | 0:25:36 | 0:25:39 | |
What does it say on that car windscreen? "Automatic." | 0:25:39 | 0:25:42 | |
I wasn't looking for an automatic. It's a nice car though. I'm definitely interested. | 0:25:42 | 0:25:46 | |
Actually, it's almost exactly what I'm looking for. I like the colour, the make, the price, | 0:25:46 | 0:25:51 | |
it's just if only instead of being automatic it was say, low-mileage. | 0:25:51 | 0:25:56 | |
He-hey, now it is! | 0:25:56 | 0:25:58 | |
That's what I call superpower. | 0:25:58 | 0:26:00 | |
And art department incompetence. | 0:26:00 | 0:26:02 | |
BEEPING | 0:26:04 | 0:26:06 | |
Ashes To Ashes, and a chance to enjoy | 0:26:06 | 0:26:10 | |
all that painstakingly-recreated '80s period detail. | 0:26:10 | 0:26:14 | |
Everything exactly as it would have been 30 years ago. | 0:26:14 | 0:26:18 | |
Except for that N-reg 1993 Rover 600, | 0:26:18 | 0:26:20 | |
which didn't go into production for another 12 years. | 0:26:20 | 0:26:24 | |
-..before they turn into the high street, copy that. -Who cares? | 0:26:24 | 0:26:27 | |
-COCKNEY ACCENT: -We're remaking The Sweeney and we haven't had any dinner! | 0:26:27 | 0:26:32 | |
Here's a clip from 24, and Jack Bauer is under surveillance. | 0:26:32 | 0:26:35 | |
See, there's the minicam, at the front left of the windscreen. | 0:26:35 | 0:26:38 | |
His every move is being watched, except by the remaining audience. They fell asleep hours ago. | 0:26:38 | 0:26:43 | |
Now, look as we see the window from the inside of the car. | 0:26:43 | 0:26:48 | |
The minicam's gone! A mistake? | 0:26:48 | 0:26:49 | |
Well, yes, but these people are saving the world. | 0:26:49 | 0:26:52 | |
They can't remember everything! | 0:26:52 | 0:26:54 | |
Here's Knight Rider, David Hasselhoff, telling KITT | 0:26:57 | 0:27:00 | |
to round up some other cars, | 0:27:00 | 0:27:02 | |
a bit like a two-tonne metal sheepdog, | 0:27:02 | 0:27:05 | |
with an engine and bumpers. | 0:27:05 | 0:27:07 | |
Talking of bumpers, why are all those covered in plastic? | 0:27:07 | 0:27:11 | |
It's almost as if they've been fitted with protective guards | 0:27:11 | 0:27:14 | |
to prevent scratches. | 0:27:14 | 0:27:16 | |
No, they wouldn't do that. That'd be almost as bad as letting us see | 0:27:16 | 0:27:20 | |
the stuntman that really drives KITT, slumped in the front seat. | 0:27:20 | 0:27:24 | |
Well, his arm. | 0:27:27 | 0:27:29 | |
At least he didn't pull a moonie! | 0:27:29 | 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 | 0:27:42 | |
It's a good job it's just telly and nothing of any importance, | 0:27:42 | 0:27:45 | |
because if this had been a paper round or a Saturday job in a burger bar, you'd have been fired. | 0:27:45 | 0:27:49 | |
Bye-bye. | 0:27:49 | 0:27:50 | |
Subtitles by Red Bee Media Ltd | 0:28:00 | 0:28:03 |