|SEASON THREE - 1, 2, 4, 5|
|THE SHELTER||THE PASSERSBY||THE GRAVE|
|Dr. Stockton is collecting water, when he goes to answer the door, you can see the large jug that he carries in his right hand is full. But when he enter the basement and there's a cut, the jug is now empty.||Lavinia,
a Southerner, makes a reference to the "Civil War." However,
that term wasn't used by
the South during/after the war, because they viewed
themselves as separate from
the Union and they didn't considered it a "civil" war.
|When Conny Miller goes to the graveyard at midnight, the sky is exactly the same when the townsfolk go to the grave the next morning. There is also a noticeable vertical seam in the sky background.|
|IT'S A GOOD LIFE||DEATH'S-HEAD REVISITED||DEATH'S-HEAD REVISITED|
Anthony is talking with his dad, he climbs up onto the bed's foot-piece, but
after a close-up of the
father, Anthony is again standing on the floor.
|When Lutze is looking at the detention
building and the camera cuts
to a shot of the building, you can see a crewman in the window, moving out of the
signs in this version of a German concentration camp are in English.
|THE JUNGLE||ONCE UPON A TIME||FIVE CHARACTERS IN SEARCH OF AN EXIT|
| Alan Richards
enters his car from the passenger's
side. While he's moving over to the driver's side, the window is rolled up.
Then, after a long-shot showing
Chad's car driving off, the camera cuts back to Richards, still adjusting
to the driver's seat.
However, the window is now rolled down.
|Mulligan's boxer shorts have a zipper on them. The problem is the zipper wasn't actually invented until 1893 and this episode first takes place in 1890. Also, boxer shorts like these hadn't been invented yet.||A
few flubs here - First, when the major pulls his sword out, the clown
starts making a stabbing motion with his umbrella. But when the major's
sword immediately breaks after
he jabs the wall, the clown is shocked and pulls the umbrella
a quick shot of the major against the wall, they cut back to the clown who
is now in the stabbing
pose again. Second, midway through the episode,
the clown rips off some of the cord-like material from his pants leg to use
rope, but in the final
shot the material is back on his leg. And lastly, the doll version of the
major doesn't have a mustache, as Windom
|NOTHING IN THE DARK||SHOWDOWN WITH RANCE McGREW||TO SERVE MAN|
Beldon sits up in bed and moves the sheets to the end of the bed, the
reflection of the bed in the mirror shows the sheets are still in the same
Rance McGrew is
transported back into the wild, wild west,
he turns around to view the rest of the bar and sees these two cowboys. Then he faces the bar
to look at the two cowboys next to him, and they're the same actors
that were sitting on the right side of the room.
|In the middle of Grigori's interrogation of the Kanamit representative, he goes from pointing a pencil at the Kanamit in one shot, to a quick shot of the pencil being held with both hands.|
|LITTLE GIRL LOST||THE LITTLE PEOPLE|
Serling's on-screen introduction, the chalk lines that Charles Aidman makes
later in the episode,
signifying the outline of the dimensional doorway, are noticeable (unfortunately
this screen grab doesn't show the detail all that well).
|Two flubs here: The scale of the little people's miniature truck in comparison to their buildings and trees is way off. The truck is shown through a magnifier in the hand of astronaut William Fletcher as being a tiny thing, but the houses and tress crushed under astronaut Peter Graig's boots are many more times larger in scale. Also, when Craig crushes the houses, first we see the houses as he crushes the two left houses, the camera cuts to Craig, then back to the houses and the same first house is uncrushed. Obviously, the same houses were used as props from scene to scene, and although the others houses were switched around to make the secondary shot look like a different part of town, crewmen didn't move that first house around.|