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Trivia: "Small Soldiers" was initially made as a dark, edgy satirical movie for teenagers and young adults. However, due to sponsors, tie-ins and studio demands, at the last minute director Joe Dante was forced to edit the movie to try and make it appeal to kids. This is part of the reason why the film's tone is all over the place, and it sometimes feels very silly and child-friendly... while at other times it feels a creepy and inappropriate. It's a bit of a Frankenstein monster.

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The Pack - S1-E6

Continuity mistake: When Willow is unsuccessfully trying to tutor Xander outside towards the beginning of the episode, after Willow warns Xander he might flunk math, he reaches up and massages his face with his hand. When he does this, he has a pen in his hand. When the camera cuts to the opposite angle, the pen vanishes. Then, when the scene cuts to a wideshot about 10 seconds later, suddenly his hand is in a completely different position between cuts.

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The Pack - S1-E6

Audio problem: After Buffy catches the pig in the hallway, Principal Flutie tries to take him back. The pig squeals, making Flutie back up. However, it's painfully obvious that the pig isn't actually making the squeal and that it's just added in post. The pig looks completely calm and happy in Buffy's arms, it doesn't wriggle at all, and if you look closely, you can even see that its mouth doesn't move in the slightest. It's about as far away from squealing as possible.

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I Robot, You Jane - S1-E8

Factual error: When Willow is chatting with "Malcolm," she says she has to sign off the chat program after she gets nervous. However, all she does to "sign off" of the chat program is turn off the computer monitor. This would do literally nothing. The program would still be running if you turned the monitor back on. Yet the episode treats it like she's just turned the entire computer off by turning off the monitor.

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I Robot, You Jane - S1-E8

Continuity mistake: In the beginning, after the monk traps Moloch and closes the book, the positions of his hands gripping the sides of the book changes slightly between cuts. (Ex. His left hand is lower, then suddenly slightly higher between edits).

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Welcome To The Hellmouth (1) - S1-E1

Continuity mistake: When Buffy meets Angel, Angel is walking down the alley and Buffy swings around a pole and kicks him from behind. Except you can tell in the first shot that Angel is too far ahead of her - she couldn't have reached him to kick him. She's only able to reach him through the power of editing, as the shot cuts, and he's suddenly closer to her. She also somehow flips backwards yet lands in front of him. The scene looks cool in motion, but makes absolutely no logistical sense if you watch closely.

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Welcome To The Hellmouth (1) - S1-E1

Continuity mistake: In the beginning, when Darla "vamps out" and kills the boy, watch her shirt collar. In the first shot, her shirt collar is unbuttoned, but when she turns around to bite him, suddenly it's buttoned closed.

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Welcome To The Hellmouth (1) - S1-E1

Continuity mistake: In the beginning, when Darla and the boy break into the school, the boy breaks through a window, reaches in, and unlocks the window from inside. When he does this, as the shot changes, the broken glass around the window changes slightly between cuts. (Noticeably, the glass wedged between his hand and the window vanishes.) Additionally, in the first shot, there's a microscope right next to the window, about an inch away. In the next shot, it seems to have moved about four inches to the left.

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Trivia: If you pay attention, there's a nice subtle detail... you can see that both Vincent and Cole have white patches in their hair. While it has never been definitively proven, there is a belief that periods of extreme stress or fear can affect hair pigmentation and make it turn white. One study actually did observe the effect in mice that were placed in high-stress situations for periods of time. Since Vincent and Cole are both terrified of the ghosts they see, they have similar white patches.

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Trivia: The first draft was very different. Malcolm was a world-weary forensic photographer working on a serial killer case, and Cole was his son. When Malcolm discovers that his son can see dead people, they would team up to have Cole speak with the ghosts of the killer's victims to try to figure out who the killer was. It was very much a police thriller... just with a supernatural twist. Writer/director M. Night Shyamalan completely overhauled the story into a horror-drama during multiple rewrites.

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Revealing mistake: When Ed falls on his belly and dies of a heart-attack at the end of the film, if you look closely, you can see the actor is still breathing a few times. He's trying to hold his breath, but every so often, you can see his back subtly raise and lower as he slowly takes a breath in and out.

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Trivia: The original pitch for the film was very different. John Belushi's brother Jim Belushi was initially supposed to star in the film as "Zee Blues," a long-lost third Blues Brother. The film would have been a tribute to the original that followed Elwood, Zee and "Mighty" Mack as they reunite the band to try to raise money to fix up the orphanage, which had fallen into disrepair. The character Buster also didn't exist in the original story. The studio rejected the pitch.

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I Robot, You Jane - S1-E8

Trivia: The demon's name is Moloch, a word found several times in the Hebrew Bible that is commonly associated with either a type of deity, or as a term referring to a type of sacrifice. The name was also chosen in part because in addition to its mythological connotations, it's also similar to the word "malloc," which is a function in C-based computing languages that has to do with allotting unused memory. The fact the term connected to both the mythological and technological made it fit perfectly.

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Trivia: Michelle Pfeiffer actually became quite skilled with her bullwhip behind the scenes. In fact, the scene where she whips the heads off the mannequins one after another was 100% real, and accomplished in only one take with multiple cameras set up. As soon as "cut" was called, the entire crew burst into applause, shocked by how precisely and perfectly she nailed the scene.

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Trivia: Final film of famed production designer Allan Cameron. Cameron got his start on television, and went on to be well-known for his work in sci-fi, action and fantasy films, such as 1999's "The Mummy," "Starship Troopers," "Willow" and "Highlander." He sadly passed away a few years after the film's release.

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Deliberate mistake: There's a bizarre editing gaff in the opening fight of the Director's Cut. At one point, Fasil's sword vanishes (for no real reason) and he starts to do backflips. The scene then cuts away, and when it cuts back, he's suddenly running and has his sword again. A few shots later, he's suddenly doing backflips and has lost his sword again. (It's meant to be Fasil doing the flips.) The editing makes absolutely no sense. It's like they somehow mixed up two different scenes during editing.

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The Pack - S1-E6

Continuity mistake: When the zookeeper catches Buffy and Willow trying to sneak into the hyena exhibit in the beginning, when Buffy and Willow turn around, they get close to each other but there's still at least 6-8 inches of space between them. When the camera cuts, though, they are suddenly pressed literally right up against each other, to the point they are borderline huddling.

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The Pack - S1-E6

Deliberate mistake: When Xander ducks under the caution tape to catch up to the group of students at the beginning, as the shot is about to cut, judging by his casual walking pace, he should maybe be 10 or so feet ahead of Buffy and Willow. When the camera cuts, he's suddenly at least 30 feet away. It's probably edited that way for time reasons (to quicken the pace of the scene rather than show him walking an extra 10 seconds), but still a minor mistake.

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I Robot, You Jane - S1-E8

Trivia: The voice on the radio near the end of the episode (when Jenny Calendar visits Giles) is series creator Joss Whedon.

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I Robot, You Jane - S1-E8

Deliberate mistake: When Willow goes into her dark bedroom, she turns on her lamp. Somehow, her tiny lamp illuminates the entire room and also casts a shadow behind her, even though it's behind her. Clearly, when she turns on the lamp, they also turned on some set-lights in front of her to make the room bright enough for filming. There's also something else that gives it away-when she turns on the lamp, the studio lights come on a split-second later - just enough that if you look closely, you'll notice the delay.

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