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Continuity mistake: The stains on Mrs. Crawford's top change position between the time when she falls on the floor, seemingly dead, and the time when Nunally and the paramedic rescue her. There's a conspicuous stripe of blood drip when she falls, while she shows just dot-shaped stains in the later scene. (00:10:45 - 00:16:10)

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Continuity mistake: When Ted Crawford enters the bedroom where his wife cheated on him, he stares at the bed, which is differently lit between shots - in the first angle, it's sunlit; in the side view, it is fully in the shade. (00:06:40)

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Continuity mistake: When Ted Crawford asks for Lt. Rob Nunally on the phone, the conversation is played in continuity, but there's a car in the zoomed-up view that disappears in the view behind Hopkins' shoulder. (00:05:35)

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Continuity mistake: When "Mr. and Mrs. Smith" are on the terrace and he asks her to dinner, the lighting of the scene changes dramatically between shots, to the point that you can also see the outline of Embeth Davidtz's fingers behind Billy Burke's neck through the robe in the frontal view, mismatched with the back view, robe collar in full shade and no hand anywhere near. (00:04:35)

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Question: How does the motel scene pan out? Crawford enters without taking any precautions (except the hat that manages to fool the one security camera) and only by plot armor cloak is by neither victim, who are frolicking in the pool a few feet from him and could and should see the old stocky dude hobbling around their bungalow fully in the open. Then he enters through a keycard that is never explained. Poolside we then see at one point the lieutenant looking towards the bungalow, frowning; what's with the frown? There is nothing suspicious about what is shown there, and Hopkins is not doing - at that part of the scene, the way it is edited - anything that would draw attention. Also, the phone call at the beginning doesn't make sense for anything but providing background for the audience, considering he already knew where Nunally was.

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Continuity mistake: At the beginning of the movie, Sir Anthony Hopkins' character gets to his sports car and drives off to commit murder. The shadows on the tarmac outside the hangar change in the span of a few seconds. (00:03:50)

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Other mistake: The Italian version redubs the antagonist as "Thomas" and "Tom," localizing the movie title to "The Thomas Crawford Affair," in an obvious attempt to capitalize on the fame of the cinema classic "The Thomas Crown Affair." However, end credits (and obviously the police report) still list Hopkins' character as Ted Crawford.

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Seekest Thou the Road - S1-E1

Deliberate mistake: Throughout the episode, all the police station clocks are still and show the same time (3:33) in different scenes. (00:18:55)

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The Judge - S1-E2

Continuity mistake: Ben joins Judge Carter Addison in his room in the first part of the episode. Addison is on the phone. Before he finally hangs up, he says, "Okay, I'll see you then." Before it cuts away, you can see Dick Van Dyke putting down the smoking pipe that is firmly between his teeth in the following close-up. (00:10:05)

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Diary of a Perfect Murder - S1-E1

Continuity mistake: Ben Matlock is in his office, angrily polishing his boots while he listens to the interview of the brash prosecutor on TV. The leg of the boot is under, then above, then under his forearm again in the span of three shots. (00:43:30)

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Plot hole: The first scene at Area 51/55 shows Rex Strickland operating an acid 'shower' that will be the key for the movie finale. Venom is not present at this scene but knows exactly how this never-before-mentioned or shown Chekhov acid works and that Strickland is the one guy with the necessary clearance to use it.

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Factual error: In the Senate scenes, there are a few women in the council. Women couldn't be senators in Rome. To be fair, none is shown raising their hand when Macrinus asks to vote, so it can be argued that they are perhaps not portrayed to be full-fledged members; however, the simple participation in the most important ruling body of the Empire appears to be anachronistic.

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Character mistake: When the MC introduces Lucius and his team during the naval battle, he says, "Today, we relive the battle of Salamis; the Trojans vs the Persians." The battle did involve the Persian empire, but not against "Trojans", but rather the Greeks.

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Factual error: While it is true that in ancient Rome naval battles were orchestrated and would occasionally take place in the Colosseum itself, and even that salt water could be used, the logistics of bringing live sharks all the way inland are patently absurd.

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Factual error: In his flashback en route to Rome, young Lucius is shown playing football (soccer) as goalkeeper with his friends in Africa. There is no historic testimony of any ball game in the ancient world with such a close resemblance to modern soccer (exclusive use of feet, rectangular goal, etc.).

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Factual error: The Numidians defend their city against the Roman invaders using also trebuchets - a type of siege equipment that would only appear in the Middle Ages.

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Continuity mistake: The main villain is trying the soft approach and wants to persuade David's ex-wife to side with him. As they are having a conversation about the bank loan, John Steiner's glass is raised - or not - depending on the camera angle. (00:37:00)

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Visible crew/equipment: When the main character and his family are first seen making their way to the train, the rightmost one in a row of three eerie blonde pageboy-haired children keeps looking into the camera. Generally, throughout the movie, there are plenty of instances of child actors looking into the camera, mainly young Malcolm (Lorenzo Aiello). (00:05:15)

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Revealing mistake: After the arrest of her fake father, Annie Belle reaches Linda by phone. Naturally, she is swimming in the nude. Linda then turns to her husband, who is just then reading about Michael's arrest. The headline about this Hong Kong arrest is a glued-on slip of paper on top of an article set in Lyon. (00:21:30)

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Factual error: You can't expect a great deal of historical accuracy from a movie that narrates a love story, conveniently ignoring the glaring fact that one of the two lovers was DEAF. Nevertheless, here Francisco Jose de Goya paints for his lover, Duchess Maria, a 1797 painting, "The Black Duchess", only after he already painted "Charles IV of Spain and His Family", finished in 1801, and the St. Anthony of La Florida frescos, 1798.

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