Episode #1.5 - S1-E5
Continuity mistake: In the case resolution at the bar, the bottles jump on and off the counter onto Vincent's hand between shots, multiple times. (00:43:30)
Episode #1.5 - S1-E5
Plot hole: Leon Hamilton is the most hated man in Sainte Marie, with over 900 people on the island conned by him. Yet exactly one person in the whole island knows how he looks like, every newspaper and website never ever published a picture of him even during the very public trial when they were trying to get their thousands of dollars back nor publish an archive picture after his death.
Episode #1.5 - S1-E5
Continuity mistake: After Leon Hamilton is stabbed, Richard Poole gets out the whiteboard and says "this time it's personal." Yet the whiteboard has some writing on it and some pictures. If you look at it closely, it is Benjamin Lightfoot, the guy killed in the next episode when Richard is sick. So the whiteboard has everything from the next episode before it happens.
Episode #1.6 - S1-E6
Continuity mistake: When one of the brothers gets up and tells the other "Better than being old before my time", Mark Lightfoot is drinking from his glass, and instantaneously isn't in the next shot. (00:00:55)
Episode #1.6 - S1-E6
Continuity mistake: "Freddie" reports to DS Babu Frik the findings on the man on the boat, Danny Barber from Panama. He is holding the notepad with his right hand, reverse shot and the arm is down his side, back to the first angle and back to the notepad in hand. (00:21:40)
Episode #1.6 - S1-E6
Other mistake: The married couple are penned down on the whiteboard as Alex and Phil Owens, but in the episode credits their last name is Owen. (00:25:45 - 00:52:00)
Episode #1.7 - S1-E7
Factual error: The victim has been shot while he was lying in the coffin with his arms crossed. Somehow, he keeps his arms perfectly crossed even when he's dead, despite being carried around in a casket propped in vertical position merely a little more than 15 minutes later. Rigor mortis takes way longer to begin, his lifeless arms would have flailed off position a long time before, not stayed in the dramatic mummy position with no supports to hold them in place. (00:04:30)
Episode #1.7 - S1-E7
Continuity mistake: Camille finds the gun and makes a mocking face to Richard. As he is "or not"-ing, he holds the deceased's beads in his right hand - next shot and his right hand is free and has to reach for the beds, held in his left hand. (00:04:40)
Episode #1.7 - S1-E7
Continuity mistake: At the beginning of the first interview with a band member, Richard is shown writing in the foreground, but puts pen and paper on the table only in the following shot. As the scene goes on, he keeps his pen more or less tilted in each new shot. (00:05:30)
Episode #1.7 - S1-E7
Continuity mistake: Snakes frightens Richard, who is not really listening to the claim that they are smart and loyal. He is holding his pen and paper, slightly pulled back, as he says "Even so..." In the next shot they are already on the table, off his hands, as he reacts jumping back. (00:08:20)
Episode #1.7 - S1-E7
Continuity mistake: Richard is angrily shouting at Fidel for letting the wife of the victim go. Fidel is taking the verbal abuse standing behind a table closer in close-up and with more glasses on it than in the wider shot. (00:10:25)
Episode #1.7 - S1-E7
Continuity mistake: After the interview with the wife, Richard driving the Defender stops it in the middle of the road. In the wider angle you can see Camille pull her arm all the way back from the car door. Yet in the close-up she is still leaning casually on the open window. (00:17:30)
Episode #1.7 - S1-E7
Continuity mistake: Camille and Richard are talking in the car in the middle of the market. With the camera positioned on Richard' side, his thumb dangles lower than the other fingers, that are leaning on top of the wheel. In the angles from Camille's position the thumb is pointed always up and leans the pad on the wheel. (00:17:40)
Episode #1.7 - S1-E7
Continuity mistake: Richard's bit of conversation in the market with Camille proves to be pointless, as he's got nothing yet. Camille remarks about it; through the car window on her side you can see, as in the earlier parts of the conversation, a woman with a pink top and a large flower-themed shopping bag. A moment later the Defender leaves, and behind it you can see the same woman, completely different part of the market. (00:17:50)
Episode #1.7 - S1-E7
Continuity mistake: When Richard asks the mysterious girl at the police station "I knew you were outside, crying. Why?" there's a reaction shot on her, saying nothing and just being pouty. In that shot, the water in her glass is completely still, but with Richard on focus, the water keeps undulating. (00:20:55)
Episode #1.7 - S1-E7
Continuity mistake: When Dwayne puts the snake in the sack, he is aided by Camille, who is standing in foreground in the same position with her arm on her hip every time it cuts to DI Richard Poole as if nothing happened. (00:22:50)
Episode #1.7 - S1-E7
Continuity mistake: Camille is hiding her face behind the weapon report after she made Richard squeal in terror because of the little fake snake. When he strafes back in view saying "Excuse me?" she moves the paper away, but in the reverse shot she's still hiding her mouth behind it. (00:31:00)
Episode #1.7 - S1-E7
Continuity mistake: Poole and Bordey show up at Curtis James' home. When she shows him the picture of Avita she just found, in close-up the strap of her bag is off the tanktop and directly on her skin. In the rest of the scene, the leather strap is off her cleavage. (00:32:55)
Episode #1.7 - S1-E7
Continuity mistake: When Camille tells Curtis that probably the widow fancies too, making him all giddy, her hand takes different directions at every cut (fingers on cheek, fingers on jaw, fingers not in view, wrist turned the other way so it's the back of the hand to be under the chin, etc). (00:35:25)
Episode #1.7 - S1-E7
Continuity mistake: Poole barges in when Avita is on a bed, and tells her "You're in love with Curtis." In the establishing shot the bed is entirely in the shadow, but when she turns towards the rude Englishman the side of the bed is strongly sunlit. (00:36:00)
Answer: There's probably no particular reason. Sets and props on long-running TV shows often change as needed and for various reasons throughout a series run.
raywest ★