Camp Redwood - S9-E1
Continuity mistake: After Trevor scans the woods with the flashlight from the porch, he lowers it to his side, but the next shot of him from the woods shows him still holding the flashlight up and his arm extended.
Camp Redwood - S9-E1
Continuity mistake: As Margaret briefs the counselors on the rules, Xavier is positioned to the right of Ray's right shoulder, but when the shot is of the back view of the group facing Margaret, Xavier is now directly behind Ray.
Camp Redwood - S9-E1
Continuity mistake: Margaret plants the axe into the chopping block, but in the next shot when she greets the new counselors, the axe is now leaning against the chopping block.
Camp Redwood - S9-E1
Continuity mistake: The view of Ed is through the right front of the van's windshield when he says, "Did you say Redwood?", then the next shot of him shows he is further away from the van and not near the windshield.
Camp Redwood - S9-E1
Continuity mistake: As Brooke explains to the group she is planning to be a veterinary assistant, Montana turns her head to the left twice as the scene cuts.
Camp Redwood - S9-E1
Continuity mistake: In the scene of the aerobics studio lobby when the group decides to leave for Camp Redwood, Ray is shown getting up and standing twice.
Camp Redwood - S9-E1
Continuity mistake: While talking with Brooke in the locker room, Montana's left arm alternates from outstretched in the frontal shots of her to down at her side in the rear shots.
Mr. Jingles - S9-E2
Continuity mistake: Xavier holds his flashlight low when he turns to shine it on the camp light that just went out, but the next shows him holding the flashlight higher, and closer to his ear.
Mr. Jingles - S9-E2
Continuity mistake: After Blake says, "Gay for pay, baby.", his left hand is up by his mouth, then by his side in the next quick cut.
Continuity mistake: While Brooke is on the floor being tormented by Montana, a rug next to Brooke disappears and moves to another part of the room as the scene cuts.
Answer: Moira's ghost form is unique because of the way she was treated when she was alive. To people who do not sexualize her and truly understand and view her for who she really (namely women), she is seen as an older woman. To people who objectify and don't care to see the truth (namely men), they see the young seductive Moria. It's a strong directorial choice to eventually show how Ben Harmen comes to terms with the truth of the house and himself.