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Continuity mistake: The amount of foam on Pleakley's back suddenly increases and then decreases between shots.

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Continuity mistake: While in the tub, after removing the shower cap, Pleakley's fringe falls on the right side. In the next shot, it falls on the left. This alternates back and forth several times.

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Continuity mistake: When Glinda sings "Popular," watch the left side of Elphaba's hair. Between cuts, it alternates between being tucked behind her neck, brushed toward the right side of her back, and slightly falling over her right shoulder (our left). This position keeps swapping back and forth.

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Continuity mistake: When Glinda puts the glasses on Elphaba, Elphaba's hands are lowered. In the very next instant cut, they are suddenly positioned around her head. (01:21:49)

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Where Have You Gone, Billy Boy? - S7-E18

Continuity mistake: When Stanton finds the dummy, its jacket is closed across the chest, revealing only a small portion of the yellow T-shirt underneath. The shot briefly cuts to his assistant, and when it returns to the dummy, the jacket is pulled open, leaving the T-shirt fully visible.

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Where Have You Gone, Billy Boy? - S7-E18

Continuity mistake: When Stanto discovers the dummy, it is covered with a green sheet, and a blue cloth is draped over its head. After he removes the green sheet, the blue cloth has been replaced by a grey-and-black one covering the dummy's head.

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Continuity mistake: When Fiyero and Elphaba kiss, his hand is bare. In the following shot, strands of hair are suddenly entangled around his fingers.

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Continuity mistake: When Elphaba and Fiyero are lying together, the blanket draped over her arm shifts position between instant cuts, alternately revealing and concealing more of her arm. (01:18:48)

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From the Horse's Mouth - S7-E16

Continuity mistake: Christie is holding the phone in her left hand. In the very next cut, she is suddenly holding it with both hands. (00:16:32)

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The Taxman Cometh - S7-E15

Continuity mistake: When Jessica enters the lieutenant's office, she pulls her handbag forward from behind her shoulder. In the reverse angle, however, the bag is back resting behind her shoulder again. This error repeats several times throughout the scene.

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Suspicion of Murder - S7-E12

Continuity mistake: Dennis grabs the typewriter and throws it out of the window. However, just before the police enter the office, the typewriter is back on the table. Once they come inside, it disappears again.

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Continuity mistake: When Carrie drops the letters and the keychain, the way they are spread across the floor changes between instant cuts.

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Moving Violation - S7-E13

Continuity mistake: While speaking with the sheriff at her place, Jessica pulls down both of her sleeves. In the immediate reverse shot, she repeats the exact same movements.

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Moving Violation - S7-E13

Continuity mistake: At Jessica's place, the banana in the fruit bowl is positioned to the left of the apples. From the opposite angle, they have switched sides.

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Moving Violation - S7-E13

Continuity mistake: When the mayor returns the sheriff's badge, his grip on it changes between shots.

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Moving Violation - S7-E13

Continuity mistake: When Mrs. Hellman grabs the coffee mug, her grip alternates between holding it by the base and by the handle from shot to shot.

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Continuity mistake: Two mistakes here: when the storm troopers raid the building, the barber's hat falls about a metre away from the table. He is then shoved onto the table, and when the soldiers are about to leave, his bowler hat is back on his head: he is holding it with his right hand while holding a flower pot in his left. A shot later, the bowler hat and the flower pot have switched hands.

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Continuity mistake: When Hannah and the barber are in the street and hear Hynkel's speech, her hands shift from being tucked under his arm—gripping the point where the elbow meets the arm—to resting on top of his wrist.

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Continuity mistake: When the movie begins, the gunner's and the tank commander's positions change on every single shot.

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The Milk Run - S1-E12

Continuity mistake: When Louis Martinez sees the gunman about to shoot Eddie, he straightens up and yells his name. In the wide shot, however, he is back in his previous position, silent, and then starts to straighten up again. The fact that the scene is being played in slo-mo makes it more noticeable.

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