Super Grover

Revealing mistake: While Matt and Nova are up in the chopper, Baz loads the vehicle then asks Bobby how the front end is looking, and in the next overhead shot we can see that one of the center spokes has been removed from the front of the vehicle, but when Luellyn pushes Bobby out of the way Luellyn is skewered by that non-existent spoke - which was digitally added. The real spoke is back on in later shots.

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Other mistake: During the scenes at the liquor store and in the surplus warehouse, most items on the shelves have tape covering their brand names, and even all the liquor bottles and other items have been turned around to hide their brands.

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Continuity mistake: When Fin stops near the school bus, the bus number changes from "278146" to "278245" during the rescue of the kids.

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Continuity mistake: While the shark is atop the car roof, when Fin tries bashing it with the baseball bat, Fin's watch vanishes in all of the overhead shots.

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Continuity mistake: When the first girl is rescued from the school bus, as she exits the back of the bus she's wearing dark pants, but when she's being hoisted up she's wearing light stone wash jeans.

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Other mistake: After the bridge rescue, when the wind picks up the letters of the Hollywood Sign are uprooted and take flight, and we see the "Y" flying through the air, but later when they're driving away we can see Mt. Lee behind the car with the remaining letters, and the Y is still mounted there.

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Continuity mistake: When Fin heads back up the rope to the bridge, the watch on his left wrist vanishes in his closeup, after he says, "I've had just about enough of you," and he cuts the rope to drop the shark.

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Continuity mistake: During the bridge rescue, Baz is wearing his multi-studded leather watch on his left wrist and a bunch of bracelets on his right, but in all of the closeups of his arms the bracelets vanish, the watch band changes, and his tattoos are gone.

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Breakdown - S1-E23

Trivia: While Jules and Travis discuss his graduation and Jules' popularity in school, Travis looks through his mom's yearbook and comments that there's a picture of Jules "dancing onstage with Bruce Springsteen." Courteney Cox, who plays Jules, appears in Bruce Springsteen's 'Dancing in the Dark' music video from 1984, as the girl in the audience who's pulled onstage by Springsteen to dance with him, towards the end of the video. This was Courtney's first acting job.

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The Boogeyman - S2-E6

Visible crew/equipment: When James Charles, the guidance counselor, says, "It could be someone you know, or it could be a stranger you pass at the grocery store," the actors' red T-marks are visible on the floor at Reid's and Gideon's feet. Then when Charles continues to say, "gathering information on the case," we can also see the actor's white T-mark beside the counselor's feet, where he will stand after he introduces Gideon.

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Life on the Line - S4-E11

Visible crew/equipment: After Sam/Jim tells Melinda that he'll be leaving and doesn't know how long he'll be gone, as he drives away the reflection of the large reflector screen can be seen on the pickup's vent window.

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Pieces of You - S4-E9

Visible crew/equipment: When Melinda heads out to go on a run, while she and Sam/Jim are standing beside her car, in the shots facing Sam/Jim we see Jim's face, actor David Conrad, and in the car window's reflection we see Sam's face, actor Kenneth Mitchell, which is deliberate for viewers since Jim's spirit is in Sam's body. But just as Melinda says, "He worked a lot of weird hours, and liked to sleep-in a lot," it's amusing that in the reflection we can see both actors - David Conrad walking and then standing behind Kenneth Mitchell, both of whom play the same role and are wearing the same grey T-shirt.

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Trivia: When Uncle Joe gives John the hammer he made, after Joe comments on the hammer's special shaft, Susan and John kind of roll their eyes at Uncle Joe. Richard Roundtree, who plays Uncle Joe, played John Shaft in the 1970s.

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Reflection of Desire - S6-E8

Continuity mistake: While Morgan and Prentiss are at the crime scene talking to the homeless man, when Morgan moves the tent and finds the text written on the wall, the homeless man smudges the text with his fingers, but when Morgan sends a photo of the evidence the smudges and text differ.

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Don't Push - S6-E2

Continuity mistake: While trying to take a new Family Portrait, after Cameron, Mitchell, and Lily shake out their faces, say cheese and take another photo, Cameron goes to look at the laptop screen and there's a closeup of that newest photo, but when he tells Mitchell to look at the screen it's a different photo - note Lily's goofy eyes, etc.

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Visible crew/equipment: During the long car chase, after Freya tells Matt that he's an awful driver Matt makes a sharp right turn and the car chasing them stops short, and when they back the car up we can see the reflection of a crew member wearing a hat (perhaps the cameraman) on the car window.

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Continuity mistake: When Freya and Matt escape from Contini's chateau and board Matt's chopper, Freya is wearing white flats with short black heels, but after the chopper lands atop the trailer on Contini's train Freya's shoes are completely flat.

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Revealing mistake: While Contini's train speeds along the railroad tracks, in the train's cab when Contini opens the floor's trap door before Freya walks in and later when Matt pushes Contini through the open trap door, there are closeups of the ground below and there are no railroad tracks whatsoever.

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Revealing mistake: After Freya and Matt escape from Contini's chateau and are flying in Matt's chopper, we can see the shadow of their chopper being cast on the ground below, but the problem is that Matt's chopper looks nothing like that helicopter's shadow.

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Continuity mistake: During the long car chase and later when Yu-Rang and the other baddies are in the cars chasing after Matt and Freya, their cars' rear-view mirrors keep vanishing and reappearing, between closeups and wide shots. Additionally, during some closeups of Matt and Freya the car's windshield is gone to provide a better view of them.

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