Is there an issue? Send a MessageReason:
None
Changed line(s) 10 (click to see context) from:
** The occasional use of foreboding background music during the reconstructions.
to:
** The occasional use of foreboding background music BackgroundMusic during the reconstructions.
Is there an issue? Send a MessageReason:
None
Changed line(s) 4 (click to see context) from:
** The end credits made things worse by featuring the theme tune in its entirety and teasers of the following episode in addition to all of the above.
to:
** The Each episode would usually end credits made things worse by featuring the theme tune in its entirety and teasers with a preview of the following episode, followed by the end credits which were accompanied by a brief-review of the episode in addition to all of the above.audience had just seen, with an eerie dark blue shadow effect over the footage.
Is there an issue? Send a MessageReason:
None
Changed line(s) 5 (click to see context) from:
* As well as the show's infamous theme tune, the redesigned logo from 1999 onwards took on the form of distorted (possibly melting) numbers illuminated by flames in the background.
to:
* As well as the show's infamous theme tune, the logo was redesigned logo from in 1999 onwards took on the form of to look like distorted (possibly melting) numbers illuminated by flames in the on an otherwise black background.
Is there an issue? Send a MessageReason:
None
Changed line(s) 5 (click to see context) from:
* As well as the show's infamous theme tune, the redesigned logo from 1999 onwards took on the form of distorted (possibly melting) numbers on a yellow background that resembled a raging fire.
to:
* As well as the show's infamous theme tune, the redesigned logo from 1999 onwards took on the form of distorted (possibly melting) numbers on a yellow background that resembled a raging fire.illuminated by flames in the background.
Is there an issue? Send a MessageReason:
None
Changed line(s) 11 (click to see context) from:
** When Michael Buerk reminded the audience what was still to come, a thunderclap-like sound effect (sometimes complete with an accompanying flash) would be played, followed by a foreboding chord and the signature notes.
to:
** When Michael Buerk reminded the audience what was still to come, a thunderclap-like sound effect (sometimes complete with an accompanying flash) would be played, followed by a foreboding chord and the signature notes.three-notes.
Is there an issue? Send a MessageReason:
None
Changed line(s) 6 (click to see context) from:
** The original logo started off as numbers on a police car roof but the variants used until 1998 drove home the serious nature of the series.
to:
** The original logo started off as numbers on a police car an ambulance roof but the variants used until 1998 drove home the serious nature of the series.
Is there an issue? Send a MessageReason:
None
Changed line(s) 10 (click to see context) from:
** The occasional use of foreboding background music during the reconstructions.
to:
** The occasional use of foreboding background music during the reconstructions.reconstructions.
** When Michael Buerk reminded the audience what was still to come, a thunderclap-like sound effect (sometimes complete with an accompanying flash) would be played, followed by a foreboding chord and the signature notes.
** When Michael Buerk reminded the audience what was still to come, a thunderclap-like sound effect (sometimes complete with an accompanying flash) would be played, followed by a foreboding chord and the signature notes.
Is there an issue? Send a MessageReason:
None
Changed line(s) 6 (click to see context) from:
** The original logo started off as numbers on a police car roof but the designs used from 1995 to 1998 drove home the serious nature of the programme.
to:
** The original logo started off as numbers on a police car roof but the designs variants used from 1995 to until 1998 drove home the serious nature of the programme.series.
Is there an issue? Send a MessageReason:
None
Changed line(s) 10 (click to see context) from:
** The use of foreboding background music during the reconstructions.
to:
** The occasional use of foreboding background music during the reconstructions.
Is there an issue? Send a MessageReason:
None
Changed line(s) 8 (click to see context) from:
* The series was arguably at its most nightmarish when children had to be rescued, even Michael Buerk emphasized.
to:
* The series was arguably at its most nightmarish when children had to be rescued, even Michael Buerk emphasized.emphasized this.
Is there an issue? Send a MessageReason:
None
Changed line(s) 8 (click to see context) from:
* The series was arguably at its most nightmarish when it featured rescues in which children were the victims. Michael Buerk even emphasized as such.
to:
* The series was arguably at its most nightmarish when it featured rescues in which children were the victims. had to be rescued, even Michael Buerk even emphasized as such.emphasized.
Is there an issue? Send a MessageReason:
None
Changed line(s) 8 (click to see context) from:
* The series was arguably at its most nightmarish when it featured rescues in which children were the victims.
to:
* The series was arguably at its most nightmarish when it featured rescues in which children were the victims. Michael Buerk even emphasized as such.
Is there an issue? Send a MessageReason:
None
Deleted line(s) 8 (click to see context) :
** One notable sequence featured firefighters running towards a wall of flames.
Is there an issue? Send a MessageReason:
None
Deleted line(s) 9 (click to see context) :
** A similar sequence featured a rescue crewman running towards what looked like a burning building obscured by an all-consuming aqua blue light and seemingly disappearing into the light as he approached it.
Is there an issue? Send a MessageReason:
None
Changed line(s) 11 (click to see context) from:
* The reconstructions were a combination of NightmareFuel and TearJerker but for the most part, ended up as Heartwarming.
to:
* The reconstructions were a combination of NightmareFuel and TearJerker but for the most part, ended up as Heartwarming.Heartwarming.
** The use of foreboding background music during the reconstructions.
** The use of foreboding background music during the reconstructions.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
** The original logo started off as numbers on a police car roof but the designs used from 1995 to 1998 drove home the serious nature of the programme.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
** A similar sequence featured a rescue crewman running towards what looked like a burning building obscured by an all-consuming aqua blue light and seemingly disappearing into the light as he approached it.
Is there an issue? Send a MessageReason:
None
Changed line(s) 8 (click to see context) from:
* The series was arguably at its most nightmarish when it featured rescues in which children were the victims.
to:
* The series was arguably at its most nightmarish when it featured rescues in which children were the victims.victims.
* The reconstructions were a combination of NightmareFuel and TearJerker but for the most part, ended up as Heartwarming.
* The reconstructions were a combination of NightmareFuel and TearJerker but for the most part, ended up as Heartwarming.
Is there an issue? Send a MessageReason:
None
Changed line(s) 7 (click to see context) from:
** One notable sequence featured firefighters running towards a wall of flames.
to:
** One notable sequence featured firefighters running towards a wall of flames.flames.
* The series was arguably at its most nightmarish when it featured rescues in which children were the victims.
* The series was arguably at its most nightmarish when it featured rescues in which children were the victims.
Is there an issue? Send a MessageReason:
None
Changed line(s) 3,4 (click to see context) from:
* The combination of the theme tune, Michael Buerk's introductions and the featured material at the beginning of each episode.
** The end credits usually removed Buerk from the equation but combining them with the theme tune in its entirety easily cancelled him out.
** The end credits usually removed Buerk from the equation but combining them with the theme tune in its entirety easily cancelled him out.
to:
* The combination of the theme tune, Michael Buerk's introductions Buerk warning the audience of what was to come and the featured material at the beginning of in each episode.
** The end creditsusually removed Buerk from the equation but combining them with made things worse by featuring the theme tune in its entirety easily cancelled him out. and teasers of the following episode in addition to all of the above.
** The end credits
Is there an issue? Send a MessageReason:
None
Changed line(s) 5 (click to see context) from:
* As well the show's infamous theme tune, the redesigned logo from 1999 onwards took on the form of distorted (possibly melting) numbers on a yellow background that resembled a raging fire.
to:
* As well as the show's infamous theme tune, the redesigned logo from 1999 onwards took on the form of distorted (possibly melting) numbers on a yellow background that resembled a raging fire.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* The combination of the theme tune, Michael Buerk's introductions and the featured material at the beginning of each episode.
** The end credits usually removed Buerk from the equation but combining them with the theme tune in its entirety easily cancelled him out.
** The end credits usually removed Buerk from the equation but combining them with the theme tune in its entirety easily cancelled him out.
Is there an issue? Send a MessageReason:
None
Changed line(s) 3 (click to see context) from:
* As well the show's infamous theme tune, the redesigned logo from 1999 onwards took on the form of distorted (possibly melting) numbers on a yellow background that resembled a raging fire.
to:
* As well the show's infamous theme tune, the redesigned logo from 1999 onwards took on the form of distorted (possibly melting) numbers on a yellow background that resembled a raging fire.fire.
* The opening sequence, in its various forms, usually featured examples of the dangerous situations featured in the series and the rescue crews running towards them.
** One notable sequence featured firefighters running towards a wall of flames.
* The opening sequence, in its various forms, usually featured examples of the dangerous situations featured in the series and the rescue crews running towards them.
** One notable sequence featured firefighters running towards a wall of flames.
Is there an issue? Send a MessageReason:
None
Changed line(s) 1 (click to see context) from:
A BBC docudrama featuring reconstructions of real-life rescues? If the theme tune alone doesn't prove this series is bound to feature nightmarish scenarios then the material in a single episode certainly will.
to:
A BBC docudrama featuring reconstructions of real-life rescues? If the theme tune alone doesn't prove this series is bound to feature features nightmarish scenarios then the material in a single episode certainly will.will.
* As well the show's infamous theme tune, the redesigned logo from 1999 onwards took on the form of distorted (possibly melting) numbers on a yellow background that resembled a raging fire.
* As well the show's infamous theme tune, the redesigned logo from 1999 onwards took on the form of distorted (possibly melting) numbers on a yellow background that resembled a raging fire.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
A BBC docudrama featuring reconstructions of real-life rescues? If the theme tune alone doesn't prove this series is bound to feature nightmarish scenarios then the material in a single episode certainly will.
