In the sequence discussing the emerging popularity of film stars, a still photograph taken at MGM showing Clark Gable, Shirley Temple, Mickey Rooney, and Judy Garland, circa 1939, is embarrassingly stretched out to distorted 16:9 proportions.
While the team is discussing the organs and orchestras which accompanied silent films the film editor has chosen some vintage film footage of pianist Artur Rubinstein, one of the most famous artists of his time, with an unidentified orchestra, supposedly (but by no means actually) playing in this capacity at some also unidentified movie palace.
While David Strohmaier and assorted guests are discussing Cinerama and the various wide screen processes which brought customers back to the theatres in the 1950s, we are shown a shot of a revival of Frankenstein and Dracula at the DeMille Theatre from a much earlier era and a shot of the Roosevelt showing Too Hot to Handle, as part of the widely publicized 1938 $250,000 Movie Quiz Contest of two decades earlier; while Strohmaier is telling us how Cinerama opened in 1952, we are shown a shot of the San Francisco Orpheum in 1962, offering How the West Was Won, not the first, but the last of the 3-projector Cinerama films which was released ten years later in 1962.
Ross Melnick is talking about the studios running their own theatres, specifically from the 1910s to the 1940s, which is true enough, but the film archivist chooses to show us an images of the Fox Richmond CA, showing Mara Maru, a 1952 WB release, and Loew's 175th Street NYC, showing Inherit the Wind, a 1959 United Artists release, a decade after the consent decree changed everything.
Leonard Maltin is telling us about the growth of neighborhood movie theatres in the 1920s; we are shown an image of the Clay in San Francisco, which was built around 1912, now with a modernized entrance, showing a revival of MGM's Mata Hari (1931) and Red Dust (1932), in a1963 color slide.
As Bob Boin tells us about the Chicago Theatre opening in 1921, the archivist/film editor chooses to show us images of the Chicago in 1948 showing Bing Crosby and Joan Fontaine in The Emperor Waltz.
As Leonard Maltin and Ross Melnick talk about the studio controlled movie theatres of the early 1930s, and discuss Columbia and Universal who did not own their own theatres, we are shown a Columbia film and a Universal film showing at a Fox Theatre as an example of how the rules didn't always apply, but the films are The Eddy Duchin Story, a Columbia release of 1956, and Pillars of the Sky, a Universal release of 1956, both produced a decade AFTER the consent decree forced the studios to divest their interests in their own theatres, and so by this time the topic would have been totally irrelevant.