# data[].attributes.attachment_link.title
Make Your Own Movie worksheet - Free ESL printable worksheets made by teachers

# data[].attributes.attachment_link.description
The students practice their written English by creating and promoting their own movie. This worksheet can also be used to teach movie vocabulary such as genre,...

# data[].attributes.attachment_link.readable_text
It seems like long ago that Francis Ford Coppola was waxing poetic on the Warholian notions of what the filmmaking landscape might look like in the prosumer era. This was in 1991, a year before I was born, of course, into a budding world of DIY-CGI DSLR filmmaking, but the idea that there were once prohibitive barriers to both saying what you want to say, cinematically, and finding an audience, sounds as silly as the title of this Onion article, " James Cameron Says Future Of Movies Will Be Watching Them Sitting On His Lap."

"It's really a space that you can hardly guess where those stories and where those experiences are gonna take us," World Media Lab director Alex McDowell says about the future of cinema, in our documentary Leviathan: The Future Of Storytelling. "We're really moving rapidly into a new narrative space."

Filmmakers are often the bellwethers of the zeitgeist, but that noble position often comes with a desire to make sweeping predictions about what the future of filmmaking will be. In many cases, including, in the case of critic Roger Ebert's predictions in 1987, these prognostications can turn out to be both right and wrong. What's important, though, is that an educated public is taking note.

A number of filmmakers have taken to seminars and trades to weigh in on the future of filmmaking in our ever-increasingly digital world. Below, we've collected ten of our favorite directorial divinations so that you can decide for yourself where you stand:
"You're going to end up with fewer theaters, bigger theaters with a lot of nice things. Going to the movies will cost 50 bucks or 100 or 150 bucks, like what Broadway costs today, or a football game. It'll be an expensive thing. ... (The movies) will sit in the theaters for a year, like a Broadway show does. That will be called the 'movie' business... "There'll be big movies on a big screen, and it'll cost them a lot of money. Everything else will be on a small screen. It's almost that way now. 'Lincoln' and 'Red Tails' barely got into theaters. You're talking about Steven Spielberg and George Lucas can't get their movies into theaters." Spielberg: "I believe we need to get rid of the proscenium," Spielberg said. "We're never going to be totally immersive as long as we're looking at a square, whether it's a movie screen or whether it's a computer screen. We've got to get rid of that and we've got to put the player inside the experience, where no matter where you look you're surrounded by a three-dimensional experience. That's the future." David Lynch, in an interview with The Independent: "It's a very depressing picture. With alternative cinema-any sort of cinema that isn't mainstream-you're fresh out of luck in terms of getting theater space and having people come to see it. "Even if I had a big idea, the world is different now. Unfortunately, my ideas are not what you'd call commercial, and money really drives the boat these days. So I don't know what my future is. I don't have a clue what I'm going to be able to do in the world of cinema." Steven Soderbergh, in his "State-of-Cinema Address": "You can take a perfectly solid, successful and acclaimed movie and it may not qualify as cinema. It also means you can take a piece of cinema and it may not qualify as a movie, and it may actually be an unwatchable piece of shit. But as long as you have filmmakers out there who have that specific point of view, then cinema is never going to disappear completely. Because it's not about money, it's about good ideas followed up by a well-developed aesthetic."

James Cameron to Smithsonian Magazine:
"I think there will be movie theaters in 1,000 years. People want the group experience, the sense of going out and participating in a film together. People have been predicting the demise of movie theaters since I started in the business." "The art of cinema and the movie business are now at a crossroads. Audio-visual entertainment and what we know as cinema-moving pictures conceived by individuals-appear to be headed in different directions. In the future, you'll probably see less and less of what we recognize as cinema on multiplex screens and more and more of it in smaller theaters, online, and, I suppose, in spaces and circumstances that I can't predict."
Keanu Reeves, writing for The Guardian:
"The rise of digital technology has prompted a lot of debate about the 'death of film.' If you'd asked me six months ago if we were at that point I'd have said the situation was dire. Fuji announced it was not going to produce commercial stock any more, companies such as Panavision and Arri have stopped making new film cameras... "But it's unlikely that film will completely vanish, at least in the near future. I wouldn't call it a backlash against digital, but there is a significant body of directors still using film for image acquisition. It's important that they have the tools to make films in the way they want to. I'm certainly much less worried about the fate of celluloid than I was when I started making the documentary [Side by Side]."
Creator Chris Milk, on working with Oculus Rift:
"At the beginning of cinema they were shooting trains coming at cameras and everyone was freaking out. This is a language that has been established over many, many years. I don't know what these new stories are going to look like ... but I'm creating the tools now to hopefully figure out what the language and narratives of this new evolving storytelling canvas eventually will be."
"Drone-wielding filmmaker" Caroline Campbell, on working with drones:
"We feel that it is no more intrusive than something like Google Street View," and on using them to peer inside the Facebook offices: "Our argument is that Facebook has no expectation of privacy as their founder Mark Zuckerberg at one stage said privacy was no longer a social norm."
Whatever your position may be, it's no small feat for the imagination to decipher what'll happen in five years time, let alone tomorrow. Then again, that's why they're filmmakers.

Related:
Mad Men's Newest Character Is A Giant Computer [Video] EMA Explores The Future's Void The Newest Godzilla Would Have Taken 450 Years To Design On A Single Computer

# data[].attributes.attachment_link.title
10 Filmmaking Heavyweights Predict the Future of Cinema

# data[].attributes.attachment_link.description
It seems like long ago that Francis Ford Coppola was waxing poetic on the Warholian notions of what the filmmaking landscape might look like in the prosumer era.

# data[].attributes.attachment_link.readable_text
Moonlight has won the best picture Oscar in a chaotic awards ceremony climax which mistakenly awarded the top honour to La La Land, a fiasco which stunned Hollywood and viewers around the world.

Faye Dunaway named La La Land as the year's best picture at the end of Sunday night's ABC broadcast only to be corrected a few minutes later as the musical's makers celebrated on stage, a tableau likely to be immortalised in Hollywood annals.

Audible gasps were heard in the Dolby theatre when La La Land producer Jordan Horowitz declared the real winner was Moonlight, a coming-of-age drama revered by critics.

A close-up of the red envelope suggested Dunaway and Warren Beatty had an envelope containing a previous award for best actress - Emma Stone of La La Land - prompting Beatty to hesitate before handing over to Dunaway, who named La La Land as best picture winner.

Two minutes later Horowitz, as celebrations on stage turned into commotion, bewildered millions by saying a mistake had been made and that it was not a joke. He held up a card showing Moonlight was the winner.

The host Jimmy Kimmel tried to make light of the extraordinary bungle: "I knew I would screw this show up. I really did."

Price Waterhouse Coopers, the accounting firm that tallies Oscar votes, took responsibility and issued an apology. It said: "We sincerely apologize to Moonlight, La La Land, Warren Beatty, Faye Dunaway, and the Oscar viewers for the error that was made during the award announcement for best picture. The presenters had mistakenly been given the wrong category envelope and when discovered, was immediately corrected. We are currently investigating how this could have happened, and deeply regret that this occurred. We appreciate the grace with which the nominees, the Academy, and Jimmy Kimmel handled the situation."

Speaking backstage minutes later, Moonlight's director Barry Jenkins said the error had left him speechless. "I'd never seen that happen before. It made a special feeling more special but not in the way I expected. The last 20 minutes of my life have been insane ... beyond life changing."

He said he did not know how the error occurred. "Things just happen. The folks from La La Land were so gracious. I can't imagine being in their position."

Jenkins said he hoped the film, which tells the story of a gay African American boy growing up in poverty in Miami, would open doors for members of the LGBT community.

He shrugged off the award bungle. "It's unfortunate the way things happened ... but hot damn, we won best picture."

The debacle capped an eventful night which doubled up as a politically charged Hollywood rally against Donald Trump, with the host, Jimmy Kimmel, and multiple presenters and winners making coded and not-so coded denunciations of the White House.

La La Land appeared on track for coronation, winning six Oscars, including best actress for Emma Stone and best director for Damien Chazelle, 32, the youngest person to receive the honour.

Facebook Twitter Pinterest

Emma Stone and Brie Larson embrace at the Oscars. Photograph: H. Walker/Rex/Shutterstock

Arrival, Moonlight, Fences and Hacksaw Ridge scooped acting and technical awards, denying La La Land, which had 14 nominations, a record-setting haul.

Casey Affleck won best actor for his portrayal of a grieving handyman in Manchester by the Sea, seeing off Denzel Washington, who had been tipped for a third Oscar for Fences. Emma Stone won best actress for La La Land.

Mahershala Ali became the first Muslim actor to win an Oscar, taking best supporting actor for Moonlight. Viola Davis won best supporting actress for Fences - it was the first time African Americans simultaneously won in both categories.

Mel Gibson, not so long ago an industry pariah for drunken outbursts, made a comeback with Hacksaw Ridge, a bloodsoaked second world war drama that earned two Oscars, including one for the sound mixer, Kevin O'Connell, his first win after 21 nominations.

The academy also gave some love to Arrival, a critically acclaimed drama about communicating with aliens, in the form of the best sound editing Oscar.

However, Hidden Figures, about black women working at Nasa's space programme, Hell or High Water, about bank robbers in Texas, and Lion, a true-life story about an Indian boy separated from his family, came away empty-handed.

In contrast to La La Land's romantic score, which suffused the ceremony, speaker after speaker took swipes at Trump's crackdown on refugees and immigrants, making it one of the most politically tinged Oscars in memory.

The president has paid close attention to previous Oscars but indicated he would be too busy hosting governors in Washington to tune into this one.

Kimmel opened proceedings with a plea for unity, urging Americans to reach out across the political divide, before making multiple jokes at the president's expense. "I want to say thank you to President Trump. I mean, remember this time last year when it seemed that the Oscars were racist?" said Kimmel, referring to the #OscarsSoWhite controversy.

He said the broadcast was being shown in more than 225 countries "that now hate us", and gave the audience a chance to vent anti-Trump sentiment with a tribute to Meryl Streep, a totem of Hollywood hostility to the White House. Kimmel also trolled the president on Twitter with the hashtag #Merylsayshi.

Thinly veiled criticism of Trump's policies peppered the night.

"I come from Italy. This is for all the immigrants," said Alessandro Bertolazzi, who won for makeup for Suicide Squad. "Art has no borders," said academy president Cheryl Boone-Isaacs.

"As a Mexican, as a Latin American, as a migrant worker - as a human being - I'm against any form of wall that wants to separate us," said Gael Garcia-Bernal.

Rich Howard, co-director of Disney's Zootopia, said the animated film espoused "tolerance being more powerful than fear of the other". Disney's chief, Bob Iger, sits on Trump's policy forum.

Several nominees, including Ruth Negga and Lin Manuel-Miranda, sported blue ribbons symbolising the American Civil Liberties Union, which has challenged several presidential executive orders.

The Iranian director Asghar Farhadi, who boycotted the event in protest at Trump's travel bans, won best foreign language film for The Salesman in what was widely seen as a rebuke to the White House. In a statement, he called the ban "inhumane", earning prolonged applause.

Hours earlier, in a videolink from Tehran, he urged 10,000 people gathered for a screening of his film in London's Trafalgar Square to "stand up to fascism, be victorious in the face of extremism".

The White Helmets, about a Syrian civil defence group, won best documentary short, arguably another poke at Trump, since its cinematographer, Khaled Khateeb, was denied entry to the US. The award also marked Netflix's first Oscar.

OJ: Made in America won best documentary. Fantastic Beasts and Where to Find Them won for best costume design - the Harry Potter franchise's first Oscar win.

Kimmel provoked ire on social media when he joked about the ethnic names of some tourists who were led into the ceremony from their tour bus, apparently thinking they were entering Madame Tussaud's wax museum.
Topics

# data[].attributes.attachment_link.title
Moonlight wins best picture Oscar, after Warren Beatty gives gong to La La Land

# data[].attributes.attachment_link.description
Moonlight has won the best picture Oscar in a chaotic awards ceremony climax which mistakenly awarded the top honour to La La Land, a fiasco which stunned Hollywood and viewers around the world.

# data[].attributes.attachment_link.readable_text
Is Film Piracy Hurting Sundance Filmmakers? This Eye-Opening Infographic Has the Answer

READ MORE: Sundance 2015 Infographic: Most Festival Films Will Land Distribution Deals
The annual Sundance infographic is back to shed some light into how the films from last year's festival performed over the past 12 months, and many of the statistics reveal disheartening information.

One notable highlight rapidly occurring in the film industry is the fact that while many feature films get picked up for distribution, they will ultimately fail to see a significant financial return. Could this statistic be attributed to piracy?

The infographic, created by Adam Leipzig, includes the cost of illegally downloading previous Sundance features this year. The graph includes Oscar winners and nominees like "Whiplash," "Boyhood" and "Brooklyn." The statistic hopes to encourage viewers to support indie filmmakers by buying movies instead of illegally downloading them.

IFC Films and Sundance Selects President Jonathan Sehring, a producer of "Boyhood," stated in regards to rising film piracy, "Obviously piracy hurts every film company and any owner of intellectual property, regardless of size and scope. It is painful to look at those numbers and try to rationalize why people do this, especially to indie films."
READ MORE: Check Out This Awesome Infographic That Breaks Down Sundance Movie Sales
You can read the full analysis by clicking here to head over to Cultural Weekly. Check out the infographic below for more interesting information about the festival.

# data[].attributes.attachment_link.title
Is Film Piracy Hurting Sundance Filmmakers? This Eye-Opening Infographic Has the Answer

# data[].attributes.attachment_link.description
Is Film Piracy Hurting Sundance Filmmakers? This Eye-Opening Infographic Has the Answer READ MORE: Sundance 2015 Infographic: Most Festival Films Will Land Distribution Deals The annual Sundance infographic is back to shed some light into how the films from last year's festival performed over the past 12 months, and many of the statistics reveal disheartening information.

# data[].attributes.attachment_link.readable_text
Hollywood: Perhaps no other place on earth evokes the same air of show-business magic and glamour. The legend of Hollywood began in the early 20th century and is an earmark of modern American society rich in history and innovation.

The origin of movies and motion pictures began in the late 1800's, with the invention of "motion toys" designed to trick the eye into seeing an illusion of motion from a display of still frames in quick succession, such as the thaumatrope and the zoetrope. In 1872, Edward Muybridge created the first true "motion picture" by placing twelve cameras on a racetrack and rigging the cameras to capture shots in quick sequence as a horse crossed in front of their lenses.

The first film for motion photography was invented in 1885 by George Eastman and William H. Walker, which contributed to the advance of motion photography. Shortly thereafter, the brothers Auguste and Louis Lumiere created a hand-cranked machine called the cinematographe, which could both capture pictures and project still frames in quick succession.

The 1900's were a time of great advancement for film and motion picture technology. Exploration into editing, backdrops, and visual flow motivated aspiring filmmakers to push into new creative territory. One of the earliest and most famous movies created during this time was The Great Train Robbery, created in 1903 by Edwin S. Porter.

Around 1905, "Nickelodeons", or 5-cent movie theaters, began to offer an easy and inexpensive way for the public to watch movies. Nickelodeons helped the movie industry move into the 1920's by increasing the public appeal of film and generate more money for filmmakers, alongside the widespread use of theaters to screen World War I propaganda. After World War I ended and ushered the United States into a cultural boom, a new industry center was on the rise: Hollywood, the home of motion pictures in America.

According to industry myth, the first movie made in Hollywood was Cecil B. DeMille's The Squaw Man in 1914 when its director decided last-minute to shoot in Los Angeles, but In Old California, an earlier film by DW Griffith had been filmed entirely in the village of Hollywood in 1910. By 1919, "Hollywood" had transformed into the face of American cinema and all the glamour it would come to embody.

The 1920's were when the movie industry began to truly flourish, along with the birth of the "movie star". With hundreds of movies being made each year, Hollywood was the rise of an American force. Hollywood alone was considered a cultural icon set apart from the rest of Los Angeles, emphasizing leisure, luxury, and a growing "party scene".

Hollywood was the birthplace of movie studios, which were of great importance to America's public image in the movie industry. The earliest and most affluent film companies were Warner Brothers Pictures, Paramount, RKO, Metro Goldwin Meyer, and 20th Century Fox, each of whom owned their own film production sets and studios. Universal, United, and Columbia Pictures were also considered noteworthy, despite not owning their own theaters, while Disney, Monogram, and Republic were considered third-tier.

This age also saw the rise of two coveted roles in the movie industry: the director and the star. Directors began to receive greater recognition for using and trademarking personal styles in the creation of their films, which previously in history had not been possible due to limitations in filmmaking technology. Additionally, movie stars began to receive greater fame and notoriety due to increases in publicity and shifts in American trends to value faces from the big screen.

The 1930's was considered the Golden Age of Hollywood. A new era in film history began in this decade with the introduction of sound into film, creating new genres such as action, musicals, documentaries, social statement films, comedies, westerns, and horror movies. The use of audio tracks in motion pictures created a new viewer dynamic and also initiated Hollywood's leverage in the upcoming World War II.

The early 1940's were a tough time for the American film industry, especially after the attack on Pearl Harbor by the Japanese. However, production saw a rebound due to advances in technology such as special effects, better sound recording quality, and the beginning of color film use, all of which made movies more modern and appealing.

Like all other American industries, the film industry responded to World War II with increased productivity, creating a new wave of wartime pictures. During the war, Hollywood was a major source of American patriotism by generating propaganda, documentaries, educational pictures, and general awareness of wartime need. The year 1946 saw an all-time high in theater attendance and total profits.

The 1950's were a time of immense change in American culture and around the world. In the post-war United States, the average family grew in affluence, which created new societal trends, advances in music, and the rise of pop culture - particularly the introduction of television sets. By 1950, an estimated 10 million homes owned a television set.

A shift in demographics created a change in the film industry's target market, which began creating material aimed at American youth. Instead of traditional, idealized portrayals of characters, filmmakers started creating tales of rebellion and rock n' roll. This era saw the rise of films featuring darker plot lines and characters played by "edgier" stars like James Dean, Ava Gardner, and Marilyn Monroe.

The appeal and convenience of television caused a major decline in movie theater attendance, which resulted in many Hollywood studios losing money. To adapt to the times, Hollywood began producing film for TV in order to make the money it was losing in movie theaters. This marked the entrance of Hollywood into the television industry.

The 1960's saw a great push for social change. Movies during this time focused on fun, fashion, rock n' roll, societal shifts like the civil rights movements, and transitions in cultural values. It was also a time of change in the world's perception of America and its culture, largely influenced by the Vietnam War and continuous shifts in governmental power.

1963 was the slowest year in film production; approximately 120 movies were released, which was fewer than any year to date since the 1920's. This decline in production was caused by lower profits due to the pull of television. Film companies instead began to make money in other areas: music records, movies made for TV, and the invention of the TV series.

Additionally, the average film ticket price was lowered to only a dollar, hoping to create greater appeal to former moviegoers. By 1970, this caused a depression in the film industry that had been developing over the past 25 years. A few studios still struggled to survive and made money in new ways, such as theme parks like Florida's Disney World. Because of financial struggles, national companies bought out many studios. The Golden Age of Hollywood was over.

With the Vietnam War in full swing, the 1970's began with an essence of disenchantment and frustration within American culture. Although Hollywood had seen its lowest times, during the late 1960's, the 1970's saw a rush of creativity due to changes in restrictions on language, sex, violence, and other strong thematic content. American counterculture inspired Hollywood to take greater risks with new alternative filmmakers.

The rebirth of Hollywood during the 1970's was based on making high-action and youth-oriented pictures, usually featuring new and dazzling special effects technology. Hollywood's financial trouble was somewhat alleviated with the then-shocking success of movies like Jaws and Star Wars, which became the highest-grossing movies in film history (at that time).

This era also saw the advent of VHS video players, laser disc players, and films on video cassette tapes and discs, which greatly increased profits and revenue for studios. However, this new option to view movies at home once again caused a decrease in theater attendance.

In the 1980's, the past creativity of the film industry became homogenized and overly marketable. Designed only for audience appeal, most 1980's feature films were considered generic and few became classics. This decade is recognized as the introduction of high concept films that could be easily described in 25 words or less, which made the movies of this time more marketable, understandable, and culturally accessible.

By the end of the 1980's, it was generally recognized that films of that time were intended for audiences who sought simple entertainment, as most pictures were unoriginal and formulaic. Many studios sought to capitalize on advancements in special effects technology, instead of taking risks on experimental or thought-provoking concepts. The future of film looked precarious as production costs increased and ticket prices continued to drop. But although the outlook was bleak, films such as Return of the Jedi, Terminator, and were met with unexpected success.

Due to the use of special effects, the budget of film production increased and consequently launched the names of many actors into overblown stardom. International big business eventually took financial control over many movies, which allowed foreign interests to own properties in Hollywood. To save money, more and more films started to launch production in overseas locations. Multi-national industry conglomerates bought out many studios, including Columbia and 20th Century Fox.

The economic decline of the early 1990's caused a major decrease in box office revenue. Overall theater attendance was up due to new multiscreen Cineplex complexes throughout the United States. Use of special effects for violent scenes such as car chases and gunfights in high-budget films was a primary appeal for many moviegoers.

Meanwhile, pressure on studio executives to make ends meet while creating hit movies was on the rise. In Hollywood, movies were becoming exorbitantly expensive to make due to higher costs for movie stars, agency fees, rising production costs, advertising campaigns, and crew threats to strike.

VCR's were still popular at this time, and profits from video rentals were higher than the sales of movie tickets. In 1992, CD-ROM's were created. These paved the way for movies on DVD, which hit stores by 1997. DVD's featured a much better image quality as well as the capacity for interactive content, and videotapes became obsolete a few years later.

The turn of the millennium brought a new age in film history with rapid and remarkable advances in technology. The movie industry has already seen achievements and inventions in the 2000's, such as the Blu-ray disc and IMAX theaters. Additionally, movies and TV shows can now be watched on smartphones, tablets, computers, and other personal devices with the advent of streaming services such as Netflix.

The 2000's have been an era of immense change in the movie and technology industries, and more change is sure to come quickly. What new innovations will the future bring us? Only time will tell.

# data[].attributes.attachment_link.title
The History of the Hollywood Movie Industry | History Cooperative

# data[].attributes.attachment_link.description
RelatedArticles The History of RVs Reaching for the Heavens: The History of Mountaineering History of Cinema in Jamaica Hollywood: Perhaps no other place on earth evokes the same air of show-business magic and glamour. The legend of Hollywood began in the early 20th century and is an earmark of modern American society rich in history ...

# data[].attributes.attachment_link.title
37th Golden Raspberry Awards - Wikipedia

# data[].attributes.attachment_link.description
The 37th Golden Raspberry Awards , or Razzies, was a parodic awards ceremony that honored the worst the film industry had to offer in 2016. The Golden Raspberry Awards, also known as the Razzies, are awarded based on votes from members of the Golden Raspberry Foundation.

# data[].attributes.attachment_link.readable_text
The Oscars are usually a model of ruthless efficiency - aside from the bad calls, epic awkwardness and occasional streaker. The sole controversy came in 1993 when presenter Jack Palance read out Marisa Tomei's name as best supporting actress for My Cousin Vinny. The rumour spread that this was a mistake: either because it was the only name he could remember, or because he was reading off the teleprompter rather than the card in his hand.

The Oscars are usually a model of ruthless efficiency - aside from the bad calls, epic awkwardness and occasional streaker. The sole controversy came in 1993 when presenter Jack Palance read out Marisa Tomei's name as best supporting actress for My Cousin Vinny. The rumour spread that this was a mistake: either because it was the only name he could remember, or because he was reading off the teleprompter rather than the card in his hand.

The Academy didn't bat an eyelid: Tomei kept the prize - which evidence shows was hers anyway. But that controversy pales into insignificance compared with the monumental mistake at this year's awards, when Faye Dunaway and Warren Beatty erroneously read out La La Land as the best picture winner - rather than Moonlight.

Dunaway and Beatty can at least console themselves with these examples of when worse has happened in the past.

'I don't know what to say right now': Not Australia's Next Top Model, 2010

When Sarah Murdoch announced the winner for the 2010's Australia's Next Top Model, it was with a saccharine sincerity that was cringeworthy enough: "It's you, Kelsey."

But that cringe had nothing on what came next. At the end of a gruelling competition, in a finale broadcast live, there had been a cock-up with the earpiece and it wasn't Kelsey at all.

"Oh my god. I don't know what to say right now. I'm feeling a bit sick about this," Murdoch said, cutting the applause and the music short. "It's Amanda. I'm so sorry. It was fed to me wrong."

Artist of the millennium: Michael Jackson accepts imaginary award at MTV VMAs, 2002

In 2002, the MTV Video Music Awards coincided with the 44th birthday of Michael Jackson, which the producers chose to celebrate in exactly the same way as I will choose to celebrate mine: having early noughties-era Britney Spears present him with a very large cake.

"I consider him the artist of the millennium," Spears said in her speech. What Jackson heard: "We are awarding him the trophy for artist of the millennium."

"When I was a little boy in Indiana, if someone had told me that one day I would be getting, as a musician, the artist of the millennium award, I wouldn't have believed it," he said. As a child, it turns out, Michael Jackson had a nose for fake news.

'Tabulation error': Miss Florida misses out, 2014

Twenty-year-old Elizabeth Fechtel had only six days to bask in the crown-and-sash glory of her Miss Florida win before they were snatched from her in 2014. Mary Sullivan, executive director of the pageant, travelled to Fechtel's home in Leesburg to deliver the bad news: there had been a "tabulation error" in the judging and Victoria Cohen had won instead.

"This is the worst nightmare in every pageant director's life ... and it's a lose-lose situation," Hayes said at the time.

It wasn't the first gaffe in that year's quest to find Miss America, either. After being crowned Miss Delaware, as she prepared to move to the next round, Amanda Longacre was told she was ineligible for the national competition: at the ripe old age of almost-25, she was deemed too withered to enter.

'Phelps might not even make the podium': Canadian Olympics gets it wrong, 2016

EJ (@BourbonAndBeer)
The Canadian TV dude has no idea that Phelps is winning the race. pic.twitter.com/CNmVMB2aJ5

If you were watching the men's 200m medley at the 2016 Olympics, you were watching Michael Phelps win his 22nd Olympic gold.

Unless you were watching on CBC in Canada, where there was something else going on entirely.

"Phelps doesn't look like he has this one in him," commentator Bryan MacDonald called, as Phelps surged ahead as unambiguously as one can. "Ryan Lochte is going to beat Michael Phelps ... and Phelps might not even make the podium!"

'I have to apologise': Steve Harvey mistakes Miss Universe, 2015

You'd think after that the world of pageants had learned but no: in 2015, in the final moments of the Miss Universe pageant, comedian Steve Harvey pulled a Warren Beatty and announced Miss Colombia (Ariadna Gutierrez) as the winner, instead of Miss Philippines (Pia Alonzo Wurtzbach).

Judging by the unforgivably complex layout of the card he was reading from, it was an easy mistake to make. But having Paulina Vega literally lift the crown from one woman's head to give it to another, right there on the telly? Seems a bit rough.
Topics

# data[].attributes.attachment_link.title
When gongs go wrong ... a short history of awards being given to the losers

# data[].attributes.attachment_link.description
The Oscars are usually a model of ruthless efficiency - aside from the bad calls, epic awkwardness and occasional streaker. The sole controversy came in 1993 when presenter Jack Palance read out Marisa Tomei's name as best supporting actress for My Cousin Vinny.