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The day after Oscar’s craziest, shocking moment ever, questions still linger about why “La La Land” was announced best picture when “Moonlight” was the true winner.

L.A. Times’ film critic Justin Chang comes to the conclusion that the two movies’ fortunes were inextricable and the you-couldn’t-have-scripted-it finale oddly enough made sense.

A day after one of the most genuinely shocking moments in Oscar history – the incorrect announcement of “La La Land” instead of “Moonlight” as this year’s best picture – the Academy of Motion Picture Arts and Sciences has released an official message apologizing to the filmmakers, presenters and viewers alike for the snafu.

The statement follows apologies by PricewaterhouseCoopers, the accounting firm responsible for handling the Oscars voting tabulation and winners’ envelopes, for its role in the fumble at the climax of Sunday night’s show.

Read the academy’s statement below:

“We deeply regret the mistakes that were made during the presentation of the Best Picture category during last night’s Oscar ceremony. We apologize to the entire cast and crew of La La Land’ and ‘Moonlight’ whose experience was profoundly altered by this error. We salute the tremendous grace they displayed under the circumstances. To all involved —  including our presenters Warren Beatty and Faye Dunaway, the filmmakers, and our fans watching worldwide  —  we apologize.

“For the last 83 years, the Academy has entrusted PwC to handle the critical tabulation process, including the accurate delivery of results. PwC has taken full responsibility for the breaches of established protocols that took place during the ceremony. We have spent last night and today investigating the circumstances, and will determine what actions are appropriate going forward. We are unwaveringly committed to upholding the integrity of the Oscars and the Academy of Motion Picture Arts and Sciences.”

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Movies like “Moonlight” don’t win the Oscar for best picture.

Movies about the conflicted desires of young gay men, captured with quiet tenderness and exquisite intimacy, don’t win the Oscar for best picture. (Just ask “Brokeback Mountain.”)

Movies that tell modest coming-of-age stories, light on dramatic incident but rich in emotional rewards, don’t win the Oscar for best picture. (Just ask “Boyhood.”)

Movies that subtly examine some of the social and psychological burdens that weigh heavily on too many African Americans today — poverty, parental abandonment, drug addiction and mass incarceration — don’t win the Oscar for best picture.

Movies about black life that are not overtly about slavery don’t win the Oscar for best picture.

It’s hard to overstate just how culturally, economically, institutionally and statistically improbable an outcome “Moonlight’s” best picture Oscar win represents.

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