In perhaps the most unbelievable ending to an Oscar ceremony, "La La Land" was awarded the Academy Award for best picture, a mistake that was eventually corrected to honor the actual winner, "Moonlight."

After Warren Beatty apologized for the mix-up, the Internet lost its collective mind. Here are just a few bewildered reactions to the news.

Netflix’s “The White Helmets,” about a group of first responders in Syria, is a film pulsing with meaning, said director Orlando von Einsiedel backstage after snagging the Oscar for best documentary short.

“Right from the start this was about shining a very bright light on the heroes of our film, the white helmets, Syrian rescue workers,” said Von Einsiedel, who previously won best documentary for 2014’s “Virunga." “We [hope to] continue to magnify their voices.”

On the film’s cinematographer, Khaled Khateeb, who was denied entry into the U.S. due to “derogatory information” and therefore couldn’t attend the Oscars, producer Joanna Natasegara said they had just spoken to Khateeb. 

With her win for "Fantastic Beasts and Where to Find Them," costume designer Colleen Atwood is making new records in Academy Award history.

With four Oscars for her film work, Atwood now is tied with Milena Canonero for most wins in the post-Edith Head era. Head had eight wins and -- a record that will likely never be broken -- 35 nominations (partly because nominations in Head's day were given for color and black-and-white films). 

With 12 costume design Oscar nominations, Atwood is ahead of Sandy Powell with 11 nominations and behind the late Irene Sharaff, who earned 15.

"La La Land" producer Jordan Horowitz holds up the winner's card to the audience, revealing that it was "Moonlight" and not the mistakenly announced "La La Land."

"This is not a joke, 'Moonlight' has won best picture, " Horowitz said. "'Moonlight.' Best picture." 

As the confusion took hold of the stage the producer continued, "I'm going to be really proud to hand this to my friends from "'Moonlight.'"

In case you were wondering, jewelry certainly matters, especially at the Oscars.

With Furiosa-worthy earrings, Charlize Theron shows she's so tough, even her earlobes can support a mine's worth of diamonds. 

Chopard supplied the gems, featuring a 25-carat pear-shaped D-flawless diamond and 26-carat heart-shaped D-flawless diamond, plus 4.55 carats of pear-shaped diamonds and 4.35 carats of brilliant-cut diamonds set in 18-karat white gold from the Garden of Kalahari Collection. 

Oscars nominees and past winners are not exempt from the wrath of the Twitterverse. Host Jimmy Kimmel demonstrates.

Memes aside, Emma Stone does look really great tonight.

Linus Sandgren, who marked the first big win of the night for “La La Land,” for cinematography, talked about the innate and unexpected charm of Los Angeles during a quick stop backstage with his statue.

“I think it’s a really beautiful, interesting mix of the urban gritty city and the beauty of nature,” he said. “It’s an incredible mix. Sometimes I drive home on Santa Monica Boulevard in Hollywood, and there are lots of telephone poles, but against this lovely sky and sunset. It’s remarkable.”

His favorite scene in the film is Emma Stone’s dream-like audition.

A year after the #Oscarssowhite outrage dominated awards season, a record-breaking number of African Americans -- six in five categories -- left the Dolby Theatre with statuary. The previous record was three at the shows in 2010 and 2014.

Viola Davis won tonight for supporting actress in "Fences." Mahershala Ali took home the statue for supporting actor in "Moonlight," setting another record: the first Muslim actor to win an Oscar. Ezra Edelman, who is biracial, won best documentary for "O.J. Simpson: Made in America," and Barry Jenkins and Tarell Alvin McCraney won for adapted screenplay for "Moonlight."

UPDATE: One more win: After a false start with "La La Land," "Moonlight" took home best picture.

“Zootopia” co-directors Byron Howard and Rich Moore were bursting with pride backstage at the Oscars.

“With this film we got the idea to talk about bias with talking animals — we wanted animals to serve for stand-ins for all of us," said Howard, adding, "we were surprised how timely the film became as the world started to blow up."

Howard and Moore said the film turned increasingly political after the fraught presidential election.