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18 Creepy Facts about Arachnophobia

This skin-crawling classic turns 25 today. Here are a few things you might not have known about the first (and last) “thrill-omedy.”

1. IT WAS A LONG-TIME SPIELBERG COLLABORATOR’S DIRECTORIAL DEBUT.

Frank Marshall had produced a number of films for Steven Spielberg’s Amblin Entertainment, including The Goonies, Poltergeist, Gremlins, Empire of the Sun, and The Color Purple (among many others). He had directed second unit photography and some short films—including making-of documentaries for the Indiana Jones movies, which he also produced—but Arachnophobia marked Marshall's feature film directorial debut. “As a producer for 20 years, I know how hard directing is, and I didn't want to do anything I'd had no experience with,” he told The New York Times. “Disney's Jeff Katzenberg sent me the script, and I felt it was something I could do. I didn't want to get into a serious dramatic piece that might stretch me beyond my capabilities.” 

2. THE ORIGINAL SCRIPT WAS MORE HORROR, LESS COMEDY.

When Jeff Daniels came on board to play Dr. Ross Jennings, Arachnophobia was a serious horror movie—one that Daniels told Philadelphia’s Daily News was pretty formulaic. "You could tell that the lines were kind of written by computer," he said. He and Marshall were hoping for a black comedy with a more ironic tone, so the script went through several revisions, and the filmmakers studied Hitchcock films and Jaws to get the tone right. One key change: Daniels’s character was given a fear of spiders.

The result, Daniels told the Orlando Sentinel, was a one-of-a-kind movie. “It's not really horror,” he said. “We don't have chainsaws going through necks and blood spurting. It's scary, but this is not The Attack of the Killer Spiders. We approached it as a comedy with a couple of thrills. We knew we had the thrills in there, so we worked hard to make sure the movie had a sense of humor about itself.” The humor, he said, “kind of relaxes the audience, so that we can come in and get them again.”

“We wanted it to be scary, but not too terrifying,” Marshall told Entertainment Weekly. “We didn’t want it to be a typical horror movie—The Spider That Ate Cleveland—so we used a lot of comedy. We tried to make it like a roller-coaster ride for the audience. It’s frightening, but in a fun way.”

3. THE PRODUCTION SHOT IN A PART OF VENEZUELA WHERE NO MOVIE PRODUCTION HAD FILMED BEFORE.

For the opening sequence, which takes place in South America—and where a photographer is bitten by a deadly spider that then hitches a ride back to the States in his coffin—the crew headed to the Tepuis of Venezuela's Canaima National Park. No movie had filmed there before, and getting to it was hard work: They set up a base camp in a location that was meant for one-night stays, and stayed for four weeks, flying in all of the necessary equipment and food. They used five helicopters to fly up to the mountains every day.

“The Tepuis rise out of the rainforest almost 10,000 feet,” Marshall said in a featurette created for the movie. “Because they’re so high up, they’re right in the cloud bank, so the weather is [always] changing. Some days I would just get one take—not one scene, one take—and it would be an hour before the sun came out again. There was one day we were trapped the whole day; we had actually built the survival camp, and 15 minutes before we were going to be stuck all night, the clouds opened up.” Abandoning their equipment, the cast and crew “jumped on the helicopter and got out just in time,” Marshall said. “It was kind of exciting.”

4. ONE SPIDER USED ON THE PRODUCTION WAS NAMED FOR A HOLLYWOOD DIRECTOR.

The production required two species of spider: The first—the arachnid that hitches a ride from South America to California—needed to measure about one foot across. The filmmakers found their star in a bird-eating tarantula native to the Amazon; there was only one such spider in the U.S. Marshall named the spider Big Bob after director Robert Zemeckis. 

5. THE SPIDER HAD TO BE MADE SCARIER FOR THE MOVIE.

As terrifying as Big Bob was, he still wasn't scary enough for Arachnophobia. So the production painted purple stripes on his back and added a prosthetic abdomen “to give him greater bulk,” according to Entertainment Weekly

6. TO CAST THE SMALLER SPIDERS, THE PRODUCTION PUT THEM THROUGH A “SPIDER OLYMPICS.”

In the movie, Big Bob arrives in California and promptly mates with a house spider, creating super deadly offspring. To find the right arachnids for the job, Marshall and his team evaluated a number of species—including wolf spiders, tarantulas, and huntsman spiders—by putting them through a “spider olympics,” running each species through 10 tests, including speed (the faster the spider, the scarier it is), climbing ability, and reaction to heat and cold. 

The “gold medalist,” according to Marshall, was the three-inch-wide Delena spider, a harmless but sinister-looking huntsman native to Australia that was introduced to New Zealand in the 1920s. Marshall joked that “we got them all little passports,” which was sort of true: The production did have to jump through hoops to bring 300 of the spiders to the U.S. for filming (and that was just the initial shipment; supplies were replenished every two weeks).  

7. JOHN GOODMAN WASN’T FREAKED OUT BY THE SPIDERS. 

Though Daniels claimed that he was fine with small spiders, he acknowledged that “anyone in his right mind” would have issues with spiders as huge as Big Bob. But John Goodman, who played exterminator Delbert McClintock, wasn’t fazed. “I don’t have any problem,” he said. “We see each other eye to eye—well, two eyes to their 16—but we get along swell.”

8. A HOUSEHOLD CLEANING AGENT PLAYED A PART IN WRANGLING THE SPIDERS.

“You can’t actually teach them to do anything,” wrangler Steven Kutcher told Entertainment Weekly. “You just watch what they do, then figure out how you can apply it to what you want them to do.” Still, he managed to come up with some solutions for controlling them: He discovered that the spiders hated Lemon Pledge—it gummed up their feet—and used lines of it on the set to control where they went; he also strung networks of wire, vibrating faster than the camera could see, to guide them. But sometimes, more extreme measures were needed. According to The New York Times,

To keep spiders in a relatively contained area, they are put to sleep with carbon dioxide, and tiny monofilament ''leashes'' are attached by wax to their abdomens. And for really complicated shots, minuscule steel plates are glued to the spiders with wax; electromagnets behind a wall then move them to the places where the script calls for them to be.

The wranglers would also sometimes chase the arachnids with hair dryers to get them to go where the camera needed them.

9. MARSHALL PLANNED HIS SHOTS VERY CAREFULLY.

“One of the things I learned in my second unit directing days is the only way it’s going to be scary is to include the spiders in the same shots with the actors,” he said. “So we’ve been designing the shots so when you start on a person you pan over, there’s a spider there, and the audience will know the spiders are very, very close to all the actors.”

10. THE ACTORS HAD TO BE PATIENT.

“This film takes a special kind of actor,” Daniels joked to The New York Times. “You have to realize from day one of shooting that the spiders come first. They're picked up first in the morning, they're first in the chair at makeup, they take lunch first. And they've also got the biggest trailer.'' 

The spiders didn’t always do what they were supposed to do on cue, or on the first try—so, Marshall told Entertainment Weekly, “You just have to keep shooting over and over again until they accidentally give you what you want.”

“You are basically waiting for the spider to get it right,” Daniels told the Orlando Sentinel. “And when he does, you better be great because that's the one [take] we are going to use.” Sometimes, they weren't even awake when the cameras were ready to roll: When Entertainment Weekly visited the set, the cast and crew had to wait for Big Bob to wake up. “This is the last time I work with insects,” Marshall said. “Next time it’s humans only.”

11. THE CREW HAD A “SPIDER LOTTO.”

The New York Times reported that one of the most often heard phrases on the set of Arachnophobia was “Spiders, take 10.” Marshall told the paper that sometimes the cast and crew had "a spider lotto; everyone puts $5 on the take they think is going to work. Twenty-one takes is the longest we've gone.” 

12. FILMING THE SCENE WHERE A SPIDER GETS STEPPED ON TOOK HOURS.

The safety of the spiders was paramount throughout the entire production, so for one scene where Goodman had to spray an arachnid with insecticide, then squash it with his boot, the production went to extreme measures: First, a dummy spider was sprayed. Then Goodman donned special boots with a hollowed out sole for the squash shot. “[The spider] would just curl up inside and wait for the next take,” Goodman told Entertainment Weekly. ”I swear, [Kutcher] was more concerned with the spiders than with us.” The sequence lasts under half a minute on screen but took hours to shoot.

13. A MECHANICAL BIG BOB DOUBLE WAS BUILT—BY A FUTURE MYTHBUSTER.

Even a painted up and tricked out spider wouldn’t be useable for all the shots. “He has to stalk Jeff Daniels; he has to stay in the right light, and if we waited for him to do that, we'd be here three or four months longer,” Marshall told The New York Times. "The main character had to become a creature, and no spider out there could give us the vicious, evil close-ups the script called for," added visual effects supervisor David Sosalla, "The evilest ones, with real ugly looking faces, were too tiny.”

So the production reached out to a Hollywood prop shop to build The General, a 15-inch mechanical Big Bob double—and it was created by none other than future MythBuster Jamie Hyneman. “Arachnophobia was one of the first films I did major effects for,” he said in 2014.

14. THE PRODUCTION SHOT THE TOUGHEST SCENE LAST.

Marshall saved the shooting of Arachnophobia’s climactic fight between Jennings and The General until the very end of production. “All the other actors have been sent home, they've been put on planes, they've been waved goodbye to, they've had parties thrown,'' Daniels told the Orlando Sentinel. “They were gone. It was like, ‘Hey, great, thanks a lot! Now, Jeff, let's go ... down to the basement.’” 

The scene, which involved fire, explosions, and many smashed bottles of fine wine, took two weeks of 13-hour days to shoot. Daniels spent two of those days pinned under a 250-pound wine rack, hurling bottles of wine at Big Bob while under strict instructions to not hit the spider—and, in fact, always miss it by three feet or more. 

“When you're lying under a 250-pound wine rack for a couple of days, it's tough to walk to your car at night,” Daniels told the Sentinel. “Movies have a way of saving those life-or-death stunts for last, so that if you lose an actor, it's a shame and it's horrible, and we'll all be there at the funeral, but at least we got our film shot."

15. DANIELS WAS NOT A FAN OF BIG BOB.

Throughout the Arachnophobia press tour, Daniels spoke openly of his animosity toward his big, hairy co-star—and we’re not talking about John Goodman. I had a problem” with Big Bob, Daniels told Entertainment Weekly. “Especially when the spider wranglers were off-camera wearing thick, heavy gloves, yelling, ‘If he comes after you, we’ll be jumping in right away.’ But meanwhile, it’s the movies, you know, and they’re going, ‘Let’s do it again. Let’s see if we can get him to crawl closer to Jeff’s hand.’ ... We had no rapport,” Daniels jokingly continued. “He’d rear up and hiss. They’d feed him a rat every weekend. It would be, ‘Have a good Saturday night, Bob. See ya Monday.”’

In an interview with Philadelphia's Daily News, Daniels recounted how Big Bob once blew a dozen takes: “I had to be great every time. Big Bob only had to be great once.” And when they were filming the climax of the film and a bottle broke near Bob, drenching the spider with wine, Daniels wasn’t that sorry—although filming did have to be delayed for a few hours to allow Bob to dry off. "The joke went that Big Bob was refusing to leave his trailer," Daniels recalled.

As for the Delenas? "I was OK with them,” he told Entertainment Weekly. "Though I’d rather they weren’t crawling on my face.”

16. THE MOVIE ORIGINALLY ENDED WITH A REFERENCE TO THE BIRDS. 

"There was one ending where we are standing outside after it's all over,” Daniels told the Orlando Sentinel in 1990. “It's like, ‘Wow, we're OK,’ and the family is all right. All of a sudden, one bird lands on the swing set and then another ... and we just turn and look. I think [executive producer Steven] Spielberg was the one who said, ‘Let's not do that. Let's just make it its own thing.’”

17. NO SPIDERS WERE KILLED DURING THE PRODUCTION.

When dead spiders were needed, the filmmakers used bodies of arachnids that had died of natural causes

18. IT WAS BILLED AS “THE FIRST THRILL-OMEDY.”

According to materials released with the film, that meant “a thriller with a sense of humor.” The Washington Post called the term “clumsy coinage,” while Entertainment Weekly dubbed it “awkward” and said in a review that it was “an awful word!—it sounds like somebody got sick from too many rides on the Whip.” It didn’t catch on.

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11 Secrets of Bodyguards
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When CEOs, celebrities, and the extremely wealthy need personal protection, they call in men and women with a particular set of skills. Bodyguards provide a physical barrier against anyone wishing their clients harm, but there’s a lot more to the job—and a lot that people misunderstand about the profession. To get a better idea of what it takes to protect others, Mental Floss spoke with several veteran security experts. Here’s what they told us about being in the business of guaranteeing safety.

1. BIGGER ISN’T ALWAYS BETTER.

When working crowd control or trying to corral legions of screaming teenagers, having a massive physical presence comes in handy. But not all "close protection specialists" need to be the size of a professional wrestler. “It really depends on the client,” says Anton Kalaydjian, the founder of Guardian Professional Security in Florida and former head of security for 50 Cent. “It’s kind of like shopping for a car. Sometimes they want a big SUV and sometimes they want something that doesn’t stick out at all. There’s a need for a regular-looking guy in clothes without an earpiece, not a monster.”

2. GUNS (AND FISTS) ARE PRETTY MUCH USELESS.

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Depending on the environment—protecting a musician at a concert is different from transporting the reviled CEO of a pharmaceutical company—bodyguards may or may not come armed. According to Kent Moyer, president and CEO of World Protection Group and a former bodyguard for Playboy founder Hugh Hefner, resorting to gunplay means the security expert has pretty much already failed. “People don’t understand this is not a business where we fight or draw guns,” Moyer says. “We’re trained to cover and evacuate and get out of harm’s way. The goal is no use of force.” If a guard needs to draw a gun to respond to a gun, Moyer says he’s already behind. “If I fight, I failed. If I draw a gun, I failed.”

3. SOMETIMES THEY’RE HIRED TO PROTECT EMPLOYERS FROM EMPLOYEES.

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Workplace violence has raised red flags for companies who fear retribution during layoffs. Alan Schissel, a former New York City police sergeant and founder of Integrated Security, says he dispatches guards for what he calls “hostile work termination” appointments. “We get a lot of requests to provide armed security in a discreet manner while somebody is being fired,” he says. “They want to be sure the individual doesn’t come back and retaliate.”

4. SOME OF THEM LOVE TMZ.

For protection specialists who take on celebrity clients, news and gossip site TMZ.com can prove to be a valuable resource. “I love TMZ,” Moyer says. “It’s a treasure trove for me to see who has problems with bodyguards or who got arrested.” Such news is great for client leads. Moyer also thinks the site’s highly organized squad of photographers can be a good training scenario for protection drills. “You can look at paparazzi as a threat, even though they’re not, and think about how you’d navigate it.” Plus, having cameras at a location before a celebrity shows up can sometimes highlight information leaks in their operation: If photographers have advance notice, Moyer says, then security needs to be tightened up.

5. THEY DON’T LIVE THE LIFE YOU THINK THEY DO.

A bodyguard stands next to a client
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Because guards are often seen within arm’s reach of a celebrity, some think they must be having the same experiences. Not so. “A big misconception is that we’re living the same life as celebrities do,” Kalaydjian says. “Yes, we’re on a private jet sometimes, but we’re not enjoying the amenities. We might live in their house, but we’re not enjoying their pool. You stay to yourself, make your rounds.” Guards that get wrapped up in a fast-paced lifestyle don’t tend to last long, he says.

6. SOMETIMES THEY’RE JUST THERE FOR SHOW.

For some, being surrounded by a squad of serious-looking people isn’t a matter of necessity. It’s a measure of status on the level of an expensive watch or a fast car. Firms will sometimes get calls from people looking for a way to get noticed by hiring a fleet of guards when there's no threat involved. “It’s a luxury amenity,” Schissel says. “It’s more of a ‘Look at me, look at them’ thing,” agrees Moyer. “There’s no actual threat. It’s about the show. I turn those down. We do real protection.”

7. THEY CAN MAKE THEIR CLIENT'S DAY MORE EFFICIENT.

A bodyguard escorts a client through a group of photographers
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Because guards will scope out destinations in advance, they often know exactly how to enter and exit locations without fumbling for directions or dealing with site security. That’s why, according to Moyer, CEOs and celebrities can actually get more done during a work day. “If I’m taking you to Warner Bros., I know which gate to go in, I’ve got credentials ahead of time, and I know where the bathrooms are.” Doing more in a day means more money—which means a return on the security investment.

8. “BUDDYGUARDS” ARE A PROBLEM.

When evaluating whether or not to take on a new employee, Kalaydjian weeds out anyone looking to share in a client’s fame. “I’ve seen guys doing things they shouldn’t,” he says. “They’re doing it to be seen.” Bodyguards posting pictures of themselves with clients on social media is a career-killer: No one in the industry will take a “buddyguard” seriously. Kalaydjian recalls the one time he smirked during a 12-year-stint guarding the same client, something so rare his employer commented on it. “It’s just not the side you portray on duty.”

9. SOCIAL MEDIA MAKES THEIR JOB HARDER.

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High-profile celebrities maintain their visibility by engaging their social media users, which often means posting about their travels and events. For fans, it can provide an interesting perspective into their routine. For someone wishing them harm, it’s a road map. “Sometimes they won’t even tell me, and I’ll see on Snapchat they’ll be at a mall at 2 p.m.,” Kalaydjian says. “I wouldn’t have known otherwise.”

10. NOT EVERY CELEBRITY IS PAYING FOR THEIR OWN PROTECTION.

The next time you see a performer surrounded by looming personal protection staff, don’t assume he or she is footing the bill. “A lot of celebrities can’t afford full-time protection,” Moyer says, referring to the around-the-clock supervision his agency and others provide. “Sometimes, it’s the movie or TV show they’re doing that’s paying for it. Once the show is over, they no longer have it, or start getting the minimum.”

11. THEY DON’T LIKE BEING CALLED “BODYGUARDS.”

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Few bodyguards will actually refer to themselves as bodyguards. Moyer prefers executive protection agents, because, he says, bodyguard tends to carry a negative connotation of big, unskilled men. “There is a big group of dysfunctional people with no formal training who should not be in the industry,” he says. Sometimes, a former childhood friend can become “security,” a role they’re not likely to be qualified for. Moyer and other firms have specialized training courses, with Moyer's taking cues from Secret Service protocols. But Moyer also cautions that agencies enlisting hyper-driven combat specialists like Navy SEALs or SWAT team members aren't the answer, either. “SEALs like to engage and fight, destroying the bad guy. Our goal is, we don’t want to be in the same room as the bad guy.”

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9 Wild Moments from Winter Olympics History
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With the Pyeongchang Olympics nearing their final weekend in South Korea, we thought we'd take a look back at some of the wildest and most unpredictable moments of Winter Games past.

1. AUSTRALIA WINS ITS FIRST WINTER GOLD MEDAL WHEN SPEED SKATER WAITS FOR HIS COMPETITORS TO FALL DOWN

Knowing he was overmatched by his fellow athletes during the 1000 Meter Short Track Speed Skating competition at the 2002 Salt Lake City Olympics, Australian Steven Bradbury devised a strategy of waiting in the back of the pack on the off chance that his competitors might trip up. Amazingly, the strategy worked when a disqualification in the quarterfinals got him through to the semis and a crash sent him to the finals.

In the final, favorite Apollo Anton Ohno and the three other competing skaters collided in an epic crash; the trailing Bradbury was close enough to the pack to cross the finish line before any of the fallen skaters, becoming Australia's first gold medalist in the Winter Olympics.

2. ALPINE SKIER HERMANN MAIER FLIES OFF THE COURSE AT 70 MPH, GETS UP AND WALKS AWAY

In downhill alpine skiing, skiers travel at extremely high velocities (typically 60 to 85 miles per hour) down courses that closely follow the mountain's fall line.

In 1998, Nagano Olympics race officials were worried about the downhill course—specifically, a steep angle between the 6th and 7th gates. They altered this portion but the section still posed a danger.

Austrian Hermann Maier finished first in the World Cup standings before the Olympics but had a reputation for recklessness within the skiing circuit—in fact, according to Olympic historian David Wallechinsky, “caution was not a word in Maier's vocabulary." Maier didn't slow down before the aforementioned dangerous turn in Nagano and went flying off the course at 70 miles per hour, tumbling to a halt some 50 meters away. In a sport where injuries—and even deaths—aren't unheard of, Maier shocked TV audiences by getting up and walking away with nothing more than a bruised shoulder.

Benefiting from a 24-hour weather delay on his next event, the Super-G, Maier used the extra rest to get back in full form and took home the gold. He also came in first in the Giant Slalom three days later.

3. WOMEN CHEAT BY HEATING UP THEIR SLEDS


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There have been a limited number of cases of cheating in the Winter Olympics (far fewer than in the Summer Olympics), but that doesn't mean it’s an impossibility. Just ask Ortrun Enderlein.

Enderlein, the defending luge champion, and her two East German teammates aroused suspicion by showing up just before their runs and leaving the scene hastily after. Enderlein won gold and her teammates placed 3rd and 4th, but upon closer inspection, it was discovered that their sleds had been heated immediately before the races, which reduced friction with the ice and resulted in faster times. The three were disqualified and the East German Olympic Committee blamed the affair on a "capitalist revanchist plot.”

4. SKI JUMPER RALLIES NATIONAL PRIDE BY FINISHING LAST

English plasterer Michael Edwards traveled to Lake Placid, New York two years before the 1988 Calgary Olympics to fulfill his dream of making the event as a downhill skier. When money ran short, he decided to switch to ski jumping because it was significantly cheaper and there would be no competition at the national trials. Edwards became the first Olympic ski jumper in British history, but was far below the standards of the rest of the field.

Edwards crashed at the World Championships the year before the '88 Games and was ridiculed by the international press, who dubbed him “Mr. Magoo” due to his thick-rimmed glasses and heavy frame.

To the British, however, Edwards became a great source of fascination, which turned into a full-fledged national craze as he became the first Olympic ski jumper in the country's history and successfully landed his attempt at the Calgary Games. Although he didn't even score half the total points of any other competitor, he earned admiration worldwide and was given the nickname "Eddie the Eagle" by the President of the International Olympic Committee during the closing ceremony.

Sadly, many others in the Olympic community did not take him seriously, and they raised the qualifying standards to prevent Edwards from participating in the future. This didn't stop him from trying, but he failed to qualify on three successive occasions. Today, Edwards still plasters for a living and estimates that 70 percent of his income comes from speaking engagements.

In 2016, Eddie the Eagle, a biopic about Edwards’s life featuring Hugh Jackman (not playing Edwards), was released in theaters.

5. GOLD MEDALIST IN OLYMPICS' INAUGURAL SNOWBOARDING COMPETITION GETS BUSTED FOR MARIJUANA

At the 1998 Nagano Games, snowboarding was introduced in an effort to make the Olympics more appealing to a younger audience. Still, there was some trepidation about the perceived rambunctious lifestyle of the snowboarding community and how it would fit in with the formality of the Olympics.

Nothing better illustrated this clash of values than when Canadian Ross Rebagliati became the inaugural winner in the Parallel Giant Slalom and was promptly stripped of his medal three days after the event for testing positive for marijuana.

Rebagliati claimed to have ingested it second-hand at a party and the Canadian Olympic delegation successfully appealed the IOC's decision on the basis that marijuana isn't a performance-enhancing drug. He got his medal back before the Games ended.

Today, 20 years after the controversy, Rebagliati has moved on from his snowboarding past and is trying his hand at entrepreneurism: he’s the founder of Ross’ Gold, a cannabis business.

6. NANCY KERRIGAN VS. TONYA HARDING


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Tonya Harding was an ice skating prodigy from a broken home who ascended to the world stage in the early '90s. As her financial security and world ranking started to decline in the months leading up to the Olympics, Harding became frustrated and directed her anger at fellow American Nancy Kerrigan, who was ascending in the world standings and landing lucrative commercial endorsements.

Harding's on-again-off-again husband Jeff Gillooly conspired with two other men to attack and injure Kerrigan before the 1994 Olympics. They carried out the hit after Kerrigan's practice skate before the U.S. Figure Skating Championships in Detroit. Shane Stant, Gillooly's hired man, hit Kerrigan on the knee with a police baton as she was talking to a reporter in a stadium hallway. He escaped by diving through a plexiglass door before running to a getaway car.

The attack resulted in a bruise, but because there was no bone or ligament damage, Kerrigan was able to perform and was selected (along with Harding, who was under investigation for the attack) for the U.S. Olympic team. At the Lillehammer Games, Kerrigan famously skated to a silver medal after terrific back-to-back performances while Harding, disgraced, finished in eighth place. Harding's life, and the scandal surrounding her competition with Kerrigan, has been turned into the Oscar-nominated film, I, Tonya.

According to Olympic Historian David Wallechinsky, when CBS executives thanked their staff in Norway for the great ratings (the figure skating finals were the one of the most watched events in television history at the time), a CBS employee wrote back: "Don't thank us. Thank Tonya."

7. TWO AMERICAN HOCKEY TEAMS ARE SENT TO THE OLYMPICS, BOTH ARE DISQUALIFIED


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Controversy erupted before the 1948 Olympic Games in St. Moritz over whether the American Hockey Association or the Amateur Athletic Union was the chief governing authority for hockey in the United States. American Olympic Committee President Avery Brundage refused to sanction the AHA because of their commercial sponsorships, but the International Ice Hockey Federation officially ruled that the AAU was to be replaced by the AHA.

Amid the confusion, both teams made their way to St. Moritz to compete. Before they were set to march in the Opening Ceremony, the Swiss Olympic Organizing Committee banned the AAU. Because they were favored by Brundage, though, the AAU team got the honor of representing the U.S. in the opening ceremony, while the AHA team—which was actually allowed to compete by the organizing committee—had to sit in the stands.

8. LUGE TRACK WITH A HISTORY OF FATAL ACCIDENTS SELECTED AS SITE OF INAUGURAL LUGE COMPETITION


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Luge racers regularly hit speeds of over 95 miles per hour, meaning that even the smallest shift in body position can easily result in catastrophe. This was evident before the 2010 Vancouver Games, when Georgian luger Nodar Kumaritashvili careened off the track during a training run and died of his injuries.

It was an eerie replay of the luge's first-ever appearance at the Olympic Games. Two weeks before the Innsbruck Games in 1964, Kazimierz Kay-Skrzypecki, a British RAF pilot who was inexperienced in the sport, flew off the track and died during a training run. Additionally, a German doubles luge team was injured on the track in a separate accident. The track had had several fatal accidents when it opened decades before, and although it was modified thereafter, Olympic participants had to lobby for further safety precautions to reduce some of the danger.

9. FRENCH JUDGE CONFESSES TO THROWING THE COMPETITION


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The pairs figure skating competition at the 2002 Salt Lake City Olympics resulted in a massive scandal that gave wind to the long-standing notion that figure skating judges can be swayed. Russian competitors Yelena Berezhnaya and Anton Sikharulidze made noticeable errors in their long program, while Canadians Jamie Salé and David Pelletier performed a flawless routine that had the crowd chanting "Six! Six! Six!"

When the judges ruled 5-4 in favor of the Russians and loud boos rang from the arena, the Canadian Olympic officials filed a protest. Protests filed by the losing party have become relatively common in the Olympics and the exercise is often a symbolic and ultimately fruitless gesture. But in this case, some dirt actually turned up.

In the subsequent investigation, it was revealed that the swing vote, French judge Marie-Rene Le Gougne, was up for a seat on the International Skating Union's powerful technical committee, and reports surfaced that she confided to a British referee a few days earlier that she had been pressured by her own national committee to throw her vote for the Russian pairs.

Le Gougne changed her story a few days later in an effort to save face, but her contradictory statements only exacerbated the coverage into a full-blown media frenzy dubbed “skate-gate.” In the end, Le Gougne was suspended for three years, the Canadians were awarded a second pair of gold medals, and the sport underwent reform with judges' scores being kept secret and chosen at random.

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