The 98th Academy Awards nominations followed familiar rules, rewarded familiar tastes, and still found space to fully embrace Sinners in a way we all hoped.
This was my first year actually watching the Oscar nominations instead of just reading them, and it made all the difference.
I’ve always skimmed the list, noted the surprises, clocked the snubs, and moved on as I anxiously wait for the main event. But watching it unfold in real time changed how I took it in. You catch the pauses. You feel where the Academy sounds confident and where it feels cautious. You can tell which nominations land cleanly and which ones feel… negotiated. Reading nominations gives you information. Watching them gives you context.
And this year, the context mattered, so I implore you to watch the nominations event if you haven’t already. It’ll take less than 20 minutes of your time. Danielle Brooks and Lewis Pullman were a delightful pairing who announced all of these nominations.
The biggest — and best — headline is Sinners making history with 16 nominations. That’s not a courtesy nod. That’s a full embrace. Best Picture. Director. Actor. Supporting performances. Writing. Crafts. Music. It showed up everywhere it mattered. After years of films like this being praised in conversation but trimmed down on ballots, seeing Sinners fully recognized felt validating.
Michael B. Jordan getting into Best Actor felt right, the first of his career in the category. Not flashy, not overdue, narrative–driven, just deserved. Ryan Coogler showing up in both Director and Screenplay mattered too. That’s the Academy saying this film isn’t just impactful, it’s authored. It’s intentional. It’s built. And the supporting nominations for Delroy Lindo and Wunmi Mosaku reinforced what made the movie work in the first place: The performances didn’t compete with each other; they held each other up.
I’m genuinely sad Hailee Steinfeld wasn’t nominated for Best Supporting Actress. She was brilliant in Sinners. She delivered a performance that I still see show up across my digital timelines via memes.
The only other thing that made me pause, and not in a good way, is F1: The Movie landing a Best Picture slot. It simply isn’t on the same level as the films it’s up against. Not in depth, not in ambition, not in emotional impact. The film’s visuals are stunning, so it being up for Best Visual Effects makes sense. That nomination felt less about the film itself and more about what it represents: a big, glossy title with a massive budget, a notable cast, and undeniable technical polish. The Academy has a long history of making room for films like this — movies that look impressive, play well theatrically, and signal industry clout — even when they don’t push the form or say much at all.
Placed next to films like Sinners, One Battle After Another, Hamnet, or Sentimental Value, the gap is noticeable. F1: The Movie feels like it’s there to balance the slate, not challenge it. A reminder that Best Picture is still as much about optics and industry signaling as it is about artistry.
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And still, if you’ve paid attention to the Academy long enough, these nominations line up exactly with how they usually move. Serious films. Prestige adaptations. Controlled performances. Directors with “taste.” For all its worth, this was a very traditional Academy morning.
That’s why movies like Sentimental Value showing up across acting and directing categories make sense. It’s quiet, composed, emotionally distant in a way the Academy loves. Same with Hamnet — literary, restrained, period-adjacent prestige. These are the kinds of films the Academy reliably rewards. They feel safe. They feel respectable. They feel familiar. (Here is the full list of nominations.)
The Academy stayed true to its instincts, rewarded what it understands, and most importantly, made room for Sinners without trying to dilute it.
That may not be revolutionary. But it is progress.
All that said, we’ll see how it all shakes out when the 98th Oscars air Sunday, March 15 at 7 p.m. ET, live on ABC and streaming on Hulu.
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