Before diving into an analysis of this year's Oscar nominations, I want to say at the top that revealing all 24 categories live is the way to go. That was just wonderful, to hear all of those below the line artists' names called in the wee hours of the morning alongside the rest. Let's make that a tradition. Now, the nominations…

The first thing of note is, for the first time since we've had the expanded field, there were less than nine Best Picture nominees. Every film we were expecting to get in got in except for "Nightcrawler," which actually came up short in a few other areas (Best Actor, Best Supporting Actress) while only turning up in Best Original Screenplay. It was a well-liked film going into the announcement but it just ended up squeezed by out in those areas at the end of the day. Still, a great push from Open Road on and I'm happy Dan Gilroy got some love at the end of the day.

Also a first in this new landscape, a director was nominated for a film that wasn't nominated for Best Picture. Bennett Miller's name popped up courtesy of his colleagues, but the movie didn't find enough passion for the top spot. Intriguing, that. Directors love Miller, so that's not entirely surprising, but the film itself is a cold enterprise and maybe a tough sell overall. Still, the Directors Branch has a tendency to go its own way, and happily (sorry Clint), they did. Nevertheless, with screenplay, director and Best Actor support, you would think it would have cracked the Best Picture list. Obviously, it was close.

After a balls-to-the-wall campaign for a film no one outside of the media had seen, Jennifer Aniston missed out on a Best Actress nomination for "Cake." I am no fan of the film, but I always feel bad when I see that kind of effort hit a brick wall. That team really tried to seize the moment in a race that was bone dry and it was worth a shot. In the end, critical darling Marion Cotillard, with virtually no campaign beyond riding the steam of those early kudos, got the call for "Two Days, One Night." Good for her.

Laura Dern shoved out Rene Russo and Jessica Chastain in the supporting actress field, while the supporting actor list duplicated SAG's. Dern seemed to hit the skids a bit as "Wild" became more of a Reese Witherspoon prospect. But she was able to secure, finally, her second Oscar nomination to date since first being recognized nearly 25 years ago for "Rambling Rose." Hard not to be happy for her.

Alright, let's get to "Selma." In the end, maybe the screener issue wasn't all there was to it. The film landed exactly the two nominations I was anticipating: Best Picture (had enough passion at the top) and Best Original Song. But nothing else. No David Oyelowo. No Ava DuVernay. Screenplay ignored. Below-the-line artistry avoided. It just didn't find love throughout the categories and finds itself in the odd situation of being a Best Picture nominee with just one other element recognized, not unlike "The Blind Side" or "Extremely Loud and Incredibly Close." But in effect, it's a worse situation given that there are no acting nominees. You would have to go back to, what, "Grand Hotel?" Good news is that movie won Best Picture, though.

So what happened? It's obviously one of the most critically acclaimed films in the race, so one has to assume it's not quite as simple as "maybe they simply didn't like it." Particularly with the Best Picture nod. You have to figure the controversy played some part, large or small. But I think it's a combination of that and a number of really, really tight races. I feel bad for the folks at Paramount, who admittedly got a late start on the film, and for DuVernay. But here's the thing about these moments: the film is still there. It lives on. Its import is lost on no one. And if I were Paramount, I'd go hard for the gold. There's an underdog card to play here.

The biggest outright shocker of the morning was the animation branch snubbing (you'll just have to forgive the constant use of that word today) "The LEGO Movie." Many had it picked to win. I found it to be quite overrated but still, that was a "whoa" moment. Instead, the branch went in for both GKIDS/hand-drawn efforts, "Song of the Sea" and "The Tale of Princess Kaguya." The question now, though, is whether "How to Train Your Dragon 2" can duplicate its Golden Globe victory. I think it absolutely can, so all of my fingers are crossed.

Kristopher Tapley has covered the film awards landscape for over a decade. He founded In Contention in 2005. His work has also appeared in The New York Times, The Times of London and Variety. He begs you not to take any of this too seriously.