After decades of crashing through windows, jumping from rooftops, and carrying the physical weight of cinematic spectacle, stunt performers will finally get their due.
On April 10, the Academy of Motion Picture Arts and Sciences announced the introduction of a new Oscar category: Achievement in Stunt Design, to debut at the 100th Academy Awards in 2028.
For many in the stunt community, the news was historic. But for Black stunt performers—long underrepresented both in front of and behind the camera—it struck a deeply personal chord.
“It’s not just an accolade. It’s a breakthrough,” said Tiffany Abney, a professional stuntwoman and former track and field star.
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“We’ve always been doing the work. Now the world is finally paying attention.”
Abney, who transitioned from the Pennsylvania Track and Field Hall of Fame to the sound stages of Hollywood, sees the Oscar announcement as a validation of a discipline too often relegated to the shadows.
Abney also understands how crucial visibility and mentorship are for Black women in the field.
“I had mentors, and I wouldn’t be here without them,” she said. “Now, one of my proudest moments is being able to pass that along—to uplift the next generation.”
The Academy’s decision comes at a time when performers like Alyma Dorsey have already taken recognition into their own hands.
With credits in “Birds of Prey,” “The Matrix Resurrections,” “Captain Marvel,” and “Joker,” Dorsey has become a standout in the action genre. But she hasn’t forgotten how isolating the industry can be for newcomers—especially Black women.
“I actually wrote a journal for stuntwomen,” Dorsey said.
“It’s full of the things I didn’t have when I was starting out—training tips, safety, how to prepare. I wanted to help others understand what this business really is.”
For Dorsey, the Academy’s announcement is more than ceremonial—it affirms the risk and resilience behind the craft.
That includes personal milestones, like continuing to work during pregnancy.
“I was in a situation where people didn’t want me to ride anymore,” Dorsey said.
“But I did it. And I’m proud I didn’t hide it.”
For many Black stuntwomen, being unseen—literally—is an ongoing challenge.
“I often have to come to work with my hair already done,” said Keisha Tucker, a veteran performer.
“People don’t have imaginations about how your hair can match the actress. Sometimes you have to go the extra mile just to be considered.”
Tucker says she’s frequently treated as inexperienced, even with years of work under her belt.
“They treat me like I’m brand new,” she said. “But I just let my work speak. I surprise them.”
The lack of recognition isn’t just about awards—it’s about opportunity. Angela Meryl, known for doubling stars like Vivica A. Fox and Beyoncé in films like “Kill Bill” and “Obsessed,” noted that systemic access remains uneven.
“If there are no Black women acting in lead action roles, then Black stuntwomen don’t get hired,” Meryl explained.
“The fact that I even got in the room is a win-win. We have to count our small victories.”
Those victories, Meryl added, must also be institutional. The Oscar category is a start—but progress depends on who is empowered behind the scenes.
That’s something Robair Sims, a veteran stunt performer and coordinator, knows firsthand.
“When you’re in a position to hire, you can open the door for others,” Sims said.
“Of course, safety comes first. But when I’m coordinating, I always try to bring my people in first—my sisters and brothers. That’s how you start to change the system.”
Few people have opened more doors than La Faye Baker, one of the first Black female stunt coordinators in Hollywood. Baker, who has spent decades advocating for equity in the field, is currently producing a documentary on Black stuntwomen. For her, the new Oscar is a long-overdue acknowledgment.
“We need visibility. We need to be seen,” she said.
“Men can often hide behind padding. But for us, they want to see the hair, the body. You must match the actress exactly. And that means constantly adjusting, constantly proving yourself.”
Each performer agreed: the Oscar category represents not just professional respect, but cultural validation.
“There’s still a lot of work to be done,” Baker added.
“But now, finally, our work is being recognized. That’s a step forward for all of us.”
As the Academy prepares to honor the art of stunt work for the first time in 2028, these performers are already ahead of the curve. They’ve been innovating, mentoring, and redefining action storytelling for years. The Oscar may mark a turning point, but the legacy is already in motion.
“Recognition matters,” said Abney.
“But we’ve been the backbone of these stories. We’ve been building this foundation for a long time. Now, the world is finally catching up.”
