British accents, corseted starlets, tortured artists. Movies cater to Hollywood’s Anglophilia and high self-regard always have done well at the as former host Chris Rock called them in his 2016 monologue, “The White People’s Choice Awards.”

But over the last two years, after enduring criticism of its all-white slates of acting nominees, the Academy of Motion Picture Arts and Sciences invited 1,457 new people to join, which could add some 20 percent to its membership rolls and recruit the largest, most demographically diverse classes in its 90-year history. As the most exclusive club in Hollywood has become more inclusive, a question is reverberating through town. “What is an awards movie anymore?” asked one Oscar strategist, who plots a course of screenings, parties, and for-your-consideration ads for a major film studio. “Who actually is the Academy membership? What do they like?”

In June, such newcomers as comedian Leslie Jones, action star Dwayne Johnson, and actor Adam Driver were added, as well as lesser-known artists, including a documentarian in India (Anand Patwardhan), a cinematographer in China (Zhao Xiaoding), and a director in Hungary (Ildiko Enyedi). “There are those who feel that Hollywood is elitist,” the Academy’s newly elected president, cinematographer John Bailey, told me. “But things have been changing so much, with the diversity and international outreach.”

The change has maddened some longtimers, who say the new entry standards are lower—they no doubt had to walk barefoot in the snow uphill both ways on Wilshire to collect their first membership cards. But amid the fist-shaking, Hollywood still is asking the same questions: What do I have to do to win an Oscar? Whose rings do I have to kiss? What red carpets do I have to walk? Where will I have to eat canapes with voters?

Demographics aren’t destiny, and plenty of white members voted for Barry Jenkins’s black coming-of-age drama, Moonlight, to earn the Academy’s top prize in February. But this year there are films that could see their fortunes shift. Some gravitate toward Angelina Jolie’s Cambodia-set war drama, First They Killed My Father. New members of color could cast a ballot for Jordan Peek’s horror social commentary, Get Out, or Dee Rees’s Mississippi-set saga, Mudbound, The increase in women could be good for Patty Jenkins’s Wonder Woman and for Emma Stone’s portrayal of Billie Jean King in Battle of the Sexes. And two British World War II films that would have been catnip to voters of yore, Joe Wright’s Darkest Hour and Christopher Nolan’s Dunkirk, might land with less power. What about Meryl Streep? Will today’s voters give her a 21 st nomination next year for playing Washington Post publisher Kay Graham in Steven Spielberg’s press-freedom drama, The Post!

The influx of far-flung members also has had some unintended consequences for the companies wishing to court them. Distributors must now subtitle their screeners in more languages—one awards strategist recommends French, Spanish, Italian, Danish, Japanese, Mandarin, and Cantonese. And the standard locations for events—influencer screenings on L.A.’s West Side, contender lunches on New York's Upper East Side—seem sadly narrow when staring at a list of member addresses in Beijing, Mumbai, Harlem, and Echo Park. It’s a brave new Academy—so long as everyone is able to participate in the awards-season bacchanal. “The Academy forgot any part of the administrative and logistical issues that apply to this, which is, how are people going to see the films?” said one awards strategist. “I am not screening this in Kuala Lumpur.”