Part of the identity crisis that has afflicted the awards in recent years is the sense that they serve too many incompatible constituencies. An industry that likes continuity and tradition, a global audience that wants a big spectacle, younger voters interested in aesthetic risk and social awareness, a domestic public that somehow both hates politics and insists on politicizing everything. The broadcasts of recent years have exposed some of the contradictions between Hollywood’s universalist aspirations and its parochial realities.

How can the show continue to attract a global audience? By focusing on the big-budget, IP-driven franchise movies that are Hollywood’s leading global export? That has been an obvious, dreary answer for quite some time, but “Parasite” suggests a different one. There’s a whole world of movies out there — exciting, surprising, popular movies — that deserve audiences and accolades in America.

MORRIS You’re both pointing out two possible outcomes in the wake of “Parasite.” First that the enormous skepticism (within the industry and in the average living room) of the Netflix way alters the company’s relationship to movies. They’ll still make them, of course, because we want them (Martin Scorsese’s and Tyler Perry’s). But, frankly, I’m tired of the jokes about “The Irishman” as a TV show, even the funny ones (like Chris Rock’s during the ceremony). That was supposed to be the appeal of “1917,” too — it’s a theatrical experience. Fewer people saw “The Irishman” the old way but maybe in a theater more people took it seriously. “Joker” felt like it was treated with far more reverence. (Going into Sunday night, it led the nomination field.) Or maybe it’s just a matter of “Roma” and “The Irishman” being bellwethers of an experience that certain people resent right now but that won’t be so exasperating to future movie audiences. Either way, we’re deep in the creases of an industrial pivot.

Second, Tony, you’re right. This win does feel like a lifeline. And, obviously, a turning apart from the milestones of Ang Lee and the Three Amigos. I was thinking last night about all the movies made by great directors who once would have stood no chance at the Oscars. Great, non-American filmmakers who make big, challenging movies that used to represent a major artery of the North American cinematic circulatory system. Does this win reinstate those moviegoing and movie-distribution priorities?

Bong Joon Ho operates in an increasingly less unique class. Like the Mexicans, he’s a regionalist, an internationalist and an entertainer. He does as much quoting as Quentin Tarantino and can take big, polemical ideas and do so many funny and suspenseful and strange and audacious things with them. I left his hit “Snowpiercer” convinced that that would be the movie that took him to the Oscars. (This is why you don’t take predictions from me.) But that was a grand, conceptual production with a multinational cast and Bong’s reliably downbeat worries about capitalism, ecology and human nature. I’m happy it’s “Parasite” the academy noticed in such a major way. It’s “Snowpiercer” writ smaller, intimately. He wasn’t aiming to conquer the planet with this one. He was listening to himself, thinking out loud. And we all heard him.