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WYSO Public Radio hires new development and marketing director

WYSO Public Radio hires new development and marketing director
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Yellow Springs, Ohio — Coming on board as WYSO Public Radio is poised for continued significant growth, long-time local fundraising professional Amanda Burks has joined the WYSO team to lead donor and grant development, as well as the station’s marketing efforts.

Burks has raised more than $22 million through capital campaigns and through general fund raising events in her 15-plus year career in Dayton, for such iconic local nonprofits as Ronald McDonald House Charities, Hospice of Dayton Foundation and the Dayton Art Institute.

She also has several years of experience in strategic marketing, having worked as vice president of vellaInc. Public Relations and Marketing Communications.

General Manager Luke Dennis said he is eager to work with Burks to build on the institutional and individual donor development that he and Major Gift Officer Sara Woodhull have been leading for the past three years.

“Amanda is a natural leader, a strategic thinker and an excellent communicator with proven nonprofit fundraising and marketing experience,” he said. “She also has great connections in this community, and I know that she will help us expand general support as well as funding for such projects as our new headquarters in Yellow Springs, our satellite studio in downtown Dayton and the unique programming that the Center for Community Voices produces.”

“Having been an avid listener and sustaining member for many years, I am honored to have this opportunity to serve the organization in a new and meaningful way,” said Burks, who also will manage grant development and lead the station’s membership, marketing and event staff to grow listenership and raise WYSO’s profile. “WYSO has long been a pillar of our community, and with so much growth on the horizon, this is an exciting time to join the team.”

Copyright 2023 WYSO. To see more, visit https://www.wyso.org.

Paul Ickovic obituary

Paul Ickovic obituary

Paul Ickovic, who has died aged 79, belonged to a generation of humanist photographers who strove to capture the poetry in ordinary lives with a compassionate lens. His nomadic early life had taught him to reject states and borders, and for him there was no state above that of human. He roamed the world’s streets in a search for moments that would spark discomfort and joy.

His photographs were often of solitary figures, capturing their moments of introspection and alienation; a chambermaid in Prague, a diner in Boston or a Cuban waitress. Location was unimportant, for he wanted the viewer to extrapolate from a single image and recognise something of themselves – to be upset or uplifted by the reflection. Yet he was always taciturn about the meaning of his photography, once saying: “It needs no explanation; if the work is provocative, it needs only to exist.”

Though Ickovic’s work was less well known than that of contemporaries such as Josef Koudelka, Louis Faurer and Henri Cartier-Bresson, his images have been widely exhibited, notably at the International Centre of Photography in New York and the Bibliothèque Nationale de France in Paris. The Museum of Modern Art in New York and the National Gallery Prague also acquired his work, and his photographs were collected together in several books.

Phantom at Odeon, Paris, 1964.

Ickovic’s craft was rooted in the events of 1939, when the Jewish citizens of Prague were scrambling to escape German occupation. His mother, Vera Mandel, then an 18-year-old, was put on a plane to London; her parents planned to join her but were captured and perished in concentration camps.

Around the same time a 25-year-old chemist, Eugene Ickovic, stuffed his formulas and passport into a small suitcase and travelled across Europe before joining the British Army’s Czech Brigade. On leave in Britain, at a dance, he met Vera, and they were married in 1943. A year later, in Kettering, Northamptonshire, she gave birth to Paul, who was christened Pavel.

At the end of the second world war, the family returned to Czechoslovakia, where his brother, Tomas, was born. His father set up a pharmaceuticals factory, but it soon became apparent that the occupying Russians were there to stay and so in 1949 the family left for Colombia. In Bogotá the Ickovics learned Spanish and Pavel became known as Pablo.

After a military coup in 1953, the family fled again, on a freighter bound for Canada. When they finally settled in New York in 1957, 13-year-old Pablo learned to speak English and became Paul.

At Forest Hills high school in New York his first love was jazz. He went on to study music at Queens College and, inspired by Django Reinhardt, learned the guitar. However, when he realised he would never be as good as his hero he put his guitar away. His parents gave him $1,000 to get started in life and he immediately left for India and Nepal, where he first picked up and taught himself how to use a camera.

Later he fetched up in Paris, where he took what he believed was his greatest photograph. In the instant before the doors closed on a Metro train, he saw a figure on the platform and released the shutter of his Leica without hesitation. The Phantom at Odéon, Paris, 1964 captures an enigmatic, timeless apparition. Ickovic learned that you must “shoot first, think later” as “the second frame is always a desperate attempt to recapture the first”. Faurer, who became his mentor, was effusive about the work – and Ickovic’s love of photography was cemented.

Boy With Glasses, Prague, by Paul Ickovic.

His ambition was great, but his pockets were often empty. Friends, family and patrons gave him advances, bailed him out, overlooked debts. He blagged cheap flights and sold his possessions. He packed lingerie for trips to Havana, where he could trade undies for food and hotel rooms. His wanderlust was too strong for him to remain tethered by money.

In 1969 the state of Vermont in the US became the base from which he honed his craft. On the streets and in bars Ickovic felt the pulse, arguing that “one needs to walk the gutters as much as the sidewalks in the hunt for the magic to unfold”.

That hunt came plagued with self-doubt. He would not accept mediocrity and in the early 1970s, following criticism of his work, he attempted to burn all his negatives. A girlfriend intervened, but much was lost. Nonetheless, he had the courage to pursue his vision and recognition followed. In 1977 his first book, In Transit, was published.

A self-professed vagabond, Ickovic had the roguish charm of an elegant, down-at-heel European aesthete, underpinned by his itinerant lifestyle, his husky voice and his love of beautiful objects.

Following acclaim for his 1986 collection of photographs, Kafka’s Grave & Other Stories, he moved to Sag Harbor in New York state, where he became part of the local artistic community. From there he travelled to eastern Europe to document the societal changes that followed the fall of the Berlin Wall, and in 1991 a further collection of his photographs, Safe Conduct, was published.

After that, Ickovic’s output began to wane. He was not interested in the new mediums of colour film or digital photography, and began to concentrate his energies on producing exhibitions of his work and on painting.

He tried life on Long Island and then in Amherst, Massachusetts, until, at the age of 72, he placed his precious prints and notebooks into his prized possession, his father’s small suitcase, and moved into a ruined apartment in the medieval centre of Ljubljana, Slovenia. He turned his home into a bohemian palace and for a time was happy.

A retrospective in France opened at the Bibliothèque Nationale in 2021, but due to Covid-19 the number of visitors was small and press coverage was limited, while the accompanying monograph, Ickovic, a book he had poured his heart and soul into, languished. The disappointment prompted him to make one final move, to Prague.

There his health deteriorated and severe back pain prevented him from walking the streets with his camera. However, he maintained his interest in the human condition to the end.

Ickovic was married and divorced twice. He is survived by two sons, Nicholas, from his second marriage, to the model Simona Zborilova, and Cristian, from a later relationship with the art gallery owner Karin Sanders, and his brother.

Paul (Pavel) David Ickovic, photographer, born 16 March 1944; died 23 May 2023

SheClicks Women in Photography Podcast launches

SheClicks Women in Photography Podcast launches

SheClicks, the community for female photographers that I started in 2018, has launched a podcast that features women in the photographic industry talking about their experiences and what drives them.

In the podcast, called SheClicks Women in Photography, I interview women from the photography business, to gain insight into how they got to where they are now.

The guest in the first episode is Cristina Mittermeier, a widely respected marine biologist, conservationist, photographer and filmmaker. She’s a co-founder of SeaLegacy, a global marketing, education and communication for the agency, which draws on her visual storytelling capability to convey environmental and conservation messages. Along with Paul Nicklen and Chase Teron, Cristina also founded 100 for the Ocean, a print fundraiser for ocean conservation.

In addition, Cristina is a Sony imaging ambassador, the recipient of the first SheClicks Lifetime Achievement Award and was the first female photographer to reach over 1 million followers on Instagram.

In the first episode, Cristina explains the thinking behind the formation of 100 for the Ocean and how the team called upon fellow photographers to contribute images to sell as prints to raise money. She also shares how recognising the power of photography to raise awareness of issues close to her heart led her to switch from being a scientist to becoming a photographer.

In each episode, I also ask the guest six questions from SheClicks members, asking the guest to pick six numbers from one to ten.

Future guests include Kim Grant, a Scottish photographer, photographic workshop leader and Nikon Creative, Rachael Talibart who is best known for her fine art images of the ocean, US-based high-end wedding photographer Makayla Jade Harris, Elke Vogelsang, well known for her dog photography, multi-talented music photographer Christie Goodwin, and world-renowned fashion photography, Lindsay Adler.

The SheClicks Women in Photography podcast is available on all the main podcast platforms including Apple Podcasts and Spotify, and via sheclickspodcast.net.

Thanks to Lensbaby, and in support of 100 for the Ocean, listeners have to opportunity to win one of Cristina Mittermeier’s prints.

Your Guide to the Perfect Weekend in Honolulu: June 8–14, 2023

Your Guide to the Perfect Weekend in Honolulu: June 8–14, 2023

 

Kamehameha Day Ho‘olaule‘a

Photo: Courtesy of Greg Yamamoto

 

106th King Kamehameha Celebration Floral Parade & Ho‘olaule‘a

Saturday, June 10, 9 a.m. to 5 p.m.

In its 106th year, this parade will include floral floats, local and national marching bands, pā‘ū riders on horseback and a motorcycle unit. The route begins at King Street in front of ‘Iolani Palace and ends at Monsarrat Avenue and Kapi‘olani Park. Afterwards, enjoy a vibrant celebration at the park with food, music, hula, cultural activities, games, education, demonstrations and workshops.

 

Free, Family-Friendly Event, parade route spans ʻIolani Palace to Kapi‘olani Park, kamehamehaday.hawaii.gov, @hawaii_sfca

 


SEE ALSO: 5 Ways to Celebrate King Kamehameha Day This Year


 

World Ocean Day

Thursday, June 8, 9 a.m. to 2 p.m.

The Waikīkī Aquarium is offering entertainment throughout World Ocean Month. On Thursday, June 8, celebrate World Ocean Day from 9 a.m. to 2 p.m. with activities for the whole ‘ohana, like crafts, educational programs and watching staff feed sharks, reef fish and seahorses. The next day on Friday, June 9, from 10 a.m. to noon, join the aquarium for a beach cleanup at Ala Moana Beach Park. OZONE Day takes place on Saturday, June 10, from 9 a.m. to 1 p.m. at the Outrigger Hotel with education, fun and games.

 

Family-Friendly Event, Waikīkī Aquarium, 2777 Kalākaua Ave., waikikiaquarium.org, @waikikiaquarium

 


 

Steel Guitar Festival

Photo: Courtesy of Don Rostow

 

2023 Hawaiian Steel Guitar Festival

Saturday, June 10, 11 a.m. to 4 p.m.

Listen to steel guitar masters from O‘ahu singing and playing your favorite Hawaiian music. The festival will be live-streamed on the Hawaiian Steel Guitar Showcase’s Facebook and YouTube.

 

Free, Family-Friendly Event, Windward Mall, 46-056 Kamehameha Hwy., hawaiiansteelguitarfestival.com, @hawaiiansteelguitarassociation

 


 

Donnell Rawlings

Saturday, June 10, 9 p.m.

Donnell Rawlings first gained fame during his hilarious sketches as Ashy Larry on Chappelle’s Show, and his career soon grew as a comedian, actor and podcaster. In 2021, he was honored by The African-American Humor Awards in 2021 with the Redd Foxx Award and is currently filming his new special for Netflix this spring produced by Dave Chappelle.

 

$35 to $45, Blue Note Hawai‘i, 2335 Kalākaua Ave., bluenotejazz.com, @bluenotehawaii

 


 

Waimea Valley Waterfall Photo Laura Dornbush

Photo: Laura Dornbush

 

Kamehameha Day at Waimea Valley

Saturday, June 10, 9 a.m. to 5 p.m.

In celebration of Kamehameha Day, all kama‘āina will receive free admission to Waimea Valley with proof of residency. Explore the valley, interact with cultural artisans, enjoy refreshments and snacks by Ke Nui Kitchen and swim in the falls.

 

Family-Friendly Event, Free, Waimea Valley, 59-864 Kamehameha Hwy, waimeavalley.net, @waimeavalleyoahu

 


 

Father’s Day Keiki Workshop

Saturday, June 10, 10 a.m. to 11:30 a.m.

Have your keiki make dad a special magnet in this keiki workshop to show appreciation for all that he does. The magnet can be decorated with googly eyes, stickers and markers. City Mill team members will provide instructions and materials. There are 30-minute sessions beginning from 10 a.m.

 

Family-Friendly Event, Free, City Mill, various locations, tickets available here

 


SEE ALSO: June Events for Kids on O‘ahu


 

2023 Young Artists Of Hawaii

Photo: Courtesy of State Foundation on Culture and the Arts

 

2023 Young Artists of Hawai‘i

Through Saturday, June 17, 10 a.m. to 4 p.m.

View an annual student art competition and exhibition presented by the State Foundation on Culture and the Arts and the Hawai‘i Tourism Authority. This program recognizes creative excellence among Hawai‘i’s public and private school students kindergarten through sixth grade. The Hawai‘i State Art Museum is open Monday through Saturday, 10 a.m. to 4 p.m.

 

Free, Family-Friendly Event, Hawai‘i State Art Museum, 250 South Hotel Street., hisam.hawaii.gov, @hawaiistateartmuseum

 


 

Still from Gush

Still from Gush. Photo: Courtesy of Honolulu Museum of Art

 

2023 Sundance Institute Indigenous Film Tour

Saturday, June 3, to Sunday, June 11, 10 a.m. to 4 p.m.

The Honolulu Museum partners with the Sundance Institute’s Indigenous Program to present a film tour, a 73-minute theatrical program featuring a short film followed by a feature-length film. This curated selection is a celebration of Native life and an exciting look at the breadth of inventive storytelling from Indigenous artists supported by Sundance Institute. Also, on Saturday, June 10, at 7 p.m., stick around after the screening to talk story with programmer Sarah Fang and video artist Anuhea Nihipali about the themes of both films.

 

Honolulu Museum of Art, 900 South Beretania St., honolulumuseum.org, @honolulumuseum

 


 

Whale Film Festival

Photo: Courtesy of Pacific Whale Foundation

 

7th Annual Whale Film Festival

Thursday, June 8, to Monday, July 31

This annual festival features films by storytellers from around the world to raise awareness about the ocean, marine wildlife conservation and environmental stewardship. The festival kicks off on World Ocean Day with an in-person event on Maui, and the films will be available online throughout July.

 

Pacific Whale Foundation, pacificwhale.org, @pacificwhalefoundation

 


 

JCCH Craft & Collectibles Fair

Saturday, June 10, 9 a.m. to 1 p.m.

Shop for gifts and treats at this family-friendly outdoor event with local Japanese and Japanese-related vendors. Take advantage of the 20% off kimono sale at the gift shop as well.

 

Free, Family-Friendly Event, Japanese Cultural Center of Hawai‘i, 2454 South Beretania Street, jcchawaii.org, @jcchawaii

 

PushPush Arts brings affordable housing, artist workspaces to ION College Park

PushPush Arts brings affordable housing, artist workspaces to ION College Park
A rendering of the new ION College Park project by PushPush Arts. Provided.

PushPush Arts, an innovative arts incubator that has been promoting and supporting the arts in Atlanta for 25 years, is nearing completion of an exciting new development in downtown College Park.

ION College Park is an adaptive reuse arts campus offering support and structure to artists in the form of affordable housing, art studios, galleries, stages, and community art spaces.

PushPush Arts was founded in 1997 by artists Tim Habeger and Shelby Hofer. Originally named PushPush Theater, the husband and wife pair has fostered and supported thousands of artists, projects, and films over the years. 

Plans for ION College Park include residences, studios, galleries, and performance venues. Provided.

PushPush Arts was first housed in the FloatAway Building in Morningside before expanding into a larger location in Decatur. Today, they are preparing to launch their biggest venture yet: a nearly 23,000-square-foot property in College Park. 

​Throughout PushPush Arts’ long history, there have been plenty of defining moments. In a 2010 survey, 80% of their artists were able to bike or walk to the facility. When they asked again in 2019 that number had dropped to 10%. This set off alarm bells for Habeger and Hofer.

“All of our artists were moving out because of the affordability problem,” said Habeger. As a result, the artists had diminished access to their facility and programming.

For the team at PushPush Arts, access is paramount. It’s central to everything they do and what they stand for. After realizing that they were not able to serve their artists as well in their location, they started looking for a better space that would be more central to their artistic base. 

Cherie Ong from Good Places, one of PushPush Art’s community partners, suggested that they consider creating an adaptive reuse art space on the grounds of the 125-year-old College Park First United Methodist Church. The property was too large for the church’s current needs and instead of selling, they opted to partner with PushPush Arts in the imagining of a new comprehensive arts campus on the site. 

Comprised of four buildings on a campus that is accessible to MARTA, ION College Park is also conveniently located just minutes from the airport. The property is within walking distance of downtown College Park as well as the upcoming mixed-use 6 West development. 

“We created this plan to build a welcoming center for the arts in College Park,” said Habeger. “That’s where a lot of our artists were coming from anyway, and the southwest corner of Atlanta was woefully underserved for the fine arts. So that’s where we started four years ago.” 

Residents renting or owning property in the arts complex will have free and low-cost access to workshops, events, performances, live music, art exhibits, and comedy shows, just to name a few. Both residents and those who live in the surrounding neighborhoods will be able to come together to develop a lasting sense of community centered around art. 

“A resident on our campus is not only a participant in creating this cultural scene but they are also homeowners, or living and working affordably, in a way that doesn’t push people out but instead invites people in,” explained Kaleigh Malloy, Development and Marketing Manager for PushPush Arts. 

As renovation and construction efforts near their completion, the team at PushPush Arts will begin moving to the property at 1805 Harvard Ave. in late summer or early fall. The opening of the cafe, art gallery, performance space, and six artist studios will soon follow. Meanwhile, the affordable housing building which will supply 60 one- and two-bedroom apartments, gallery space, a workroom, and a community center is set to have a soft opening sometime before the holiday season. 

“Ultimately our mission has always been to amplify artists through their work with inclusion and programmatic operations,” explained Malloy. “Our vision has been to create a hub for artists where they can sustain themselves creatively and financially. This project is the actualization of that.”

Despite the fact that College Park is home to a significant artist population, there has never been an arts center in the city limits. “We have seen an outpouring of support from the community and Mayor Motley Broom,” said Malloy. “It’s an extraordinary group effort.” 

Habeger explained that as they developed the program they considered models of organizational structure from other industries such as the software industry. They were interested in encouraging, fostering, and then retaining talent.

“We don’t want to keep losing artists to cities where they can sustain themselves better,” said Malloy. “We want to invest in IP and in content by artists here in Atlanta. We want to keep them here, produce their work here, and allow artists to have upward mobility through opportunities for homeownership and opportunities to create. Not just to survive but to thrive.“

When using terms like open-sourced, Habeger clarified that the concept essentially allows access for the public to get involved at every level. From a project’s genesis to its completion, PushPush Arts invites creatives and innovators to participate as volunteers, interns, apprentices, collaborators, professional partners, or sponsors. “There is always an access point,” said Habeger. 

PushPush Arts makes big things happen by working with key players from their extensive network of community partners both locally and abroad. Some notable collaborators for ION College Park include Good Places, an organization that focuses on neighborhood revitalization in community-centered real estate development.

Tapestry Development, a qualified low-income housing tax credit developer, is dedicated to the preservation of low-income housing in Georgia, Alabama, and South Carolina. The KNDGM Group is a majority Black-Owned developer focused on breaking cycles of poverty in the face of gentrification. The design and development firm eightvillage focuses on place-based ecologies that are sustainable and empathetic in nature. The College Park First United Methodist Church is the first-ever church in College Park, and they will remain a key partner in the ION College Park project.

“We believe that there are things we can do to create great content here,” he continued. “The South has got something to say. Atlanta can sit at the table with any city in the world to talk about race, equity, a troubled past… everything that any major city deals with. Atlanta really has a lot to offer, and for the arts, we believe we can accelerate that and help to give them a first-class cultural city to live and work in.”

If you’d like to get involved with ION College Park, follow along with progress on the PushPush Arts website. Studio spaces will soon be available to rent, interested parties can email info@pushpusharts.com for more details. 

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Universal Says On-Demand Film Strategy Has Increased Audience

Universal Says On-Demand Film Strategy Has Increased Audience
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The studio let viewers rent or buy movies earlier for a higher price. This made more than $1 billion in less than three years, with nearly no decrease in box-office sales.

In 2020, at the height of the pandemic, Universal Pictures and its art-house sibling, Focus Features, set off alarm bells in Hollywood by ending the long-held practice of giving theaters an exclusive window of about 90 days to play new movies. Instead, their movies, which have since included, “Jurassic World: Dominion,” “Belfast,” “Cocaine Bear” and “M3gan,” would become available for digital rental or purchase — at a higher price — after as little as 17 days.

For a change-phobic industry that still views the 1981 introduction of armrest cup holders as a major innovation, the introduction of the service, known as premium video on demand, prompted extensive hand-wringing. Filmmakers and theater owners worried that ticket buyers would be more reluctant to leave their sofas if they could see the same films on their TV sets or iPads just a couple weeks later.

Universal’s competitors mostly stuck with the status quo.

But the willingness by Universal to experiment — to challenge the “this is how we’ve always done it” thinking — seems to have paid off. Universal has generated more than $1 billion in premium V.O.D. revenue in less than three years, while showing little-to-no decrease in ticket sales. In some cases, box-office sales even increased when films became available in homes, which Universal has decided is a side effect of premium V.O.D. advertising and word of mouth.

Universal, for instance, made “Minions: The Rise of Gru” available for premium V.O.D. after 33 days in theaters in 2022. The movie stayed in theaters after that, selling more tickets than “Minions,” released in 2015, did after 33 days, according to data from Comscore, an analytics company. Data for Universal’s “Jurassic World” and “Fast and Furious” franchises shows a similar effect.

An interesting wrinkle: Donna Langley, the chairwoman of the Universal Filmed Entertainment Group, which includes Focus Features, said the company had seen only a small decrease in revenue from traditional V.O.D. That service lets viewers rent or purchase movies at a lower price after 90 days in theaters. She said that the premium offering was “an additive, important new revenue source that didn’t exist three years ago.”

In other words, Universal thinks that, to some degree, it has found an entirely new customer.

“It has had a hugely positive impact on our business,” Ms. Langley said, adding that without it, Universal would have likely had to make fewer movies. Universal and Focus will release 26 movies in theaters this year, more than any other Hollywood studio.

Donna Langley, the chairwoman of the Universal Filmed Entertainment Group, calls premium on-demand “an additive, important new revenue source.”Valerie Macon/Agence France-Presse — Getty Images

Universal charges as much as $25 to rent a film for a 48 hours and $30 to buy it during its premium V.O.D. sales period. Those prices can drop to $6 and $20 in the later, traditional sales window.

About 80 percent of premium V.O.D. revenue goes to Universal, with sales platforms like iTunes and Google Play keeping most of the rest. (A small cut goes to theater chains like AMC Entertainment — grease to get them to agree to reduced exclusivity). Ticket sales are typically split 50-50 with theaters.

Premium V.O.D. revenue is small compared to box-office sales. But it’s certainly not nothing.

The Super Mario Bros. Movie” has generated more than $75 million in premium V.O.D. revenue since May 16, Universal said. “Jurassic World: Dominion,” “The Croods: A New Age” and “Sing 2” each collected more than $50 million. Universal said that 14 films, including “News of the World,” a period drama starring Tom Hanks, and “M3gan,” each had more than $25 million.

Films from Focus, including “Belfast” and “Mrs. Harris Goes to Paris,” have generated roughly $5 million each. For some art films, a theatrical release has become valuable mostly as “a marketing tool” for premium V.O.D. rentals and purchases, according to Julia Alexander, the director of strategy at Parrot Analytics, a research firm.

Much like DVD sales in the 1990s and 2000s, premium V.O.D. has started to provide a type of financial safety net on box-office misses. “The Focus titles, in particular,” said Peter Levinsohn, the Universal Filmed Entertainment Group’s chief distribution officer. “Those smaller films aimed at older moviegoers have become, I wouldn’t say reliant on it, but they have benefited hugely.”

It’s also about flexibility, Mr. Levinsohn said. The studio often decides that 17 days (three weekends) of theatrical exclusivity is enough. Sometimes, based on ticket sales, it allows for longer. “The Super Mario Bros. Movie” played exclusively in theaters for 41 days.

“We have also taken back control of the decision of when to make our content available in the home, based on the most optimal timing for an individual film,” Mr. Levinsohn said. NBCUniversal said in January that revenue from its studios (both film and TV) increased 23 percent in 2022, to $11.6 billion, compared to a year earlier.

Every studio has been trying to find creative ways to maximize movie profits in a fast-changing business. Part of Universal’s challenge is guessing what kind of impact premium V.O.D. might have on streaming: If movies are sold or rented more widely before they arrive on a streaming service (in Universal’s case, on Peacock and Netflix), does that make the movies less valuable tools for encouraging people to sign up for streaming services?

“The impact on streaming is not quite as big as people might have expected, but it’s still notable,” Ms. Alexander said.