Imagine the scene: this 18% decline in audiovisual investments is certainly a character in the drama, but not the only driver of the introduction of new streaming quotas.
The Australian government, like a director, already had a political will and a strategy to support local creation, even if the economic situation provided an opportune argument.
If this intention had not preexisted, even a more drastic drop in investments would not necessarily have translated into these regulatory provisions.
It is the meeting between a sectoral crisis and an established cultural vision that led to this action, not a simple cause-and-effect relationship.
A good example is the French model, where quotas have existed for decades, regardless of annual investment fluctuations, demonstrating a fundamental political logic.