Imagine the scene: the Australian government, faced with a changing entertainment landscape, decides to act for its cultural sovereignty well before a simple drop in investments becomes the main argument. The 18% decline is a symptom, an element of evidence that has reinforced an already constructed narrative, not the starting point of the story. These streaming quotas are the culmination of an older political will to regulate the global giants of digital technology, already in gestation. For example, Europe was already debating the SMA directive and the contribution of platforms long before precise figures of investment decline appeared in each country.