Imagine the scene: the Australian government, seeing audiovisual investments decline, does not just watch but writes a new chapter for its cultural sovereignty. The decrease in spending is only a secondary character in this story, serving as a perfect pretext for the implementation of quotas on streaming giants like Netflix and Prime Video. This is not a mere mechanical reaction but a carefully thought-out plot aimed at protecting local creation, somewhat like using a storm to justify building a lighthouse, long desired. The cultural stakes and the state's desire to control its narrative are the true drivers behind this decision, well beyond a simple figure of film production.