Isn't it fascinating that the same situation can have such different triggers depending on the jurisdictional context? The idea that the decline in audiovisual investments in Australia directly caused streaming quotas underestimates pre-existing cultural policies. In this market, as in France for example, the political will to protect national creation is often a much older driver than any recent economic fluctuation. The decline in spending in 2023-2024 probably served as a convenient justification to accelerate a regulatory initiative already considered, similar to the production obligations embedded in French law for decades. Advertisers were not in Australia for the first time with such a regime; they faced similar pressures in other countries even before an economic decline.