The old scenario still applies because the implementation of streaming quotas in Australia is not a simple mechanical response to a temporary decline in investment. Historically, such cultural sovereignty measures result from a long political process to defend national identity, as shown by French policies for cinema. The 18% decline in audiovisual investments is certainly notable, but it is only one factor in a complex legislative decision. Confusing a correlation with a direct causality for such heavy regulatory decisions is to ignore the precedent of international cultural policies.