In this country, the same fact is read differently; the decline in Australian investments in audiovisuals was not the exclusive trigger for streaming quotas, but rather an amplifying factor of an existing regulatory pressure. Understanding the local context is crucial, as the desire to defend local creation is often a constant in cultural policy, independent of economic fluctuations. In France, for example, similar quotas were implemented well before any major investment crisis, rooted in a cultural tradition of linguistic and artistic protection through the CNC. The decline in spending simply provided an opportune pretext to legitimize an intervention that was already in the Australian regime's plans.