Bill C-11

Online Streaming Act

An Act to amend the Broadcasting Act and to make related and consequential amendments to other Acts

This enactment amends the Broadcasting Act to, among other things,
(a) add online undertakings — undertakings for the transmission or retransmission of programs over the Internet — as a distinct class of broadcasting undertakings;
(b) specify that the Act does not apply in respect of programs uploaded to an online undertaking that provides a social media service by a user of the service, unless the programs are prescribed by regulation;
(c) update the broadcasting policy for Canada set out in section 3 of the Act by, among other things, providing that the Canadian broadcasting system should
(i) serve the needs and interests of all Canadians, including Canadians from Black or other racialized communities and Canadians of diverse ethnocultural backgrounds, socio-economic statuses, abilities and disabilities, sexual orientations, gender identities and expressions, and ages, and
(ii) provide opportunities to Indigenous persons, programming that reflects Indigenous cultures and that is in Indigenous languages, and programming that is accessible without barriers to persons with disabilities;
(d) enhance the vitality of official language minority communities in Canada and foster the full recognition and use of both English and French in Canadian society, including by supporting the production and broadcasting of original programs in both languages;
(e) specify that the Canadian Radio-television and Telecommunications Commission (the “Commission”) must regulate and supervise the Canadian broadcasting system in a manner that
(i) takes into account the different characteristics of English, French and Indigenous language broadcasting and the different conditions under which broadcasting undertakings that provide English, French or Indigenous language programming operate,
(ii) takes into account, among other things, the nature and diversity of the services provided by broadcasting undertakings,
(iii) ensures that any broadcasting undertaking that cannot make maximum or predominant use of Canadian creative and other human resources in the creation, production and presentation of programming contributes to those Canadian resources in an equitable manner,
(iv) promotes innovation and is readily adaptable toscientific and technological change,
(v) facilitates the provision to Canadians of Canadian programs in both official languages, including those created and produced by official language minority communities in Canada, as well as Canadian programs in Indigenous languages,
(vi) facilitates the provision of programs that are accessible without barriers to persons with disabilities,
(vii) facilitates the provision to Canadians of programs created and produced by members of Black or other racialized communities,
(viii) protects the privacy of individuals who aremembers of the audience of programs broadcast, and
(ix) takes into account the variety of broadcasting undertakings to which the Act applies and avoids imposing obligations on any class of broadcasting undertakings if that imposition will not contribute in a material manner to the implementation of the broadcasting policy;
(f) amend the procedure relating to the issuance by the Governor in Council of policy directions to the Commission;
(g) replace the Commission’s power to impose conditions on a licence with a power to make orders imposing conditions on the carrying on of broadcasting undertakings;
(h) provide the Commission with the power to require that persons carrying on broadcasting undertakings make expenditures to support the Canadian broadcasting system;
(i) authorize the Commission to provide information to the Minister responsible for that Act, the Chief Statistician of Canada and the Commissioner of Competition, and set out in that Act a process by which a person who submits certain types of information to the Commission may designate the information as confidential;
(j) amend the procedure by which the Governor in Council may, under section 28 of that Act, set aside a decision of the Commission to issue, amend or renew a licence or refer such a decision back to the Commission for reconsideration and hearing;
(k) specify that a person shall not carry on a broadcasting undertaking, other than an online undertaking, unless they do so in accordance with a licence or they are exempt from the requirement to hold a licence;
(l) harmonize the punishments for offences under Part II of that Act and clarify that a due diligence defence applies to the existing offences set out in that Act; and
(m) allow for the imposition of administrative monetary penalties for violations of certain provisions of that Act or of the Accessible Canada Act .
The enactment also makes related and consequential amendments to other Acts.

[Tim Louis, Liberal, Kitchener—Conestoga, ON]

Thank you, Madam Chair.

Thank you to all of our witnesses, both here and online.

I will begin by talking to Ms. McGuffin from Music Publishers Canada. We've heard, as recently as today, from witnesses that CanCon definitions are outdated, and they do need to be reviewed.

Can you talk about how our online streaming act, Bill C-11, is already starting to redefine CanCon, and what the new criteria of that bill must be to consider this redefinition? What criteria would be important to our culture, our cultural sovereignty and our creators?

[Margaret McGuffin, Chief Executive Officer, Music Publishers Canada]

Good afternoon, Madam Chair and members of the committee.

It is my pleasure to appear this afternoon to discuss the importance of the online streaming act.

My name is Margaret McGuffin. I am CEO of Music Publishers Canada, which is a membership-based organization largely made up of Canadian small and medium-sized enterprises representing all regions of the country, as well as large international companies with offices in Canada.

Music publishers invest in thousands of Canadian songwriters and make significant investments into the songs and scores that are heard every day on the radio, on television, on streaming services, in video games, in film and television productions and on new emerging platforms around the world. Seventy-nine per cent of the revenues of my members flow to Canada from foreign sources. We know the importance of the global market.

Bill C-11 is a long-awaited and much-needed update to the Broadcasting Act. We welcome the legislation's goal of bringing online broadcasting under the act, particularly for ensuring that streaming services help Canadians find Canadian songs and stories on platforms operating in Canada.

As technology has evolved, so has the way Canadians consume content. Our members and the songwriters they work with have embraced these changes and are actively engaged on these new platforms, both in licensing the content and in creating new digital content. Music publishers and songwriters are digital creators.

However, digital streaming services have been in Canada for almost a decade without fully supporting Canadian music. These platforms are keen to capitalize on Canadian talent without fully supporting the environment that helps the industry grow. It is critical that this uneven playing field changes now.

Over the last few years, we have challenged the digital platforms to work with us to find ways to harness their technology to help Canadians promote Canadian songs and stories and we will continue to do so. Most of the time these days, though, I hear about what the tech platforms can't do, not what they can do.

Clearly, the CRTC needs the ability to regulate when necessary to further Canada's broadcasting policy. Bill C-11 does just that. It provides an important balance by giving the commission the tools it needs to regulate when market forces fail. Modernizing the Broadcasting Act will ensure that, as technology evolves and online platforms continue to grow, Canadian creative industries, including music publishers, songwriters and composers, will also continue to thrive.

Without this modernization of the Broadcasting Act, Canada will see parts of our creative industry suffer. We risk an entire generation of new young storytellers and emerging businesses losing opportunities to develop, grow and benefit from their talents. Their songs may never be discovered or promoted in their own country.

As you've heard earlier in these meetings, this is especially dangerous for songwriters, composers and music publishers whose work represents and gives voice to our indigenous and French-language cultures. The online streaming act will undoubtedly support Canadian creators and the businesses that invest in them by creating jobs and ensuring that our stories can be found and heard in English, French and indigenous languages.

Let me close by saying that, contrary to what you've heard earlier, the proposed amendments will not disadvantage digital creators from exploring new opportunities on new digital platforms or limit freedom of expression, nor will Bill C-11 break the Internet or ruin the user experience. Those working in the creative industry ecosystem are some of the biggest proponents of freedom of thought, belief, opinion and expression. Bill C-11 addresses a distribution issue. It does not create a freedom of expression issue.

Why are we seeing these scare tactics from globally dominated tech companies? The bottom line is that they have made a healthy fortune by benefiting from the Canadian system and not contributing to it. It is time for that to end.

I would encourage you all to think critically about the arguments made by the tech companies that extract revenue without the corresponding investment. It is our opinion that Bill C-11 will be a much-needed modernization of the Broadcasting Act to address the very real inequalities that have resulted from an increasingly digitized world.

Thank you. I am happy to answer any questions.

[Dave Forget, National Executive Director, Directors Guild of Canada]

Thank you, Warren.

Bill C-11, as currently drafted, establishes two standards for the requirement to use Canadian talent with different rules for Canadian and foreign online broadcasters. Specifically, proposed paragraph 3(1)(f) maintains the historic requirement that a “broadcasting undertaking shall employ and make maximum use, and in no case less than predominant use, of Canadian creative and other human resources” but only for Canadian broadcasters, while proposed paragraph 3(1)(f.1) creates a significantly weaker obligation to “make the greatest practicable use of Canadian creative and other human resources” for foreign online undertakings.

This objective can be achieved by using a common definition of “Canadian program” and applying similar requirements for both domestic and foreign online broadcasters. Proposed paragraph 3(1)(f) remains the lifeblood of the broadcasting policy. While we understand that the current definition of a Canadian program may need to be revised, we think it is imperative not to lower the standard for requirements to use Canadian talent and creative resources. Without making this amendment a priority, we are concerned that the positive impact of the new act on the domestic production sector would be limited.

The opportunities to tell Canadian stories would continue to decrease by the alarming rate of on average 10% per year to the point where both the English- and French-language markets would be unable to compete globally.

Members of the committee, we thank you for your time and will be pleased to respond to any of your questions.

[Warren Sonoda, President, Directors Guild of Canada]

Thank you, Madam Chair, vice-chairs and members of the committee.

My name is Warren Sonoda. I'm the national president of the Directors Guild of Canada. With me today is Dave Forget, the DGC's national executive director. We appreciate the committee's invitation to present DGC's comments on Bill C-11, the online streaming act.

The DGC is a national labour organization representing key creative and logistical professionals in the film, television and digital media industries. Today we have over 6,000 members covering all areas of direction, design, production, logistics and editing. Bill C-11 represents the realization of a very historic opportunity to modernize Canada's broadcasting system, ultimately serving the interests of all Canadians by supporting the creative community and Canadian audiences alike.

Growing from 132,000 jobs in 2011 to 216,000 jobs in 2021, Canada's film, television and digital media sector is thriving, but it is primarily driven by the foreign service production side of our industry. As audiences and revenues migrate to online broadcasting platforms, funding contributions to Canadian programming have steadily diminished. The new act will level the playing field for all broadcasters, whether the program delivery is mostly to Canadian homes via online, cable or over the air.

Historically, Canadian broadcasting public policy shared both economic and cultural goals, building a robust domestic production industry while ensuring the future of our artists and creators. This is the fine equilibrium that Bill C-11 proposes to restore.

The economic growth of an industry can be defined by various metrics, but too often the intangible, long-term impact of cultural policy is not fully valued. It contributes to the development of a national identity, shared consciousness and successful careers. More precisely, we know that there is no better tool than scripted content and documentary filmmaking to illustrate what cultural policy does.

Shows like Schitt's Creek and Transplant, films like Scarborough and Beans and documentaries like Our People Will Be Healed and Anthropocene share the uniquely personal point of view of their Canadian creators.

The decision to safeguard the future and livelihood of Canadian creatives and storytellers rests in your hands, committee. Getting this right ensures diverse, original, high-quality Canadian programming for Canadian and international audiences for decades to come. In the absence of a rapid intervention to create an environment where Canadian artists and creators can flourish, the current ecosystem will remain unsustainable, leading over time to fewer opportunities and eventually the loss of our culture and identity.

The DGC is aligned with Canadian broadcasters as well as the production and creative communities to urge the adoption of this legislation without delay, with one caveat. Please amend the bill to strengthen requirements for the use of Canadian talent.

Going back to first principles, Canadian content is not just about who commissions it, who owns it or on what platform the program is exhibited. It's about who makes it. We mean, of course, the director, writers, performers, artists, technicians and professionals who create the programming, the entire creative team and the many colleagues I work with every day who contribute to the creative process.

It's over to you, Dave.

[Scott Benzie, Executive Director, Digital First Canada]

Thank you, Chair.

Thank you to the committee for having me back. My name is Scott Benzie. I'm the executive director of Digital First Canada, an organization that advocates on behalf of creators in Canada that choose free user-generated content platforms as their main distribution method.

I'd like to spend a minute to directly address the structure of Digital First Canada. Digital First Canada is a new organization that has been bootstrapped from the team at Buffer Festival. Yes, we have received some funding from our industry partners, including platforms and private industry involved in the success of digital creators. No, we do not have a formal membership structure where we receive fees from creators, nor do we receive any funding from the government, unlike some of our colleagues who will appear and who have appeared before you.

Now to the task at hand, which is Bill C-11. It is a shame that we and a handful of people like us had to spend the last year or so arguing a now true and confirmed fact—namely, that user-generated content is in this bill. In fact, over the last year, I was publicly attacked and accused of being a purveyor of misinformation from officials for stating it. Even today, about two hours ago, the minister stated that people who say it's in are conspiracy theorists. UGC is in this bill. Saying otherwise is misleading or you are being misled.

Now that it is on the table and in the open, let's have some constructive observations. I've had many conversations with our peers in legacy media about our support for the bulk of the bill that includes curated platforms in the broadcast act. In addition, we have been having the fight about UGC platforms contributing more to Canadian creators for far longer than most of you have been on this file.

With that being said, let's get a little technical. The exemption to the exclusion in proposed section 4.2 is not a sandbox; it is the Sahara Desert. As crafted, it includes almost the entire Internet. I welcome being challenged on that, but it is a fact. Mr. Scott confirmed that while creators themselves are not written into the bill, their content can be treated as “programs”. With that clause, all audiovisual content online is in the bill. With UGC platforms, you cannot separate the platform from the content or that content from its creator. If the mandate of the regulator is only restricted by a policy directive, it is your duty to see this power wrestled away because we might not like the next government so much.

Now, I don't believe the UGC platform should be exempt from all regulations. I believe they should have to contribute to the cultural sector. I believe they should be contributing to the creators that use those platforms primarily. If we just roll the cash into the system, we will literally be subsidizing lobby groups on the backs of independent digital creators. We will not be addressing the needs and supports that digital creators could use to grow faster. We believe in a higher level of transparency in the industry across the board. There are a lot of questions about where the money that the platforms already contribute is going today.

What's the problem? It's discovery. The minister has repeatedly assured digital creators that their videos would be exempt from the bill. The discovery clause does not reflect that promise. While there is no call for the CRTC to impose specific algorithms, there is a very problematic word, that being “outcomes”. Most platforms are binary, and the promotion of one piece of content results in the demotion of others.

You might ask, “Who cares? If it's Canadian, everybody should be happy.” That's just it. Digital creators do not qualify as Canadian, and even if they did, the process to have every piece of content certified is not just problematic; it's impossible. The bill has the intent of promoting Canadian content to creators. While that's admirable, most Canadian creators do not care solely about the Canadian market. The platforms are built for global discovery and niche content globally, and are participatory, not passive. Forcing something unnatural on them, such as local discovery, is a recipe for failure and jeopardizes successes like the indigenous creator renaissance on TikTok, Canadian musicians seeing global recognition and the world-class gaming industry.

There seems to be an impression that regulating the Internet and forcing certain content into the algorithm is a panacea for all that ails. Spoiler alert—it's not. Success online is hard work. It takes consistency, technical knowledge and knowing how to engage and grow your community. It is hustle, not handouts.

Imagine with me, if you will, legislation that actually helps not just digital creators but those groups we have heard from that are struggling on the platforms—a convergence of Canadian talent as opposed to ripping one out in favour of another. This bill favours a failed legislative solution instead of education, co-operation and acceleration. Imagine legislation where resources are put in place to join the Canadian cultural sectors and amplify our strengths.

We are not asking for anything in this bill except for the protection that the minister has promised. Please fix this bill so that we do not need to have the same conversations in the Senate, or even in the courts, for years to come.

Finally, the world is watching our activities here. No country has ever taken the step to regulate content this way. I would conclude with a very real warning. Canada cannot take this action and expect fair and equal treatment abroad. If the U.S., France or other jurisdictions take the same approach, you will effectively kill a group of creators that have global success and global contracts with brands, and that spread Canadian voices and values to a world that I believe benefits from them.

Thank you.

[Catherine Edwards, Executive Director, Canadian Association of Community Television Users and Stations]

Thank you for inviting us.

As the director of the Canadian Association of Community TV Users and Stations, and with my colleague from the Fédération des télévisions communautaires autonomes du Québec, our comments chiefly concern community TV, but we have consulted closely with our community radio colleagues. Our requested amendments to Bill C‐11 are in sync.

As described in our brief, the key challenges for the “community element” are the lack of a clear definition on the one hand and a description of its role on the other. The definition of the public and private elements are self-evident: Theyʹre based on ownership. In CRTC policy, community radio is defined as not-for-profit and community owned.

The number of community radio stations has stayed steady at about 200 licensed stations and an estimated 60 indigenous ones, but community TV was traditionally managed by the private sector and has suffered as the cable industry underwent massive ownership consolidation and technical interconnection of formerly separate cable systems over the last few decades. While there were once more than 200 distinct cable community channels, there are now no more than 10% of that number. The vast majority in smaller communities have been shuttered. Those that remain in more populous parts of the country have become regional specialty channels, such as the single, province-wide Rogers TV in New Brunswick.

Amélie.

[Eleanor Noble, National President, Alliance of Canadian Cinema, Television and Radio Artists]

Thank you, Madam Chair, Mr. Vice-Chairs, committee members and staff.

I'm Eleanor Noble. I'm a Canadian performer and national president of ACTRA, the Alliance of Canadian Cinema, Television and Radio Artists. Joining me today is Lisa Blanchette, ACTRA national's director of public affairs and communications.

On behalf of ACTRA's 28,000 members working in English-language screen productions across Canada, I am pleased to appear today to share the artist's perspective as part of the committee's study of Bill C-11, the online streaming act.

We've been closely following the progress of this bill and, like other industry stakeholders, we also want to ensure a strong and vibrant industry for Canadian content for years to come. That is why we were pleased to see that the proposed legislation will require online undertakings, including foreign services, to contribute to the production and discoverability of Canadian programs.

While we welcome the majority of the changes in Bill C-11 to amend the Broadcasting Act, we wish to voice our concern about some of the bill's amendments that would have a significant and detrimental impact on our industry, jobs and our culture. As a working Canadian performer, I can tell you that Canadian content production is at risk.

Before any changes are made to the current Broadcasting Act, we should acknowledge that the existing act has both served us well and has been remarkably technology neutral. Therefore, we believe that any changes being contemplated to the act should only be made if they will help better support and uphold the fundamental purpose of the Canadian broadcasting system, which is to ensure that Canadians have access to original Canadian programming and music, as well as entertainment, information and news programs.

With that said, we must take the opportunity today to sound the alarm about a proposal in the bill that could significantly reduce the requirement to use Canadian creative resources and other resources. It would put Canadian stories and creators at great risk.

While production activity in Canada is booming, even in the face of varying public health restrictions over the past two years, there is growing concern, because opportunities to tell Canadian stories are decreasing and Canadian content production in both English and French is lagging further behind. We're seeing a downward trend in the production of Canadian content, owned by Canadians and made by Canadian writers, producers, directors and performers.

“Profile 2021”, released this past April by the Canadian Media Producers Association, captures the economic activity in the screen-based media sector between April 2020 and March 2021. The report highlights that Canadian content production declined by 12% in that period, while foreign service production saw a marginal increase of 1% over the same time period.

We welcome foreign production investment over the long term, but we're concerned that there will be fewer and fewer opportunities to tell Canadian stories. If we don't create an environment in which Canadian stories, storytellers and creators can continue to thrive, our culture and identity may be lost. We must maximize the use of Canadian talent.

To address the emergence of global online streaming services now providing programming to Canadians, Bill C-11 creates two classes of broadcaster: Canadian broadcasting undertakings, including domestic online undertakings; and foreign online undertakings. This approach becomes problematic when a lesser standard is introduced for foreign services. Specifically, proposed paragraph 3(1)(f.1), which we speak about a lot, establishes a lesser standard for foreign services, instead of adopting the stronger language found in proposed paragraph 3(1)(f), which governs Canadian broadcasting undertakings.

Creating this two-tier approach would significantly reduce the requirement for foreign online undertakings to use Canadian creative talent and would devastate our screen-based media production sector. This is an industry that contributes more than $11 billion to our country's GDP and generates over 216,000 jobs for hard-working Canadians. For me and for my fellow ACTRA members, who are already precarious workers, this could lead to a loss of work opportunities for Canadian performers.

The purpose of the online streaming act is to equalize obligations between broadcasting undertakings to “level the playing field”, in the words of Canadian broadcasters. There is no rationale for establishing a lesser commitment for foreign online undertakings operating in Canada, given their financial strength and market clout. The goal must remain to create a level playing field between domestic and foreign undertakings.

ACTRA, along with other industry peers like the Directors Guild here today, agree that Bill C-11 must be amended to remove any reference to a lesser standard for foreign services. We have included a proposal to amend paragraph 3(1)(f).

We also support the Coalition for the Diversity of Cultural Expressions and Racial Equity Media Collective. They've also put in proposals.

[The Chair, Liberal, Hedy Fry]

Good afternoon everyone.

I call this meeting to order.

Welcome, everyone, to meeting number 25 of the House of Commons Standing Committee on Canadian Heritage.

I want to acknowledge that this meeting is taking place on the unceded traditional territory of the Algonquin Anishinabe people.

Pursuant to the order of reference of Thursday, May 12, 2022, the committee is meeting to study Bill C-11, an act to amend the Broadcasting Act and to make related and consequential amendments to other acts.

Pursuant to the House order of November 25, 2021, today's meeting is taking place in a hybrid format. Members are attending in person in the room and remotely using the Zoom application. As per the directive of the Board of Internal Economy on March 10, 2022, all those attending the meeting in person must wear a mask, except for members who are in their place during proceedings. You can speak through a mask and be fully heard. I just wanted you to know that, if you feel you need to wear a mask at all times.

I want to make a few comments for the benefit of the witnesses and members. Please wait until I recognize you by name before speaking. For those participating by video conference, click on the microphone icon to activate your mike, and mute yourself when you're not speaking. I may say that for those on the floor as well, because when the floor isn't muted, I hear my voice like a disembodied thing shouting in the room.

Regarding interpretation for those on Zoom, there is a round globe at the bottom of your screen, and that is your interpretation button. You can go to English, French or whatever you desire. For those in the room, you know you can use your earpiece to get translation. You're not allowed to take photographs of this meeting.

Secondly, the first round would be for witnesses. That's all of you in the little boxes here. You're going to have five minutes to speak. That five minutes could be divided. That's five minutes per organization, so if there are more than one of you for an organization, you can split it any way you like or just designate one person to speak. After that, there will be a question and answer period, and that will be followed according to the formula that we have. Please remember to direct all questions through the chair.

Thank you very much, everyone.

We're going to begin this meeting.

With us today, from the Alliance of Canadian Cinema, Television and Radio Artists, we have Eleanor Noble and Lisa Blanchette. From the Canadian Association of Community Television Users and Stations, we have Catherine Edwards, executive director. From Fédération des télévisions communautaires autonomes du Québec, we have Amélie Hinse. From Digital First Canada, we have Scott Benzie, executive director. From the Directors Guild of Canada, we have Warren Sonoda, president, and Dave Forget, national executive director. Finally, from Music Publishers Canada, we have Margaret McGuffin, chief executive officer.

We will begin for five minutes with the Alliance of Canadian Cinema, Television and Radio Artists, and either Ms. Noble or Ms. Blanchette.

You have five minutes. Let's begin.

Canadian Heritage

[Pablo Rodriguez, Liberal, Minister of Canadian Heritage]

Mr. Speaker, I think that we can all agree that we may disagree on some points, but we can still respect each other. I think that is fundamental in the House.

Bill C-11, once again, is very simple. We are asking those big streamers, those platforms, to contribute to Canadian culture. Why? Because that is important for us. It is important to be able to tell our stories and to keep telling those stories that are fundamental. That is the only thing the bill does.

We hear a lot of theories, conspiracy theories, and this and that, but we want to help our culture. For once, I would have loved for the Conservatives to help us, but I guess they will not.

[Pablo Rodriguez, Liberal, Minister of Canadian Heritage]

Mr. Speaker, I have to admit that the Conservatives are very creative, because they invent a lot of stuff.

Bill C-11 is only about online streamers, those companies, so that they contribute to the Canadian culture. It is very simple. Platforms are in and users are out. That is it.

Could the Conservatives please, for once, support our artists and our cultural sector? That would be really nice.

[John Nater, Conservative, Perth—Wellington, ON]

Mr. Speaker, we can support the cultural sector by taking user-generated content out of this bill and letting Canadian creators thrive here at home and internationally.

The Liberals claim that user-generated content will not be included in Bill C-11, yet the chair of the CRTC contradicted the government and said that it would and that it could regulate user-generated content.

We still have not seen the government's policy directive on Bill C-11. The government could do that right now. It could release the policy directive and confirm and make it clear that user-generated content would be excluded from the bill.

[Pablo Rodriguez, Liberal, Minister of Canadian Heritage]

Mr. Speaker, what we are hearing at the committee is that our cultural sector needs Bill C-11. It is fundamental. This is what we are hearing day after day. Our musicians, producers and creators all need it. This is what we put forward. It has the support of a lot of people across the country.

I would like, for once, the Conservatives to support our industries and for once to support the cultural sector.

[John Nater, Conservative, Perth—Wellington, ON]

Mr. Speaker, last week, Morghan Fortier, creator of Canada's most-watched YouTube channel, appeared before the heritage committee, and had this to say about Bill C-11:

It's been written by those who don't understand the industry they're attempting to regulate....worst of all, section 4.2 hands sweeping power to the CRTC to regulate the Internet use of everyday Canadians and small businesses.

This is the creator of Canada's most-watched YouTube channel. It is someone we should be celebrating and not holding back. Will the minister make the very simple commitment to remove section 4.2 from Bill C-11?

[Rachael Thomas, Conservative, Lethbridge, AB]

That's great.

In your mind then if Bill C‑11 were to come into effect, would it help you generate more Canadian content or would it hinder the good work that you're already doing?

[Monica Auer]

I'm not prepared to speak to each of those sections in detail. What I am prepared to say is that, from my perspective, Bill C-11 attempts to clearly regulate broadcasters, not individual users. There's a distinction. It is able to regulate broadcasters that carry content provided by users. It is very clear that it is not directly regulating users, but it is also clear that it has the power to regulate the platforms that carry users.