I'd like to add one little thing to that. I think it also marks a fundamental shift in the CBC's thinking. I think for years the CBC has always hoped to be able to return at some point in time to in-house original programming that it creates and owns, and that it can then display on all its different platforms, but I think there's now a recognition, from the message that was sent by Parliament maybe some 20 years ago with the installation of the CTF and the moving of money from the CBC to the fund, that they're no longer going to do that and that's not going to happen anymore; it's going to be done in co-productions across the country. You're going to be in alliances.
We understand the importance of independent producers, but we also think there's a role for the CBC in creating its own original programming, which is not bound by any licences or anything it has to sign away to somebody else, to a third party, who's realistically looking to make money. If you're an independent producer, you're looking to provide a project and create something that's going to make some money, and not necessarily just end up on a shelf someplace. Sometimes some of the best stuff we have ends up on a shelf someplace, but everybody keeps referring to that documentary--it didn't make a cent in commercial revenue, but, boy, we all remember that documentary.
That's what's happened here. The CBC has moved away from that, in drama and in comedy especially. They've made a conscious decision to do that.
Therefore, when I was talking about the infrastructure earlier, why keep this? What are we going to do with it? They've made a decision to shut it down, and that's 50-plus years of television--props, costumes, heritage, everything--that is going to be sent out to museums, sold off, archived...we're not sure. We're not sure where it's going. We've asked the question and we haven't had a solid answer on that either.