It's always been a situation of generating some interest at the local level, which we still can do, and then getting it into the network to pitch.
You ask a really interesting question about why it's happening, because we look at it the same way. I guess we ask ourselves the same questions. I'm an eternal optimist, and I would argue that, please God, if we talk about this enough it will be a self-correcting course. I believe the CBC is committed to regional production and I believe that regional production has worked for them in terms of the audience and the numbers they've had.
So if we're going through this CBC reorganization right now, which we have been in terms of their taking a direct approach to adjust market share upward, I don't think I'm talking out of school to say we've seen certain reality and lifestyle in Julie Bristow's department move in to take over some of the spaces that were typically documentary. That's a programming decision. Whether you like it or not, some of these shows are doing extraordinary numbers: Test the Nation, 1.5 million; The Next Great Prime Minister, 700,000; even Dragons' Den, 400,000 or 500,000. So you can't sit back and say this stuff doesn't work.
So the challenge for producers and for us is to keep ourselves front and centre and to make sure our ideas are in there and being well received, which I think they are. I think the role of this committee and of Heritage Canada is to make sure the CBC's management, whoever they may be at any given time, are well aware of the responsibilities of having the keys to the canoe.