Thank you.
First of all, I think we have to draw an important distinction here. You're very sensitive to this, I'm convinced of it. There is an enormous difference between the behaviour of the francophone audience and that of the anglophone audience. Quebec has traditionally managed to rely on a star system that has developed over the years, first with radio, then in the theatre, variety reviews, movies and now television. This star system has a very significant power of attraction over the audience, which supports the entertainment industry, magazines and radio programs that focus solely on the entertainment industry, which in turn naturally supports the promotion of local talent. The situation is completely different in English Canada. You must understand that. Having often sat on the Canadian Television Fund, I know that my English Canadian colleagues often envy us very much because we always have pretty good results.
In the case of Quebec, I think the ratings speak for themselves. We want to protect this situation and not go back to the situation in the 1960s, when the most popular programs in Quebec were Dallas, Dynasty and the Little House on the Prairie. That's no longer the case today, and we definitely wouldn't want to go back to that time. There's still a lot of work to do in English Canada. The situation has vastly improved in recent years, but the battle isn't won. As my colleagues said, our next door neighbour is the largest producer of cultural content in the world, with solely private funding and no restrictions. For our neighbours, who are the biggest producers in the world, selling English Canada a series that they have amortized around the world represents an advantage. That increases their business turnover, but it reflects no cultural interest.