Let me say that when we look at Canadian content we look at it in different ways. For those of you who have observed it, there has been a real switch to look at the economic benefits of production. We talk a lot about that, and we haven't talked as much about the cultural benefits.
The other thing—and this is what's vital to this committee—the big shift, the big trend, is that high-end drama is now easier to do than it ever used to be. Why? It's because we, in this country, got better at it. We got better at partnerships, co-productions, and exporting. If you are producing the high end, there is demand for it—this is the golden age of television—and you have an export market you go to.
However, if you are producing local news, you are relying on an ever-diminishing local advertising pool, and there is nowhere else for it to go. That is why we are in this unique period where the local stuff, the local newspaper and local television stations, which used to be completely profitable, are vulnerable. With the things we have worried about for 20 or 30 years, we are actually doing okay in, relatively speaking.