I think it's a good illustration of the dichotomy of individual rights versus collective rights. We made the point a little bit earlier about the extent to which we don't think there's a comprehensive view on what we would call collective rights. We're in the business of negotiating collective rights, so we see this all the time.
I'd say, in terms of bad actors, that one of the remedies to bad actors is encouraging good actors. The way you do that is by having order in the marketplace and by having a predictable marketplace where you have music, film and TV widely available in a way that is affordable so that customers can engage and buy. That's how you discourage bad actors.
I'd like to leave you with one thought that I think is relevant here. We talked a lot about the extent to which the problems that arise with.... By the way, one of the direct answers to your question is that one of the ways we can discourage this is to prevent the dilution of value by ensuring that those players who are maybe not bad actors but are surfing off others' existing work to create new things acknowledge it, have the consent and have a model. There's an economic imperative here, too. We're happy to—we make these agreements all the time—sit down and negotiate what a licence agreement may be, and we're seeing more of that happening, so it's obviously possible.
My last comment would be to point out the perverse logic. The same entities that are busy mining copyrighted works to create something new want to disregard the copyright on the input but then seek the protections of copyright on the output. I want to point out that—just to get it on the record—humans are the creative drivers here, not software. Also, coming back to make the connection with an orderly, predictable marketplace, it's problematic to have material that you have not licensed feed into something that isn't made by a human.
I guess the question is this: What becomes of that in terms of...? When I think about the work that our members do, I see that it's millions of dollars of investment in creating film, television and digital media. There's a lot at stake, and investors are going to want to know that they have a path to be able to exploit those works and generate revenue.
I'm sorry for the long answer, but there were many parts to the question.