Madam Speaker, before I begin, I am sharing my time with the hon. member for Hamilton Mountain.
Today, I used the Internet. This is not an extraordinary statement and it is not shocking to any of my colleagues, so why do I bother saying it at all? It is because we are here today as the government to advance Canadian interests through a forward-thinking digital policy agenda. By taking action and introducing legislation, we will ensure that the Internet remains an engine for innovation but also adapts to Canadian values.
However, when I did not use the Internet daily, it was 1991. Back then I was a little younger, in elementary school still, and there was an upstart comedy on TV called The Red Green Show making its debut. Coincidentally in 1991, that was also the time when the Broadcasting Act had its last major update. The time to modernize the act is now and time is of the essence. The online streaming act is part of this work. It would improve fairness in our broadcasting system. It would create sustainable funding for our cultural industries, and it would continue to support the livelihoods of Canadian artists and creators as well as enrich the lives of Canadians who want to see more of themselves on screen and in song.
The bill addresses an important regulatory imbalance by requiring online audio and video broadcasting services to contribute to the achievement of important cultural policy objectives in the same way that traditional broadcasters always have.
As early as the 1990s, concerns were raised about the potential for online streaming to disrupt the broadcasting sector. An early decision was made not to place requirements on online streaming services, then, to avoid stifling innovation, given the relative limited impact of those services at that time. Remember, broadcasting regulation only applies where there is a material impact on the broadcasting sector. Today, the rationale to exempt online players simply no longer stands.
Over the past decade, subscribers to online broadcasters have grown from 6% to 78% of Canadians. In the spring of 2021, surveys indicate that nearly 100% of millennials watched Internet videos. Even if we only focus on the last few years, the revenues of online video services have seen fast and substantial growth, while over the same period of time traditional broadcasters have seen steadily shrinking revenues.
The reason I bring this evidence to members' attention is to make it clear that the world of broadcasting has changed. We all know this. We regularly turn to online streaming services such as Netflix, Spotify, Crave and CBC Gem to access our music and television in addition to more traditional services like radio and cable. Times have changed. It has taken us over 20 years, but online streaming services are now the method through which a growing majority of Canadians access their content.
Some detractors of the bill have said that what we are putting forward will cause foreign players to withdraw from the market. What we have seen is the opposite. These platforms are here to stay and more are coming. Their libraries continue to grow and they are competing directly with regulated broadcasters for programming, audiences and advertising dollars. Let us take a look at a few examples of their impact.
Satellite and cable are losing subscribers to streaming services, while viewers seek out more economical online alternatives. Television stations like Corus, CTV and CBC have shut down transmitters over the last 10 years to cut costs. The broadcasting system is losing advertisers, revenues and audiences to online streaming services. There has been a drastic shift in Canada's broadcasting sector, which has directly impacted the level of support for Canadian programming and talent. Jobs are threatened. Continuing to regulate online and traditional broadcasters differently is not fair and it is not sustainable. It is putting the support system for Canadian stories and music at risk.
To explain how modernizing the act will create sustainable funding for our cultural industries, it is important to look back at the proven track record of innovation in our cultural sector and recall how transformative digital disruption has been for broadcasting in Canada. The support system that I am proud of, which has cultivated Canadian cultural works and supported innovation and talent in our audiovisual, music and sound recording sectors, is one we intentionally developed through policies, programs and legislation.
Let me remind members of the House how things were at the beginning of Canadian broadcasting. Radio and TV channels, as well as cable and satellite distribution companies, had to be Canadian owned and hold licences. They were allowed, and still are of course, to show foreign programs or carry American channels. In return for participating in Canada's broadcasting system and accessing our domestic market, they were required to fund, acquire or broadcast Canadian programs.
They are also required to make programs accessible to Canadians and contribute to the creation of Canadian programming, including in French. Over time, broadcasters' demand for Canadian programs increased. The system was working as intended and domestic creative industries flourished. Thousands of Canadians found careers in broadcasting as journalists, producers, actors, writers, directors, singers, lighting designers, makeup artists, set designers, showrunners and so much more. There was upskilling in Canada's cultural industries and investment in production clusters. We became known for our creative and technical talent.
Broadcasting plays a key role in supporting Canada's creative industry and evolving cultural identity. The Canadian broadcasting, film, video, music and sound recording sectors are also important economic drivers. They contribute about $14 billion to Canada's GDP and account for approximately 160,000 jobs. These figures point to a sector we can proud of, not one we can take for granted.
We knew the day would come when the 1991 Broadcasting Act would no longer be sufficient. Unfortunately, that day has come and long passed. Unlike Red Green, we are not approaching this challenge with duct tape. The legislative process works. We have been working tirelessly with stakeholders, parliamentarians and Canadians to make the requested amendments to the previous act to get us to where we are today. We are fighting for the recognition and supports that our creative sectors need not only to survive but to thrive. Time, as I have said, is of the essence.
The online streaming act will build on the economic and social benefits of the Broadcasting Act. It is about ensuring the continued viability of the Canadian broadcasting system. It is also about ensuring our cultural sovereignty. We are home to innovation and emerging talent, and it is imperative that we support our creators and creative industries.
As an artifact of outdated legislation, online broadcasters are not required to support Canadian music and storytelling or any other broadcasting objective. As the revenues of traditional radio and television broadcasters stagnate and decline, so too will the level of support for Canadian music and stories and for the professional creators behind them. This is not right, and I know it is not consistent with a forward-looking digital agenda.
The proposed act would equip our broadcasting system to meet the known and immediate challenges of today and help brace for the challenges of tomorrow. The implications for the broadcasting system, which is the bulwark of Canadian cultural expression, are grave. Canadian broadcasters have responded by cutting costs, and that has a real impact on their services to Canadians, on their contribution to Canadian culture and on good, well-paying middle-class jobs.
As Canadians, we would be poorer for not seeing homegrown talent supported and more diversity on screen and in song. Who knows where Ryan Gosling would be today without Canadian television shows such as Road to Avonlea and Breaker High. Notable gem Degrassi High is on the verge of a third iteration. As a country, we have been intentional about supporting Canadian artists and programs. Without this, The Guess Who or Tegan and Sara could possibly have remained some of Canada's best kept secrets.
The breadth of voices within our borders is unparalleled. Our indigenous audiovisual storytellers, with the support of campaigns such as APTN's Speak with Pride, continue to push boundaries. Previous generations such as mine enjoyed shows like the Polka Dot Door.
