Official Hansard
Mr. Speaker, I am pleased to rise for the first time since the recent election to represent my constituents and to speak on their behalf. I would like to begin by saying that I will be sharing my time with the member for Taiaiako’n—Parkdale—High Park I am pleased to rise today to speak in support of a broadcasting system that continues to invest in Canadian workers, Canadian creativity and in Canada’s economic growth. Despite the rhetoric we have heard, this debate is not really on a so-called online streaming tax. This is about whether global streaming giants that generate substantial revenue from our Canadian audiences should make a fair and reasonable contribution to the Canadian broadcasting and production ecosystem from which they benefit. This principle is neither radical nor new. For decades, companies participating in the Canadian broadcasting system have contributed financially to the creation and presentation of the Canadian programming on which they depend. These contributions have helped build one of the most respected production sectors in the world. Today, Canada is internationally recognized as a major centre for film, television, animation and documentary production, as well as digital and interactive media. Talented Canadians work on productions that are being watched all over the world. Our studios are full, we have world-class crews and our creators are winning international awards. This success did not happen by chance. It happened because successive governments and regulatory bodies understood that Canadian stories and Canadian production capacity matter just as much economically as they do culturally. The motion before the House fails to take this reality into account. It frames contributions to Canadian programming as though they were merely a burden or a penalty, but these contributions are investments in jobs, infrastructure, intellectual property, skills development and economic activity across the country. Furthermore, spending on Canadian programming is not a punishment. We are not asking companies to throw money down a bottomless pit. We are asking them to invest in some of the best programs in the world. We are asking them to continue making The Glass House, Shoresy, Heated Rivalry and North of North. They cannot claim that Canadian-produced programs are not worthy of their services. The film production sector supports hundreds of thousands of direct and indirect jobs in Canada. These are not abstract jobs. These are good-paying, highly skilled jobs, filled by Canadians in every region of our country. They include camera operators, lighting specialists, sound engineers, visual effects artists, editors, costumers, set carpenters, studio managers, caterers, truck drivers, musicians, actors, writers, producers, translators, production specialists, and the list goes on. The economic impact extends far beyond the film set itself. When productions are shot in a community, people rent hotel rooms, eat at local restaurants, use transportation companies, rent facilities, hire local workers and generate interest in tourism and regional economic development. Entire local economies benefit from a strong production sector. In cities like Toronto, Vancouver and Montreal, the production industry has become a major economic driver, but production has also created opportunities in small rural communities across the country, including in the Atlantic provinces, the Prairies, northern Canada and indigenous communities. That is why the framework established under the Online Streaming Act is important. The world has changed dramatically since the first Broadcasting Act was drafted. Traditional broadcasters continue to contribute to Canadian content obligations while facing growing competition from major foreign content streaming services that now dominate audience share and subscription revenue. The problem the legislation set out to solve was simple: The regulatory system had not kept pace with technological change. Canadians are consuming more and more programs online rather than on legacy broadcasting platforms, but the contribution framework traditionally applied primarily to Canadian broadcasters. That imbalance was unsustainable. If Canadian broadcasters are required to contribute to Canadian programming while foreign streaming platforms generating significant Canadian revenue are exempt, the financial foundation supporting Canadian production will begin to erode. However, contributions to the broadcasting system are not new and they are not unique to Canada. Many countries around the world require streaming services to contribute to national production ecosystems. Governments across Europe have adopted similar frameworks to ensure the viability of local production sectors in the digital age. Despite these obligations, global streaming companies continue to heavily invest in these markets. Why? Companies invest where there is talent, stability, infrastructure and opportunities. Canada offers all those things. We have world-class teams. We have creative talent that is respected around the world. We have competitive production environments. We have advanced visual effects and post-production sectors. We have good schools that train qualified workers. Above all, we have a long-established production ecosystem built through decades of public and private investment. Ironically, many of the people who are now criticizing the contribution requirements celebrate the economic success of Canada’s film and television industry without recognizing the policies that helped create it. We cannot separate the success of Canada’s production industry from the public policy framework that supported its growth. What we do know, however, is that there is a real economic cost to not maintaining Canada’s production capacity. When domestic production weakens, jobs disappear. Creative workers leave the industry or even the country. Investment in infrastructure slows down. Independent production companies burn out and Canada becomes increasingly dependent on foreign-produced content without maintaining its own creative industrial base. That is not a recipe for long-term economic resilience. This motion also raises concerns about trade relations with the United States as we approach the CUSMA review. Canada has always defended the principle that cultural policy holds a unique place in public policy. Successive governments from all political stripes have defended Canada’s ability to promote Canadian voices, Canadian creators and Canadian cultural industries. There are good reasons for that. Canada shares a border with the world’s largest cultural exporter. Without supports for domestic creation and discoverability, Canadian voices can easily be drowned out in an increasingly concentrated global market. Again, it is not just a cultural issue but also an economic one. Countries that invest in domestic production develop exportable industries. Canadian productions are making their mark on the world stage. Canadian creators are developing intellectual property that can be marketed worldwide. Canadian studios are attracting foreign investment. Canadian crews are gaining competitive expertise across the country, and Canada is consolidating its position in the rapidly growing audiovisual economy. Weakening our production ecosystem would not make Canada economically stronger. Rather, it would make us more economically dependent. I believe that Canadians understand what fairness means. They understand that when companies benefit from access to Canadian audiences, talent, infrastructure and markets, it is reasonable to expect them to contribute to the sustainability of the system they benefit from. They also understand that Canada’s production industry is not just a fringe cultural undertaking disconnected from the economy. It is a major economic sector. It creates jobs, supports small businesses, boosts tourism, generates exports, develops a highly skilled workforce, strengthens regional economies and helps maintain Canada’s competitiveness in one of the fastest-growing global sectors at a time when countries around the world are in an intense competition to attract production investment and creative talent. Now is not the time to weaken the foundations of our domestic industry. This means ensuring that the economic benefits generated by this broadcasting system continue to support Canadian jobs for Canadian production and Canadian stories. For these reasons, I urge all members of the House to reject this motion.
