Welcome to the new paradigm: More schedules. More shows. More changes throughout the year. It’s the new norm, and viewers, broadcasters and buyers are adapting. In this environment, nets will have to spend more time explaining when and where buyers and viewers can find shows, or opportunities will be missed.

Last season, for example, cancellations saw nets replace shows with unexpected hits (such as The Apprentice).

The fault for the lion’s share of those cancellations rests at the feet of the U.S. nets, which seem quicker than ever to yank shows that don’t deliver. Notes Kathy Gardner, VP of integrated media research at CanWest Media Sales: ‘There is more of an immediacy than there has been in the past to deliver returns. And as the U.S. networks obviously work off of guaranteed cost per thousands, they are trying to deliver within a shorter time frame.’

While that impatience is being whipped into a frenzy by the terror of continued erosion to U.S. cable, the fear factor is only half the story. The positive spin is that U.S. nets have had great success with summer and mid-season replacements. The 52-week-a-year programming paradigm has been shown to be a winner, and viewers want more.

So, rather than fight the inevitable, this year even more changes are being implemented in the States. Fox has moved to three seasons in order to keep its sked constantly fresh. The other nets have decided against running repeats or allowing hit shows to go on hiatus. Buyers also note another new euphemism this year: ‘amortization theater.’ Although it might sound like a new Vincent Price horror slot, it’s actually just the practice of repeating hit shows on Saturday night, with the hope that they will be able to pull viewers twice a week.

And the uncertainty is only going to increase. Notes Sylvia Criger, managing partner of The Media Company in Toronto: ‘You take a flyer on [new shows] and then four weeks later they are a big hit. And then, of course, everyone wants on board, and then you drop out because the price gets too high. It is not the ideal to be scheduling or buying TV programs. But I think this is the new normal for TV.’