I was going to add that the choices about what to keep on the air, once they're on the air, are exactly as Hubert was describing.
One of the issues however is getting them on the air. As you certainly know, we don't produce drama in-house. Drama, and all fiction in fact, is produced with the contributions of the Canada Media Fund or the FMC en français. So that process in and of itself is a complex one, and it's an extremely complicated set of criteria that we have to follow in order to get our projects approved.
Even sometimes with programming that we are convinced would be a really good reflection of our country or would be a really good story line, if it's not accepted or if it doesn't factor into the criteria and the point system, we may not get that on the air because we are not using exclusively our own funding and therefore our own decision-making process to put those programs on the air. That certainly is attached to performance because one of the very important criteria in the CMF is performance on the air. It's a bit of a vicious circle in that, if you put programming accepted by the CMF on the air and it is not performing and you keep it there, then the following year your envelope is reduced in consequence. So that's where the fine balance between quality and popularity is a factor in our decision making.