This paper shows how broadcasters operating in a liberal marrket, acting as macrotextual objects, shape a structured temporal architecture whose consequences on the socio-semiotic level are very challenging. Focusing on the relations that link the four temporal parameters of television productions, that is structure of the sequence, duration, temporal positioning and frequency, the article points out that the broadcasting schedule sets up a dialectics between continuity and discontinuity. Thus the schedule affects the flow of television on the aspectual level, by inscribing within its construction operations that concern the relations of continuity and discontinuity. Considering the structure of the sequence and the positioning as parameters belonging to the aspectual category of punctuality and duration and frequency as associated with durative aspect, the temporal nature of television can be seen as exhibiting a continual oscillation between unrepeatableness and cyclicity, between qualitative vision (enhancing the uniqueness value of each broadcast programme) and quantitative vision of time. Television temporality thereby takes on a strongly self-referential dimension, which, however, has a close relationship with non-television temporality: not only do the aspectual dimensions of punctuality and durativity reflect the dialectics between linear and cyclical time typical of social time, but television temporality is furthermore able to influence the very rhythms of daily life. Therefore, by endowing the social dimension with a temporality compatible with its own rythm, neotelevision offers itself as a reassuring social calendar.