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Tomorrow, an all new horror movie by a former Yoda winning Best Producer is coming out in theaters. We asked him the six most important questions that can be asked…


Bargain is a Lucian film being released by Lucian. It stars Tom Selleck (you’ll see why later) as the older husband of a young woman played by Anna Faris (you’ll see why later). Also appearing is a mysterious well dressed man (Christopher Plummer in his second Lucian film).


The husband, who is never named, wakes his wife with breakfast in bed. But it’s not just a kind gesture. He has some bad news to break and it involves a bargain he made just after they met.


The entire short takes place in the bedroom, a set we constructed on stage.


This is very much an “eternal present” film.


I wrote this piece as I searched for a new tale of modern horror for publication. Although currently very short I hope to expand it after I get a first round of reviews.


For years I have been sitting on a “Tommy Can You Hear Me?” award which allows for a free film based on a Who song. One night, not that long ago, I went searching through The Who’s vast repertoire until I found a song called “Bargain” which was new to me. The song is about doing anything for the grace of Jesus but I wondered if it could be twisted in another way. From there the idea came to me and it was a quickly written story. Searching my other awards I found an “Anna Faris is Tough” award that thrust her into the role of the younger, devoted wife. A Christopher Plummer talent voucher filled the role of the well dressed man and another allowed Clive Barker to direct for free. Making my own poster and website meant the entire film was free, since I saw no reason to spend any extra money on ad budget than the 40 million my filmography and items allow me. While this may seem like a quick and cheap film it actually matters to me since I want to expand and sell it. So I’m pushing for as many reviews as possible and will reward everyone who provides one with an HTG-Ray (if they have a player) or some other item.

Bargain hits theaters tomorrow, February 1st, 2013.

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The HTG TV landscape has received a total revamp… okay, maybe I am a bit over with my wording but there are some big changes announced in CzarTim’s podcast and also the written version available right here. With every change, there will be pros and cons but mainly it’s just me trying to plug some views on the changes, so here we go:

Re-run/Syndication removal


  • In my opinion, the only thing they provide is a bit of realism to the TV world. However, I do feel that it is not needed not because I feel they are useless but with so much new contents out at a time, it’s very rare for one to check out on the re-run and syndication. Even some new shows have problem getting readers, definitely much harder for the re-run/syndication to get reader.
  • Less things to decide and do for network heads
  • Simplified TV structure, cleaner TV show list page


  • Not much aside from a little decrease of realism. I would go for “fun > realism” because it’s a simulation game and it’s ultimately a game, fun is the main priority after all. I could do without that bit of realism.
  • Less income for network head and producers.

3 sessions per year


  • For the dedicated writers that just love to write for TV, there’s more episodes per year you can do, up from 12 max episodes per year to 18 max episodes per year.
  • For readers that love TV, more to read. The more the merrier, no doubt in this case. If you don’t read TV, it ain’t going to affect you in any way so it’s no con either.
  • Increased profit for network head and writers as there’s more show time per year to put content in.


  • Eh… none that I can think of.

4 slots per network, not time-based but show-based


  • Freedom on page number. Screw 30 minute/60 minute thing, now the producers are free to write how short/how long they want to, it provides good freedom on show length.
  • Fairer (arguably). Some shows might find it easier to survive because a good show can only occupy at most one slot, they can’t juggernaut and bully two slots at once. It will also provide an accurate reading to the show’s rating as sometime I find a two-slot show can have some weird ratings over the session.
  • Guaranteed 12 shows per week. Network heads can’t make some shows 60 minutes just to fill slots so they really need to get shows now, it’s the only way to prevent an empty slot. Good for audience as they will be getting a solid amount of content per TV week. Might be a little trouble to the network head but the pro outweighs the con, hence I am putting it here.
  • Personal pro, now I can do IC reviews without trying to make sure the show length make sense, which is tough when a show is 25 pages running on an hour.


  • While this change’s initial intention is to make sure each show can shine, I am not sure if it can work out that way. Let’s look at cinema, there are 1 or 2 new movies out per week on average, that’s a big spotlight for both of them on that week but do they all get the attention? I highly doubt so. Some films are largely “ignored” anyway and I don’t think this is one thing that could be solved by any adjustment on the mechanism side. My advice to the TV producer (apply to movie producer too, I think) is to push your product. Nothing shows you care about your show more than constant advertisements or just anything that display your dedication and passion. Even huge shows like It’s Always Me (Marlowe) and TCW (Lucian) put ads up while they probably need it less than others(especially new shows). My point is, show amount really isn’t the sole problem some shows are not popular among readers, the producers have to do their job too. The admin team can only do so much to level the playground.


  • Cut-throat business. With less slots per sessions, it’s a much tougher games out there for the producers the shows have to fight harder between themselves to stay out of the bottom zone of each session. The “survivor” zone is arguably lower in range so more danger to to the mid-low shows.
  • Lesser free spots. You can argue that there’s 3 sessions per year now so there could be more new shows but unless some of the top shows are resting in one session, it’s not easy to secure a free slot. Even lesser mercy on failing shows and so forth will really make HTG TV 2013 a much crueler battleground and I like that…but it’s still a con, generally speaking.

1 week of mid-season break


  • Shorter TV session, perhaps more attention on the movie industry. To use CzarTim’s word, he doesn’t want the TV to drag on for so long so 1 week of mid-season break and the TV runs on a weekly basis. No more 2 real life weeks per TV week, it’s 1-to-1 now.
  • Realism. 1:1 real life week to TV week ratio, that’s definitely more realistic.


  • For the “right now” writer, less time to work on episodes. This can be stressful on the writers since they only have 7 days to plan/write/adjust/edit their next episode. “I-write-early” writer will have not much of a problem aside from less time to do some emergency edit and probably less time to advertise the next episode.
  • For the network heads, time issue too, they have less time to plan things, get script and so on. More chance of mistakes probably.
  • Personal con, I don’t think this is a good idea(for now) as it gives less time for people to read shows. With the 3×4 setting, one of the main points is to give every show a chance to shine but the readers have less time than the 2×6 setup that we have now. To plug in some simple maths, 3×4 = 12 shows per week, 3×6 = 18 shows per 2 weeks = 9 shows per week. That’s an extra 3 shows per week to read if one is going to read all. Well, I don’t think “read all” is on a lot of player’s bucket list, it’s still arguably less time to read shows based on the math.

Revamped Show TS Bonus


  • Every show gets bigger cast eventually, especially good for the lower-rated shows that just can’t break into the top half of the sessions.
  • Higher TS limit gives more freedom in terms of casting choice. There are also chances that more talents will get work because of that, which is good as I love to see more talents out there.
  • More flexibility of TS gain. Last time, it’s a fixed 5, 3 and 2; now, it’s various numbers made up by numbers divisible by 0.15.


  • Timeslot comparison might seem fairer to the shows but I find the old method of comparing every TV shows out there to be more realistic as in it reflects real life more so. However, I think from a game viewpoint, timeslot battle does seem fairer to the players, so I guess it has a fair share of pro and con either way. Another argument is that TS reward per week rather than once per season judging by the average is that the average rating of a show in that entire session is a much more accurate indication than a per-week measurement which can be done by “one hit wonder” on occassion. However, it is still a fair 50:50 in terms of pro and con. I can see both methods working well in a long run.


  • Too linear, everyone can get it thus making TS bonus look less impressive. Last time, a high TS number indicates the show’s prestige and is also a “trophy” for popularity while now a so-so show can reach a high level of prestige as long as they stay on air for a long time.
  • Shows might eventually get so huge of a TS limit that they are constantly out-TSing movie, which I find a tad unrealistic since movie is supposed to be the big deal in terms of star power.
  • Less maximum gain per season which I liked because of the massive TS reason but generally speaking, I guess it’s a con for the bigger shows.
  • Personal con, less challenging in terms of cast selection. To me, it’s less fun; to some others, maybe it’s a good news since they can use who they really want.

Capping TS Effect on Rating


  • New shows has a slightly fairer playground, which is good because there’s always a bunch of new shows coming out and every new producer has to start somewhere.


  • Not much, you can argue that the long-term shows deserve that advantage but when it is too much, they are just killing the newer shows by game mechanism, which is bad. Also, the long-term shows can probably do well even without their over 9000 TS anyway.

Revamped Sully structure


  • Serious business, more credential to the winner. The current structure is that we will have 2 noms per session and 1 Sully per year. Only the elites are getting in and there’s no doubt that the winner is arguably the top of the tops.
  • Less work to find a Sully host and do award update.


  • Less Sully? Tougher to get nom might be the only problem I can see but at least when you win one(or get a nom), you will be extra happy.

Simple math says 18 pros and 12 cons which is very good but it’s all just prediction and estimation. Only time will tell if this revamp really helps. It is likely to provide new challenges and obstacles for the network heads and writers alike, which is a kind of fun. Personally, I am already anticipating the next TV session but for now, the cinema will do me well. So, Happy New Year, see you next time and be happy… why am I talking like I am ending a TV show? Meh… whatever.

Last month, Bulletproof Avatar Pictures and Lightning Productions put out the action flick Thomas Jones: No Good About Goodbye starring Idris Elba, Tom Wilkinson, Cobie Smulders, and Timothy Dalton. You have seen the movie, now listen to its tunes…


  1. “No Good About Goodbye” by Shirley Bassey
  2. “Nothing Sinister” by David Arnold
  3. “Time to Get Out” by David Arnold
  4. “Bike Chase” by David Arnold
  5. “Hamburg Break-in” by David Arnold
  6. “African Rundown” by David Arnold
  7. “Somebody Wants to Kill You” by David Arnold
  8. “Target Terminated” by David Arnold

The soundtrack was originally featured on The Lucky Dragon NewsCorp. Do you dig the music? Will it be one of the soundtracks that you nominate for a Golden Yoda for the next HTG Awards?

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It’s a brand new year, and January typically isn’t a very productive month for movie. More of a cool down month sort of thing but still, there might be some hidden gems in this month. Let’s check them out.

January 4, 1st week of January
Already in theater now will be the first movie of 2013 and its name suits the occasion very well. The Greatest HTG Movie Ever Sold is a tribute to Morgan Spurlock’s The Greatest Movie Ever Sold. That film has the entire budget covered by product placement and Lucian (Ship of Fooles) is attempting the same in an HTG way, with awards, talent vouchers, cars and ad budget items. Even better, Lucian is able to not breakeven but even earn a ton of money before the box office comes rolling in. Check this out to see how he pull it off.

January 11, 2nd week of January
Drugged 3 continues the franchise’s legacy in year 2013. This time, the film focuses on Connor Cannon (Mitchell Musso) right after he shot someone at school. Thanks to the drug, he is in the same situation as the protagonists in Hangover and that is he has no memory of what he has done. The film focuses on the aftermath of the shooting, mainly on the consequences of things.

January 18, 3rd week of January
Blacksmith Pictures returns to business with its tenth feature, their first since 2008’s The Murder Castle. Influenced by movie like Die Hard and The Raid: Redemption, Lockdown is a fast paced action thriller that set in an isolated island in Bahamas. Alan Whiteshade (Brian Cox) and his bodyguard Jake (Jensen Ackles) are there for the grand opening of Neptune Casino, Whiteshade’s newest enterprise. Whiteshade has always been a shady businessman and the price of that is someone else would want your head. The casino is attacked by a group of terrorists, led by Koval (Karl Urban), targeting Whiteshade primarily, creating a lockdown inside the casino. Unbeknownst to the terrorist group is that another team of assassins are inside the casino as well. Whiteshade is missing, wanted by two groups, and the only hope he has is Jake and his daughter (Mila Kunis).

S***Ball is up to challenge the returning Blacksmith Pictures. An animated comedy, the movie sets inside a college full of monkies and is about to be bulldozed to the ground. Money seems to be the only option to save the school and so the bunch of monkeys decided to host a charity baseball game… with their s*** being the baseball.

January 25, 4th week of January
Three movies announced for this week, but I only have info on one. Lexx is the movie reboot of a cult classic TV series of the same name. It focusies on a janitor (Jon Bon Jovi) that is captured by the captain of the most powerful weapon (which I assume is also a ship) in the galaxy. The cast include Richard Dean Anderson as Captain Darnok, Megan Fox as Zev, Anton Yelchin as Kai and the voices of Ian Ziering and Patrick Warburton as 790 and the Lexx respectively.

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Yo, The G is back. The G always comes back, he returns more than The Terminator but that’s not today’s topic. Today, we ain’t talking about no return of The G, we ain’t calculating about the rate of zombie virus transmitting through air by how many meters per milisecond. Today, we talk about TV. Yes, TV, it’s been the end of the season now and I have plenty of awards to give and some random things to talk about. Just a note, you can just skip to the award and skip my bambling if you are not up for them.

The second half of the season had a lot of surprises. On top of my head is Cabot sucking in viewers like a sci-fi black hole… oh, that’s not a surprise? Okay then. Moving on, It’s Always Me withered in week 6 out of nowhere to a mere 8.52 (12th of the week). I tried to send the data to a few science centers around USA to identify the reason and all the answers they gave me are crap. It’s either “I can’t identify the reason” or “I don’t have time for this crap” and you know what? The G put a hit on them lab animals. Screw them, calling themselves PhD yet they can’t identify something as easy as this? I weep for the future of science and mathematics. While IAM is still a top show overall(3rd), this sort of drop incident has to be avoided in the future, especially with new challengers on the horizon now.

Speaking of new challengers, Cherry on Top and Cabot are dominating the ranking with 12.67 and 12.71 and that is 2.4 points above the 3rd place. Oh, that’s not a surprise as well? Goddarn it. How about David Makes Friends landing on 4th of this season? That is a personal surprise for me, my prediction for it is around 6th-8th actually but props to the producer for making the breakout with his first TV show. And to the fellas out there with the name ‘David’ who are trying to make friends, I have no objection on your behavior so don’t send me death threat because I look down upon the show, kind of.

Another thing on my mind is TCW dominating week 5. It’s a TCW-oriented schedule in that week and I thought not many would want to see so many hours of wresting aside from the die-hard wrestling fans. But when you are die-hard, you go to the arena for live action…or you will watch Bruce Willis movies on your HTG-Ray player instead. The plenty of “die-soft” did enough to support the TCW throughout the night and FBTV actually win the network war that week. Is there not enough solid TV dramas out there to combat a wrestling show? Again, no answer from the science centers. Well, that is one great day for the wrestling fans…and as well as the FBTV head if he is not a wrestling fan. He better pretend to like it though, TCW is an important piece in his network and he needs to support it.

I am quite sad to see variety shows like The Process are not on-air. While I expect every season to be drama-heavy – it’s the main focus from 8pm to 11pm anyway – I would like more variety shows. The only one on the line is HTG’s Top Actress, which is not bad but not very good either — and that is still a failure in The G’s view. It needs some contenders to heat up I guess, being the lone show out there is not motivating at all.

Enough pre-award talk, now let’s move to the main focus of the article, it’s The G unofficial TV award time and before that, I must tell you upfront that not every award is in every award, work that out and if you have problem with that, The G runs things his way, that’s why:

‘Never Give Up’ Redemption Award

  • Eastwick, 1.95
  • The Fastest Sport on Earth, 2.01
  • Trinity Blood, 2.82

This award is all about shows that gets the greatest rating gain in the second half of the season. This shows don’t give up and when they are that determined to stay in the cruel world of TV, they reaps the reward. First, we have Eastwick. I have not realize its so-so rating in the first half as I thought it should be at least in the mid-high range. Well, it sure strikes back at the second half to push itself to the mid-high range.

While The Fastest Sport on Earth isn’t a show with good rating, which leads to it eventual fate of a shorten season run and a quick ending. Then, it turns out that it actually starts to garner some good ratings. It might be because it is finale so everyone is watching or it might be the show’s luck is turning around. We will never know at this point since the show is officially ended there.

Now, for the winner, Trinity Blood. Finally it gets some attention and a lot of them actually. The show is hitting 11.68 in one of the episode, that’s as high as a kite. I don’t think I need to cover more of this show as it is covered pretty well in my other article.

‘King Of Its Region’ Performance Award

  • DRTV: It’s Always Me, 79.73
  • FBTV: Cabot, 94
  • RN: Monster 73.98

The formula remains the same, 50% my rating + 50% show rating, with the highest rated show in 2nd half of the season being 100%. It’s Always Me gets a reward this time. While its rating doesn’t help it in this one, the consistency of it helps as the other potential contenders have one bad episode and their score dropped down because of that. What you can learn from It’s Always Me? How to create awesome, life-like dialogue. It’s the show with the best modern dialogue out there, realistic and yet efficient. Definitely check it out if you are looking for a light-hearted contemporary life-based drama. Or you plan to write one in future.

Cabot and its comrade, Cherry On Top, are like the China female diving team in Olympic 2012. If you ever watch diving, you already know that the Chinese are just there more to showcase than compete. How so? Because they are on another level; they are over the others by 30 points or above in the standing, easy goal medals for China in that event. That’s Cabot for you. With 2.40+ of rating gap and 14+ of G’s performance score gap from the others, I don’t think I need to share what’s it about since I think even your grandma already watched this one. What to learn from this? Character depths and relationship formations, at the very least.

Moving on, Monster captured RN’s performance award by edging other contenders like Hybrid and All In. While I find the first half of the show more impressive than the second half, it’s still a solid show throughout the season except the fact that I don’t like the finale. I have gotten news that it gets a renewal for next season and that is good. I have delivered a cake to the network head’s house — don’t worry, it isn’t a bomb…nor poison. I like its story structure and cinematography at time, something to check on for yo’all.

‘The One Act to Rule Them All’ Best Episode Award

  • “God’s Work”, Trinity Blood 1.4, 95
  • “Broken Horizon: Part Two”, Cabot 1.2, 95
  • “And to All, A Good Night”, It’s Always me 9.6, 84

We got a tie for the best episode award and it’s really hard to choose either one of them. “God’s Work” has amazing character development and action, it’s a heaven-made two-in-one actually. It might just be the chemistry between the actors but the interaction is really sparkling in this one. It’s actually the last episode of the season with a good amount of plot progression and story since the last two episodes are action-based.

“Broken Horizon: Part Two”, an episode that I can’t see where it is going when watching it. I originally imagined the protagonists would be safe but I am soo (when 1 “o” isn’t enough, put more) wrong as the producer decided to give them some tough shit. I like when a show shows no mercy to the protagonists. Screw those weakling protagonists that are either given easy obstacles or a shit ton of “god mode”. Real man shows no mercy to their protagonists and Cabot did it just right here. I don’t even think there’s so much trouble for them coming into this episode.

“And to All, A Good Night” is my highest rated It’s Always Me episode as I find it to provide the most contents and plenty of important moments of the subplots. While there are some episodes that have a score of 84 or even higher, I choose this one as the third candidate for this award as I feel I should have given it more than an 84. I don’t think I need to repeat myself as I have talked about It’s Always Me in the earlier part.

Now, I will be giving out season award, which cover the entire season as a whole:

‘You Don’t Get This in Real Life’ Second Chance Award

  • The End
  • HTG’s Next Top Actress
  • Diamond Records

This award is for the shows that are not doing as good as the others rating-wise and I mainly focus on those that I have not heard of their renewal yet. These are the shows I would like to be given another chance if possible as I can see a glimpse (or more) of quality and hope in it. There’s definitely untapped potential in them.

The End, this one has a long a** opening that really put me into sleep for once but when the apocalypse did happened, it is better. I would like another season to assess the post-apocalypse story as I definitely see some good things coming out of this one, if executed well of course. Without good execution, it’s still nothing.

HTG’s Next Top Actress is an interesting concept but the show, as its current form, lacks the complete package in my opinion. Growing in the production will really help this show become bigger and better. I per, better segments and so on, more interaction and background story of the contenders would help, especially for the winner to get some fans before entering the Hollywood workfield. I personally feel the concept is good enough to step up as it will be a fun show to watch but it’s all up to the network and producer to make it possible.

Diamond Records, it’s more of a personal attachment for me as it is one of the very first shows I watched in my critic career. Also, it really isn’t too bad. While lackluster at times, it is also very fun at times. The producer just needs to be more consistent in giving interesting contents and cut down the lackluster moments. Also, maybe more music industry-related subplots will help.

‘Bow Before Me’ King of Network Award

  • DRTV
  • FBTV
  • RN

No argument for this one no matter how you view it. Profit? FBTV wins. Rating? FBTV wins. Syndication? Not important. Best show? FBTV wins. TV Movie rating? FBTV wins. Expenses? FBTV wins (as in spending the least. When you can produce the best show while having them being low in budget, you totally win). With new iconic tv series like Cabot and Cherry on Top joining the veteran TCW, it is a very hard lineup to beat. Can DRTV and RN create or find a show to strike back? Can the new FBTV network head continues the domination? A lot of interesting things to see going into the next session.

The G’s Pick
#1: The Legend of King Arthur
#2: It’s Always Me
#3: Eastwick

#1: Cherry on Top
#2: Trinity Blood
#3: Cabot

#1: Monster
#2: All In
#3: The Fastest Sport on Earth

Just some personal picks, mostly based on personal preference and liking, not necessarily based on the highest score I given to a show.

And that marks the end of the season and since the world has not ended, see you all next season.

(OOC: Being an asshole at times and all the snarky comments are merely in-character – he’s The G, that’s why – and I apologize in advance if I touched any sort of nerve.)

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