Filipino TV shows should make us proud
This refers to Michael Tan’s column last July 21, titled “Idiot box.”
I am an avid TV viewer who watches both Kapamilya and Kapuso shows, especially teleseryes. I also follow foreign series, and am in fact a Netflix subscriber so I’m pretty much acquainted with the shows Filipinos rave about.
Although the quality of Filipino TV programs gets debated on from time to time, I never stopped watching them and find them really engaging and fleshed out. If there is one thing I learned from watching them, it is that these shows are popular because they are attuned to our attitudes, values and experiences as a people.
Which is why I found Tan’s column really appalling. His piece reeked of stereotyping—regrettably filled with what I think are elitist and outdated observations only someone who doesn’t watch Filipino shows would have. Does he really watch them or does he just tune in whenever it is convenient for him?
Since he is a social scientist, I urge him to talk to the millions of viewers who actually enjoy these shows every night and find them relevant. These viewers are not his children and friends, don’t have ABS-CBN TVplus boxes in their cars, and don’t have gadgets to go online every day.
He should also talk to netizens and fans and ask them why they react so passionately to their favorite shows and beloved TV characters, then maybe he’ll realize what he is missing out on.
There’s a reason why “FPJ’s Ang Probinsyano” has been running for almost two years now—aside from its stellar production, it promotes family values and patriotism. “La Luna Sangre” gives viewers a taste of the classic romcom with a thrilling mythological narrative.
“Ika-6 na Utos” may have infidelity as its subject, but it works because it resonates with viewers who see it as a real problem. “My Husband’s Lover” was revolutionary because it shed light on the intricacies of same-sex relationships.
Let’s not forget “Be Careful With My Heart,” which broke away from the heavy drama tradition but managed to record high ratings because of its feel-good love story and aspirational protagonist Maya.
Also, Filipinos love singing competitions not only because we are good at singing, but because we love seeing our kababayans work hard for their dreams that are often motivated by our love for family.
Even outside of the country, Filipino TV shows rack up a large following.
“Eat Bulaga” became the first Philippine TV show to be franchised to another country, in this case, Indonesia. The original “Pangako Sa ’Yo” was a big hit in Malaysia, while “Dolce Amore” just started airing in Kazakhstan. “Forevermore,” “Be Careful With My Heart,” “Got 2 Believe,” “Bridges of Love” are only few of the dozens of teleseryes that are dubbed in foreign languages and are enjoyed by foreign viewers, including those in Latin America, Vietnam, Indonesia, and Cambodia. The Philippine soap opera phenomenon in Sierra Leone was even reported by no less than the Inquirer
(“Filipino soap operas a hit in Sierra Leone,” Inquirer.net, 8/20/16).
This is the time to be proud of our shows that are enjoying appreciation abroad. It’s sad that Tan failed to see that.
If Filipino and foreign viewers love and connect with our shows, then who are we to judge them? If these shows’ characters and stories give hope and inspiration to people of different nationalities from different walks of life, does TV deserve to be called a “torture chamber,” as Tan did?
ELISA HERMINO,
[email protected]
