Timow’s Open Pit

[QuOP No. 17] Expanding Horizons: Can GMA Regional TV’s Newscast Beat the Former Competitor?


[AUTHOR’S NOTE: ALMOST FIVE YEARS AGO, I published a blog post about a different tug of war (which is not within the South Triangle): about the share of national and regional newscasts. In that post, Metro Manila’s happenings are integrated into the national newscast, which drew much irritation for those outside the concerned area that is not considered a big deal. I decided to revisit that post and apply it to a more concrete conjecture.]

LAST MONTH, I read a piece from Karl Aguilar (a.k.a. the Urban Roamer) on Medium about how regions of our country should be divided. Currently, we have 17 but he thought that it was arbitrary and meaningless. In that specific entry, he reimagined it based on multicultural linkages and logistics; he came up with 21.

After reading his reimagined divisions, it popped out an idea from my head: How would GMA Network expand its regional newscasts to that number? It seems that they can surpass the number of their previous competitor before their closure last year by switching the digits around.

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Crossing the Bridge of No Return, One Year After


(NOTE: This post serves as Quarterly Open Pit No. 16. Consider this as my candid confession post; it’s hard to hold your silence but this has to be done.)

The Bridge of No Return crosses the Military Demarcation Line (MDL) between North Korea and South Korea. The name comes from the final ultimatum that was given to prisoners of war brought to the bridge for repatriation. Once they crossed the bridge, they will never go back, even if they later changed their minds.

FIFTY-TWO TUESDAYS AGO, the Philippine media industry has inevitably crossed the metaphorical bridge of no return amidst the new normal. The landscape of television has shifted forever and many of us — including yours truly — will be remembered and be traumatized.

While some audacious politicians say they’re not affected by that. It truly did. It affected not just the mental health of both those who are laid off and those who remained with more heavier workload. It also affected the job prospects (not just for Mass Communication graduates but also for Electronic Communications Engineering) and felt the chilling effect of government agencies like the National Telecommunications Commission (NTC) when it comes the overall progress of digital terrestrial television (DTT) transition and the Movie and Television Review and Classification Board (MTRCB) on their revenue stream.

While some enforce callously for closure and healing (babang luksa) tomorrow after a year, its wounds are still fresh in their inerasable memories.

While the sore winners say it’s “no big deal,” it unfolded to be a consequential move, especially in the far-flung areas.

Since the start of this year (2021), I cannot utter the name of the former TV network or its corresponding nickname anymore — and I euphemized them —  because saying its name is a “mortal sin.” Not to mention, I glaringly omitted their programs and/or described them indirectly. (Reminder: I didn’t include their teleseryes because it’s not our policy, enforced before 2020, to tackle upcoming and ending teleseryes in detail.)

I have imposed a “Give Chance to Others” Policy; the answer of why I’ve done that will be tackled after.

Come tomorrow, they’ll celebrate this as the “Day of Thanksgiving” with prideful taunts on the other side while ignoring their errors. In this post, I’ll tackle two invectives you probably hear from them and how I appropriated them with the current progress.

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Timow’s QuOP No. 15 | A Different Kind of Love


[AUTHOR’S WARNING: This blog post is NOT for the ABC readers: those who are aromantic, broken-hearted and/or close-minded.]

HAPPY VALENTINE’S DAY, TURFERS!

Today, it’s all about romance and love. For the second year in a row due to the pandemic, you might go on a date right at your home and watch your favorite romantic movies — it doesn’t matter if it’s serious or cheesy.

However, for this year, we will tackle a different kind of love. A love that can shock you at first or you have seen it a few times but in a different form: boy’s love.

A DIFFERENT KIND OF LOVE. This screengrab may be seen as familiar to you — it’s a TV series from Thailand called “2Gether.” For the newcomers, this is not your ordinary series because of the genre but why such a genre may not materialize here anytime soon?

Boys Love (BL) or yaois is a genre derived from the Japanese in the 1970s (literal translation: climaxless, pointless and meaningless) where two male characters expose their homoerotic relationships. The acronymous term BL didn’t popularize until 1994 (what a surprise, my birth year). I did not encounter that particular genre until I stumbled upon DeviantArt during my teen years (the late 2000s to early 2010s) where male characters of different shows (Western or anime) strut their mind-boggling love affair. (Same applies to fan fiction websites.)

Because of the longest time lockdown due to the COVID-19 pandemic, 11 months on and counting, you might have binge-watched the series “2Gether” from Thailand or some similar series on iflix or Netflix.

However, we do have our own versions that transpired last year. You may know the online series Gaya sa Pelikula and if you were lucky to purchase a digital ticket for the digitally-modified Metro Manila Film Festival during the preceding holiday season, you may recognize the film The Boy Foretold by the Stars.

However, have we done this on our local TV airwaves like on GMMTV? We have or we had; that’s on you to decide.

My Extraordinary, starring Darwin Yu and Enzo Santiago, aired just one episode on TV5 on one Sunday late night in September. However, it pulled out afterward never to be seen again on free-to-air TV and would rather continue the series on AsterisK Entertainment’s YouTube channel and on Cignal.

A feature by Chuck Smith on CNN Philippines last April proved difficult to get the BL series into the mainstream: it’s the traditionally conservative and “restorative” culture and issues with MTRCB. In that particular piece, the culture of our common teleseryes focuses at the end — on rebuilding the family and oneself — while BL dramas focused on the process of self-journey and coming-of-age.

Even if this hidebound paradigm gets in the way, it won’t be that easy to get through it as the network executives and the production company concerned have their mutual and final say.

In this case, GMA, despite their uninhibited creative juices now, can pitch their own BL series whatever they want, whenever they want. However, they won’t be able to do so now due to the list of stalled shows waiting to be produced with possibility and permission. (Moreover, DON’T EVEN EXPECT government-owned and religious-owned networks to produce a program in this fledgling kind!)

In short, free-to-air broadcasts and traditional theatrical releases are conservative to handle (therefore, a no-no); cable/satellite channels are pretty much in the middle but online is the most liberated and the most uninhibited platform.


What do you think about the BL series? Should it prosper or should it not?


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Photo courtesy of CNN Philippines / GMMTV

Timow’s QuOP No. 14: How Long Should Christmas Station IDs Last?


UPDATED: November 18, 2020 @ 09:33 (UTC+8)

[This post is dedicated to the former and current employees of the Creative Communications Management Division of ABS-CBN and the competitive counterpart of GMA.]

AT THIS TIME of the year, normally, we would see the two national TV networks in South Triangle pitting out each other through Christmas station IDs (CSIDs) to lure viewers. These materials determine which production value is the most eye-catching and is the most earworm. In addition to their show of altruism, this is where they show their star power and personality recall. After each song was performed, the sound trademark of their respective network is integrated.

However, this year is different due to the two heavily-defined events with oxymoronic expectations. First, the lingering pandemic and reeling recovery from the destruction of Super Typhoon Rolly (Goni) and Typhoon Ulysses (Vamco) would mean a somber yet guarded mood but the second, loss of a trailblazing player’s license to free-to-air broadcast would translate the other competitor to rub it in.

In this quarterly open pit, we will relive the track record. Our goal is to determine the regression model and find duration on their respective official song and music videos that could be earmarked in the future.

 

The Track Record of South Triangle’s CSIDs

ABS-CBN

The production of their renowned CSIDs lies in the efforts of their Creative Communications Management Division, in which the workforce was decimated from 170 to 15. While their campaign began in 2002, the continuing streak of musical CSIDs started in 2009. Here are their annual Christmas songs from that year onwards:

  • 2009: Bro, Ikaw ang Star ng Pasko. This is the most inspiring and the most popular slogan, based on the post-TV Patrol primetime drama May Bukas Pa. It delivered a motivating message of reeling from Typhoon Ondoy (Ketsana) and Pepeng (Parma).
  • 2010: Ngayong Pasko, Magniningning ang Pilipino. Performed by Toni Gonzaga and Gary Valenciano backed by the UST Singers, this is the first Christmas song of the 2010s with a sun in the Philippine flag appending their lantern (perhaps, associated with the first automated election that landed the victory of Noynoy Aquino as President — one reason of controversy that leads to the downfall of the network today). The music video has appended the chorus of the preceding year’s official Christmas song.
  • 2011: Da Best ang Pasko ng Pilipino. This holiday song is performed by Maria Aragon, a then-11-year-old Fil-Canadian sensation who covered Lady Gaga’s “Born this Way.”
  • 2012: Lumiliwanag ang Mundo sa Kwento ng Pasko.
  • 2013: Magkasama Tayo sa Kwento ng Pasko. Part of their TV’s 60th anniversary, their CSID was released two days before Supertyphoon Yolanda (Haiyan) lashed out at Eastern Visayas. After the storm, their lyrics are modified and uploaded to the Pagbangon version.
  • 2014: Thank You, Ang Babait Ninyo. Named after the carol that was sung by children after receiving loose change or small treats, they were performed by The Voice Kids Top 12 finalists about the acts of generosity at the year of recovery.
  • 2015: Thank You for the Love. This song was performed and emphasized by their network’s love teams.
  • 2016: Isang Pamilya Tayo Ngayong Pasko. The song was performed when The Voice of the Philippines was at its peak.
  • 2017: Just Love Ngayong Christmas.
  • 2018: Family is Love.
  • 2019: Family is Forever. Their final CSID on the owned-and-operated era contained a mashup of at least three songs of their CSIDs past. The theme was the longest and, in hindsight, subtle before the network’s contrived fate the following May.

 

GMA

On the other hand, GMA didn’t catch up to the trend until 2015 when Kalyeserye on Eat Bulaga was at its peak.

  • 2015: MaGMAhalan Tayo Ngayon Pasko. Interpreted by Alden Richards.
  • 2016: Magic ng Pasko. Interpreted by Julie Anne San Jose, there is no corresponding official music video but they are separated into three animated IDs, which is a very distinct feature.
  • 2017: MaGMAhalan Nang Buong-Puso. From this year, the official music video is longer than and separate from its recording session counterpart. The former video is introduced by Jessica Soho before the song proper.
  • 2018: Ipadama ang Puso ng Pasko. 
  • 2019: Love Shines. The music video includes the staff from GMA Regional TV.

 

Data collection

We obtained data through a YouTube search. However, caution is made to record the real duration of both the official song and the music video as ABS took advantage of the features in YouTube video uploads (e.g. end slates playing the chorus of their song for up to 20 seconds) while GMA did not (save 2016).

Factoring out the YouTube features, we have this treated data table for the two TV networks:

This slideshow requires JavaScript.

 

Finding a Reasonable Regression Model

There are several regressional models to choose from to determine the duration of future editions. To choose a reasonable regression model, one must determine the fate of extrapolation. In this post, we decided to examine three regression models and examine the disadvantages:

  • Exponential regression is the worst model to use to predict the future duration of CSIDs in both forms. As the year passes, the duration grows with a certain percentage that they will reach 30 minutes (a minimum running time of a TV program) soon.
  • Linear regression is a better option whereas the years go by, few seconds are added but it won’t stop and reach the maximum someday.
  • Polynomial regression could give more coefficient of determination (R-squared) but the downside is that there would be extreme points of calculated duration. Their extrapolated prediction will sometimes reach more than 24 hours; sometimes, negative, which both are impossible. Therefore, it has to be ruled out.

What’s the best regression model?

Logistic regression is another regression model where it determines the asymptote — in other words, the minimum and/or maximum duration of both materials. This will require more effort than the preceding three that are found on Microsoft Office Chart. In that case, we use the Desmos graphing calculator.

Plotting the points on the data table above, this model has proven the strongest coefficient rating as proved in the tables below. Therefore, this will be the model for extrapolating the future.

This slideshow requires JavaScript.

 

How Long At Least? At Most?

Here is the output graph of each network on each product (the song and the music video).

Legend: The dashed color lines are the regression models: red for logistic, blue for linear and green for exponential. The purple vertical line represents the current year.

  • ABS-CBN:
  • GMA:

Had ABS granted another lease in life on free-to-air broadcast, the official song would last at least 5.461 (5:28) minutes — rounding at the half-minute intervals, 5 1/2 minutes. However, the official music video should last at most 12.946 (12:56) minutes or in the nearest 30-second intervals, about 13 minutes. Extrapolating for 2020, we would’ve expected their official music video to last about 12:22 (not counting the end screen).

For GMA, their Christmas station IDs in the future shall have a calculated minimum limit of 3.308 (3:18) minutes or 3 1/2 minutes. In their MV counterpart, the calculated maximum limit would be 8.472 minutes (8:28) or 8 1/2 minutes. Extrapolating for 2020, we would expect to listen for about 5 minutes for the pure song and almost double that duration for the official video. With the rescheduled premiere yesterday, the official MV this year was clocked in at 7 and a half minutes; the official song uploaded on their official YouTube channel four hours later from our initial publication lasted 5:27 minutes.

 

Conclusion

With ABS out of the league on its core operation but continued its Yuletide tradition online, GMA dominated with its creative juices without any virtual competition (on free-to-air). Had the tragedies not happened, the dominant network would still rub it in further at the expense of the former rival.

Meanwhile, momentum-gaining TV5 didn’t revive their own CSIDs after being frozen in the mid-2010s. They might not even have one, even if they have two (soon: three) waves of local entertainment blocktimers running in the bag. As of this publication, “Tuloy Pa Rin Ang Pasko,” their official song was officially released hours ahead of GMA’s rescheduled premiere; the official video is yet to be released.

But we digress, if a local supermarket (i.e. not like SM, Robinsons, AllDay, WalterMart or Shopwise) played at least one of the previous editions in the speakers of supermarkets, it means they still have an impact on its patrons or it is in their discretion of the management. Had the Giant Lantern Festival continued to be held normally in my hometown of San Fernando, Pampanga, at least one competing barangay would integrate it at the individual round.

Whoever network got the most plays in the establishments, well, they earned the general reputation.

*Sigh*

I guess we all know who is that media giant.

Nevertheless, the model offers motivation for the creative department for producing the annual audio-visual masterpiece.


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Featured image courtesy of Gerd Altmann / Pixabay

Data table created on Microsoft PowerPoint 2016

Graphs provided by Desmos graphing calculator

 

Timow’s QuOP No. 13: Wrestling with Franchised Reality Shows


man lying down holding his mobile phone

Photo by Polina Zimmerman on Pexels.com

[AUTHOR’S WARNING: This post can provoke insult to certain fans of the following programs. Read at your own risk.]

THE PANDEMIC-INDUCED “eternal” lockdown makes us stir-crazy and misses the things we enjoy.

Even if you are Team Bahay (home person) pre-COVID, you would miss watching your favorite TV shows as its production (save the news) were suspended until further notice (but gradually regaining).

Hence, the spiraling effects that programs offered at the moment are significantly different than normally scheduled with some of the scheduled shows delayed by a few months to a few years or scrapped altogether.

Speaking of lockdown, I spent few months titillate and wrestle at the same time a long topic before the eternal lockdown happened: reality television. Personally speaking, I’m not into that genre as for the past decade, they put game shows to irrelevance since typical Filipino viewers are prone to emotions than to the intellect. (Well, that “dead” genre is reviving, thanks to TV5’s radical programming strategy this month in the post-ABS era of Philippine television.)

Since the start of the year, I tinkered upon the Google Docs spreadsheet of different reality TV franchises that happened into our shores and it manifested upon me that isolation-based reality shows (e.g. Survivor and Big Brother) will last longer than others internationally.

Paano mo nasabi? (How would you say that?)

 

The Data-Driven Plan

Scope, Limitation and Treatment of Data

 

Five Program Franchises

The five (5) international reality TV shows that currently airs or formerly aired on our shores.

 

I decided to delve into five (5) international reality TV program franchises that currently airs or had a Philippine version:

  • The Amazing Race (adventure, since 2001, PH version began in 2012 but ended in 2014),
  • Big Brother (isolation, since 1999, PH version began in 2005),
  • Idol (talent, since 2001, PH version began in 2006),
  • Survivor (isolation, since 1997, PH version began in 2009 but ended in 2012), and
  • The Voice (talent, since 2010, PH version began in 2013).

From them, we will get how many geographical franchises (y-axis) were broadcast in every calendar year of each franchise’s existence until 2019 (x-axis). It doesn’t matter if there are two seasons of the show in one calendar year and/or it has a spin-off; they are counted as one.

For the spreadsheet-loving nerds, click here for the Google Sheets of all five program franchises. (Sorry, it’s still in progress because I’m too busy.)

Finding the fitting model and when to stop

Since we will determine when these program franchises peak and flatten, the regression model to be used will be the bell curve model. It’s just like the epidemic curve for the goal of flattening from overloading the maximum healthcare capacity.

The specific bell curve formula will come from the first derivative of the basic sigmoid function:

1st derivative of sigmoid

When to Istahp? (The Cut-off Point)

Determining the effective end of an international program franchise is very subjective but an important matter. The best answer I could give logically is when the curve flattens as the predicted y (the number of geographical franchises ran in a particular calendar year) reaches 1.

 

The Results

The solid blue vertical line is the current year while the dashed blue horizontal line is the cut-off point.

Jotting down the data using Desmos graphing calculator, all five program franchises are past the calculated peak and thus, on the downward trend.

However, among the five, Survivor and Big Brother would last longer until the late 2030s; the two talent competitions (The Voice and Idol) will live up until within the turn of the next decade but The Amazing Race will be effective until two years.

Why?

In 2001, TAR and Idol began their journey in the United States and in the United Kingdom, respectively. The big, salient difference is TAR was too slow to go international; Idol boosted and reach its peak two years later.

The adventure show premiered on CBS on September 5, 2001 (six days before 9/11 struck) and in several instances, some of the featured places throughout its nearly two-decade run became the focal point of disasters and tragedies after that particular episode premieres (I read that from TV Tropes wherein the show is a “doom magnet”).

Their first international franchise did not take off until 2006 on AXN Asia; it didn’t reach its peak until 2012 with nine international iterations (which is the lowest of all-time among the five).

With this ongoing pandemic, this would add more insult to injury since the global aviation industry is struggling (which is a necessary component) to adapt to the new normal procedures. Psychologically speaking, potential contestants are scared to fly out.

 

Afterthought

The quantity of international franchises doesn’t always mean it’s of good quality. Other than TV ratings, there are factors that make or break the fate of a program franchise like financial sustainability (within the franchise holding network’s accounting and budgeting departments), audience criticisms (ranging from the well-reasoned and seasoned TV critics to one-sided pressure groups) and other external factors (no need to explain which one).

To the die-hard fan of The Amazing Race and admitted yourself to be delusional having the third season to happen here. Well, you are definitely right.

However, this QuOP doesn’t end here yet as there will be a follow-up on September 6 about the future of franchised programs now that the dominant, acquiring network is forced to be called — by those who wished for it — as a “has-been.”


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Timow’s QuOP No. 12: The ECQ Survey Results


person writing on notebook

Photo by Lukas on Pexels.com

WE are supposed to close this by June 1 but because of yesterday’s event, we closed the survey. The opinion post regarding that matter will be discussed in a separate article.

Since March 26, Timow’s Turf conducted the survey (powered by SurveyMonkey) to cut the boredom from the enhanced community quarantine. The survey contained six questions — splitting into two categories with three each — regarding the issues on Philippine television so far this 2020 before the plague broke into a pandemic.

Until yesterday, 26 respondents answered the survey, but there is a disclaimer: The answers will not have a significant bearing on the decisions to be made by network executives and/or related government agencies.

Here is the breakdown of the results from each question asked. (NOTE: The figures don’t add up to exactly 100% due to rounding to the nearest integer.)

 

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Timow’s QuOP No. 11: Community Quarantine


INSTEAD of publishing the intended topic that will be scheduled for next Friday, the Turf would like to tackle about tomorrow and the month to come.

As you have heard a few days ago, tomorrow (March 15) will commence the 30-day community quarantine in Metro Manila to contain from the Wuhan coronavirus (COVID-19) epidemic. There and in some parts of the country, schools are suspended until further notice — which, following the June-March calendar, effectively ends the school year in a sour note (i.e. without final examinations, saying goodbyes, and graduation).

Television Response

Initially, television programs that involve a studio audience — live or taped — are not allowed to enter for safety precautions.

Then, teleserye tapings are also called off. That being said, movie blocks will fill the void. The Turf cannot think if their classics will be aired just like TV5 does. Vice Ganda’s new comedy-game show Everybody, Sing! is also pulled from its premiere tomorrow.

Speaking of TV5, PBA has been suspended again after their Season Opening Day last Sunday — including the scheduled inaugural 3×3 counterpart. Sports Desk, the flagship sports news program of CNN Philippines, is also off the air in light of cancellations of major sports events.

PHTV for the Next 30 Days

What we’re certain

What we’re uncertain

  • While NCAA season 95 ended in termination, UAAP season 82 might follow likewise if this period did not improve the situation. If it improves, the playoffs might have to be reduced. MPBL, which is now on their Division Finals, are also on hold.
  • Meanwhile, the weekly noontime variety show of IBC 13 under SMAC Television Production, Yes Yes Yow, is slated to air on April 4 (Saturday). While this program is taped before the declaration, the success and the path of recognition are in jeopardy. We cannot be surprised if this will never premiere in favor of this serious public health emergency.

Other Measures & Afterthoughts

Regarding the running April post proposals, I am calling it off until everything comes back to normal.

While this pandemic will pass, some of our old ways — even those in the media industry — will never go back to the way it was before: be it big, small, beneficial or baneful.

Until then, stay safe, practice social distancing and proper hygiene.

Until we talk again.


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Timow’s QuOP No. X: Dead TV Program Genres


UNDAS may have been behind us and we are about to focus on Christmas decorating but at least we’re trying to catch up as we are occupied with the ongoing Swiping through the 2010s project, despite that this post will not be part of it.

Put on your scary expressions on a la Kabayan Noli De Castro and let’s begin finding out which of the programming genres in Philippine television are considered dead, as of this imminently ending decade.

 

How Can A Program Genre Consider To Be Dead?

To be considered “dead,” there must be no surviving, stand-alone program of a particular genre running as of press time.

Noticeably, the most dominant yet contemptible Philippine Movie Press Club’s Star Awards for Television has few categories that are discontinued to be awarded, which would be helpful for the development of this post.

So far, three categories are deemed no longer airing:

Game Shows

  • Last programs known: People vs. the Stars (original), Minute to Win It (franchised)

Game shows may be original or franchised but their goal, other than to entertain us, is to gain knowledge. For the Batang 90s, they will remember the Battle of the Brains, Digital LG Quiz, Who Wants to Be A Millionaire (under Christopher de Leon) and Pilipinas, Game KNB? (under Kris Aquino)

As this decade progressed, the type of players of game shows shifted away from ordinary people to exclusive celebrities (who don’t have any committed projects or has free time) as a form of preventing defection to another network. This happened when the Turf observed and expressed over Family Feud under ABS-CBN in 2016.

Consequently, they moved on by capitalizing on other types of game shows that do not need stock knowledge (like MTWI) before being scrapped altogether for more teleseryes and expanding competition shows on weekends.

While they enjoy success in ratings and in the bottom line, it comes at a cost — audience participation and other functions of cerebral capacity. In other words, the accusations of promoting “escapism” and “dumbing down” the audience while the network execs fear of cheating since Internet access is now an easy reach to get the answers.

If there are any plans to revive this thing; well, good luck with that.

 

Youth-Oriented Programs

  • Last program known: Luv U (ABS-CBN)

For B90s and 2Ks, this genre used to be part of their weekend afternoon lineup usually before their respective showbiz-oriented shows. You may have watched Tabing Ilog, Gimik, T.G.I.S., Click, Joyride and Tween Hearts.

This particular genre used to exemplify the struggles of adolescence and how they coped with it. We guess it fell out of relevance with the generational divide due to the radical change of preference; Generations Z and Alpha would rather watch their suited shows on Netflix and other video-on-demand (VOD) platforms over television the earlier phases of Millennials harnessed.

Hey, what about Maynila? Despite some young thespians acting, it’s considered an anthology; sorry, it’s not counted.

 

Showbiz-Oriented Shows

  • Last program known: Startalk (GMA)

During weekend afternoons, we used to dedicate at least an hour for straightforward news and interviews from their exclusive talents. It ended in 2015 when The Buzz and Startalk pulled the plug and replaced it with comedy (Banana Sundae and Dear Uge, respectively).

They blamed it on the prevalence of social media. But then, the new platform is not as best as it’s perceived due to its angle on the netizens’ comments and ownership of online outlets. For example, LionHearTV was accused of aligning with ABS-CBN while Philippine Entertainment Portal happens to be a subsidiary of GMA Network, Inc.

Nevertheless, the pullout has made a big mistake.

Just last month, the scuffle of the Barretto sisters during the wake of their patriarch has set two separate days of exclusive interviews in TV Patrol by separate journalists (Karen Davila and Noli de Castro) to hear their sides, consuming significant airtime that should have been for more important items.

Hence, netizens are mulling for their revival. To be fair, why can’t they even learn from Entertainment Tonight?

ET is still alive for almost four decades, despite social media presence and competitors. A salient difference is that their show is syndicated and its editorial policy reaches beyond the borders of the media conglomerates, for which we are obviously lacking. (Sad to say, this is irredeemable to get out of that mindset.)

 

Not Dead Yet / Unclear

Gag Show

Bubble Gang is the only surviving show of this particular genre since Goin’ Bulilit bowed out last August. Unless their founder, Michael V, retires or leaves the network for good, the answer is NO for now.

Children’s Show

This doesn’t mean anime or cartoons; it’s an informative genre produced by the network or third-party producer that has an existing partnership with the network for the said particular group — think of it like 5 and Up (1992-2002) or Penpen de Sarapen (RPN, 1987-2001).

Today, the South Triangle Duopoly doesn’t care about putting this anymore*; the last program under them was Tropang Potchi (GMA 7, 2009-15).

Thus, it’s up for denomination-backed UHF networks to the rescue; no wonder, NET 25 consistently got Anak TV Seal Awards and with that, they plastered the Anak TV logo proudly during their episodes.

LITTLE FUN FACT: In the recent edition of the PMPC Star Awards for TV, the best of this genre and its hosts were awarded to Talents Academy of IBC 13.

*SIDE NOTE: While we said that the main channels of the South Triangle no longer airs, ABS-CBN’s exclusive digital subchannel for kids, Yey, has its own children show Team Yey! Yet, the PMPC has not realized it existed and thus, were not included in the four consecutive years of nominations.

 

Reality Shows

This genre is generic and unclear. Some shows are labeled “reality” (i.e. a misnomer) such as The Voice and Pinoy Big Brother; the former is considered a talent competition but we will elaborate a bit later on the latter.

But first, does anyone remember Extra Challenge that was once hosted by Paolo Bediones? After six years of hiatus, they rebooted as Extra Challenge Extreme (which was hosted by Richard Gutierrez) by from 2012-2013 but it aired on weekends and ended up in a dud.

PBB was a successful, franchise reality show — in terms of the unique style of chronicling — but this show’s initial purpose was defeated right after its first season. From then on, whoever wins (or almost) after each iteration will use it a springboard to stardom in the main network.

 


Are there other genres you considered to be “dead?”


 

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Timow’s QuOP Blg. 9: Ang Kalagayan ng Pambansang Wika sa Larangan ng Media


[TALA NG MAY-AKDA: Ito ang unang pagkakataon sa loob ng limang taon na magsusulat ako sa aming wika.]

KASALUKUYANG ginugunita ang Buwan ng Wikang Pambansa na may temang: “Wikang Katutubo: Tungo sa Isang Bansang Filipino.” Itong tema ay base sa deklarasyon ng UNESCO na ang taong ito ay initinalaga na “Pandaigdigang Taon ng mga Katutubong Wika.”

Subalit sa mga taga-lalawigan, malinggal ng pagsalangsang ang karaniwang inaasahan at dapat tawagin ito na “Buwan ng MGA Wikang Pambansa” dahil ang bansang ito ay may maraming wikang ginagamit maliban sa Tagalog — na basehan ng Pambansang Wika — at Ingles.

Sa totoo lang, mahirap magbasa, magsulat at magsalita sa wikang puro hindi tulad ng dati. Kaya, pinilit na gumamit ng mga salitang hiram mula sa wikang banyaga upang mabawasan ang mga pantig sa pagpapahayag at/o dahil hindi makahanap ng tamang katawagan para maiintidihan lalo ng madla.

Pero may hangganan: hindi po kasama ang kultura ng lingo, balbal o kaswal na katulad ni Isko Moreno, ang nakaupong puno ng lungsod Maynila, na babaligtarin ang titik o pantig pero pareho naman ang balak at kahulugan nito maliban lang kung ang programa’y kakatawanan.

Kapag mangyayari ito, mawawala ito sa pagiging propesyonal.

Marami sa inyo, mga mahal na mambabasa, ay tinuturo na walang muwang sa pagkukulang ng media.

Huwag kang nagkakamali; noong nakaraang taon, inihatid ang balita sa ganitong balita sa NewsNight (CNN Philippines) sa buong buwan na iyon pero hindi na ginawa ngayon.

Pero ang tinutukoy ng iba ay ang pagmamayari ng estado (hal. RP1 738 kHz).

Sa totoo lang, nakaukit ang kalakaran nila ang magpalaganap sa patakaran ng kasalukuyang nakaupo at ibalita lang sa pinakapositibong at nagtatanggol na pananaw. Halos wala para sa layuning pang-edukasyon.

Hindi ba’t ang pagkabigo sa isa sa santatlong layunin ng pagsasahimpapawid? O sadyang naghari ang social media para sa ganitong layunin.

Bago tapusin ang maliit na nilalaman, naiintidihan mo ba ang sinusulat ko?

Kung kapani-paniwalang “oo,” mahusay!

Kung ayos lang, at sumainyo rin.

Kung hindi, hindi ka nag-iisa.

 

Maraming salamat sa pag-unawa at isang mapagpalang araw sa inyo.


Ang QuOP na ito ay puwedeng gamiting puwang para sa iyong mga panukala. Ang mga panukala ay maaring nauugnay dito o hindi; pwedeng mag-post ng iyong artikulo para sa aming pagsisiyasat.


 

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Timow’s QuOP No. 8: Is Challenging the Artistic License Worth It?


GoT s8

Game of Thrones may have been over for a bit more than a month but the last episodes have pointed to be a disappointment — one of them is over petty details.

FOR THOSE who are not getting over with the concluded Game of Thrones on HBO, many would remember the final season as the least appealing due to the disappointing flow of the story. The famous series was based on A Song of Fire and Ice novel series of George R. R. Martin, which in turn based on England’s War of the Roses.

Despite the degrading reception as the series ends, viewers (fans and bandwagoning ones), who waited for a long time, looked meticulously on the stray coffee cup in a scene of one episode and a plastic water bottle in another scene of another (in the finale).

Why those trivial things become such a big deal?

The most obvious reason is the size of the viewership — GoT’s audience is worldwide while a teleserye that is discussed in this country. Another one is that fans wanted to pinpoint accurately — in other words, staying true — to the words of the book or metaphorically as close as possible.

Nonetheless, the producers and the network made an apology and corrected it for those who would catch up.

In this QuOP, the case of the famous HBO series has told us about challenging the notion of “artistic license” despite being based on fiction.

An artistic license is the discretion of artists of distorting of facts, defying linguistic conventions and exaggerating of scenes, without regard to consciousness and to intention, for the sake of humorous or dramatic purposes.

Is it worth challenging for?

But before answering, I would like to ask you this question: Do you like watching Cartoon Network in the early days?

You may remember watching Wile E. Coyote chase the Road Runner. The predator is focusing on the goal but did not look his way until he looks down and then begins to fall.

This is where the term “cartoon physics” came from and that in turn is a prime example of artistic license.

In the film, most of our animated Disney princesses (includes the live-action remakes) that enchanted us in our childhood are based on fairy and folk tales from around the world. Although you are fascinated with the couple living “happily ever after” over the theatrical masterpiece, not all princesses’ fate is fulfilled like that in the original source.

Okay, cartoons are exempted over exaggeration but how about in real life like sitcoms and dramas?

This is a bit complicated but we’ll try to look on the primary situations (from asinine to deemed problematic):

Using a substitute disguising for actual illicit stuff

For example, in Kadenang Ginto, the most popular afternoon teleserye in ABS-CBN, a drug that induces drowsiness is, in actuality, a well-reputable, locally branded, candy-coated chocolate.

Imagine if an actual prop would appear for that teleserye, the authorities would scramble into the production area and would cease until there is an acceptable substitute.

Professional correctness

If there is a term called “political correctness,” there is also “professional correctness.”

Artistic license is often referred to as the dramatic license when it involves glamorization of real-world occupations for the sake of exciting TV experience.

In almost every profession, the majority of their time spent in real life is on paperwork and administrative duties while the small screens portray them to become the “meat” (action) and as the “skeleton” (supporting part) of the plot.

In our setting, the best example is the hospital scene where the leading role is struggling for his or her life after an accident that is crucial in the plot.

Nurses and other allied health professionals usually called out the inaccuracies in administering the IV needles, breathing apparatus and the defribillator.

The production crew doesn’t seem to care in terms of medical accuracy since it could cost money to get a medical consultant. Fans or ordinary viewers as well since they just want to enjoy the role of the thespians and the focus on the story.

Historical and mythological accuracy

If professional correctness is not a big deal, then they would shift to another reason: “What about the historical and/or mythological ones? Has anyone remembered what happened in Bagani last year?”

Although inspired by pre-colonial mythology, Bagani wasn’t really serious in storytelling and the inaccuracy due to the small details would render a scathe in the fantaserye feature, alongside the casting and the historical accuracy issues.

Despite the disclaimers, it was a viewership success.

The trivial controversies of that LizQuen-starred fantaserye became the lessons learned for Kamuning to produce Sahaya. Before their production, they had to consult with historians and sociologists over the background of characters.

Now back to the question, is fighting artistic license (generally speaking) for the sake of any aspect of accuracy worth fighting for?

That would be up to you to answer.


AFTERTHOUGHT:

I mentioned about medical drama. Whenever one thought about this genre, they can think about General Hospital, ER, Gray’s Anatomy or New Zealand’s Shortland Street.

So far, our running teleseryes are not primarily set in a hospital and it barely cast portraying as any health practitioner.

To be fair, we have short-term memories on when the last time a teleserye of such a genre exists — except for Habang May Buhay (starring Judy Ann Santos) back in 2010.


As this is an Open Pit, anyone may request, ask and comment anything that is not related to this post.


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Photo courtesy of HBO / Hollywood Reporter