The Philippines is strengthening its position in international higher education as the Commission on Higher Education (CHED), representing the country as ASEAN Chair in 2026, launched its National Transnational Higher Education Strategy (NatStrat) during the ASEAN–UK Higher Education Week 2026.

Held on November 3–4, 2026, the two-day event brought together education leaders, government representatives, and higher education institutions from the Philippines, the United Kingdom, and other ASEAN member states to explore opportunities for stronger academic partnerships, cross-border education, research collaboration, and student mobility.

Organized by CHED in partnership with the British Council, the initiative placed the Philippines’ higher education internationalization agenda at the center of regional discussions. A major highlight was the formal presentation of the country’s National Transnational Higher Education Strategy on November 4, followed by a press conference led by CHED Chairperson Dr. Shirley C. Agrupis.

Anchored on Republic Act No. 11448, or the Transnational Higher Education Act, the NatStrat establishes a government-backed framework to guide Philippine universities in developing academic partnerships with foreign institutions. It aims to provide clearer mechanisms for joint and dual-degree programs, quality assurance, credit recognition, academic mobility, and sustainable institutional cooperation.

The launch also reflected the Philippines’ broader ambition to contribute to the development of a more connected ASEAN higher education environment while establishing stronger academic relationships with the United Kingdom.

In her opening remarks during the press conference, Dr. Agrupis described the newly launched strategy as an important step in moving Philippine higher education from isolated internationalization efforts toward a more coordinated approach to global academic cooperation.

She noted that, in previous years, universities often pursued international partnerships independently, navigating different regulatory requirements and institutional arrangements. Although these initiatives created opportunities for collaboration, the absence of a comprehensive national framework could result in inconsistencies in quality assurance, credit transfer, and the long-term sustainability of academic partnerships.

The NatStrat seeks to address these challenges by providing standardized regulatory pathways and clearer guidance for both local and foreign higher education institutions.

Among its key components are streamlined program approvals, joint-degree accreditation, quality audits, transparent credit transfer systems, and qualification frameworks that support cross-border academic mobility.

The strategy also emphasizes the importance of sustainable operational and financial arrangements, encouraging universities to establish partnerships that extend beyond short-term agreements and develop into continuing academic relationships.

For CHED, the framework represents a more deliberate approach to internationalization, allowing Philippine institutions to participate in global education partnerships while maintaining national standards and institutional accountability.

One of the defining principles of the NatStrat is its emphasis on “Partnerships of Equals.”

Rather than treating internationalization as the simple adoption of foreign curricula or the establishment of foreign university branch campuses, the strategy encourages Philippine institutions to become active partners in designing academic programs, conducting research, and sharing institutional resources.

Under this approach, local universities are expected to contribute their expertise and understanding of Philippine and regional contexts while working with international institutions that bring complementary academic and research capabilities.

The framework identifies several areas where this type of cooperation can make a difference, including climate resilience, public health, green engineering, and digital transformation.

The emphasis on equal collaboration also seeks to strengthen the role of Filipino academics and researchers in international discussions. Through joint research initiatives and collaboratively developed degree programs, Philippine institutions can participate in addressing challenges that affect not only the country but also the wider ASEAN region.

This approach is intended to make international partnerships mutually beneficial, with participating universities sharing responsibilities, knowledge, and opportunities.

As transnational education creates opportunities for students to access international qualifications within their home countries, ensuring the credibility of participating institutions and academic programs remains a central concern.

During the press conference, Dr. Agrupis stressed that the NatStrat does not involve the deregulation of cross-border education. Instead, it establishes a structured quality assurance system intended to protect students and maintain the standards expected of Philippine higher education institutions.

Under the proposed framework, foreign universities seeking to offer transnational education programs in the Philippines must be recognized by the appropriate quality assurance agency in their home country. The United Kingdom’s Quality Assurance Agency (QAA) was cited as an example of an organization responsible for such recognition.

Local Philippine partner institutions must also demonstrate institutional quality through qualifications such as autonomous or deregulated status, or relevant Centers of Excellence and Centers of Development designations from CHED.

The strategy further provides for regular joint monitoring and periodic evaluations of approved programs through CHED’s Office of Institutional Quality Assurance and Governance (OIQAG).

Another measure outlined during the press conference is the establishment of a CHED National Registry of Approved TNHE Programs. The proposed registry is intended to provide students, parents, and employers with a way to verify the legitimacy, accreditation, and credit equivalency of transnational programs operating in the country.

These safeguards are designed to ensure that international academic partnerships meet both Philippine regulatory requirements and recognized international standards.

A major objective of the strategy is to bring international-standard education closer to Filipino learners without necessarily requiring them to study overseas.

For many students, pursuing a foreign degree involves financial and geographical challenges. By encouraging Philippine universities to collaborate directly with international institutions, the NatStrat seeks to expand access to globally recognized academic qualifications through programs offered within the country.

Joint and dual-degree arrangements, collaborative research opportunities, and internationally aligned curricula are among the mechanisms identified to support this objective.

Dr. Agrupis described the strategy as a way of transforming the traditional concept of “brain drain” into “brain circulation and local retention.”

The idea is to allow Filipino students and researchers to gain international academic exposure while remaining connected to local communities, industries, and institutions.

The strategy also highlights the importance of aligning transnational programs with actual workforce and industry requirements. Academic collaborations are expected to respond to local and regional development priorities, allowing students to work on relevant research problems and engage with domestic and multinational industries operating in the Philippines.

Through this approach, international education is positioned not only as an opportunity for individual academic advancement but also as a potential contributor to the country’s research capabilities and economic development.

The NatStrat is also designed to extend internationalization opportunities beyond major universities in Metro Manila.

During the press conference, Dr. Agrupis emphasized that the framework is intended to benefit institutions across the country, including regional State Universities and Colleges (SUCs) and specialized higher education institutions.

The strategy recognizes that regional universities possess valuable expertise that can contribute to international academic cooperation. Examples cited in the press materials include agriculture at UP Los Baños, marine biology in the Visayas, and disaster management and renewable energy in Luzon and Mindanao.

CHED intends to provide technical assistance, capacity-building grants, and regulatory guidance to help regional institutions establish partnerships with universities in the United Kingdom and across ASEAN.

By including these institutions, the strategy aims to broaden participation in international education and reduce the concentration of opportunities in major urban centers.

The long-term objective is to help students in different regions access international academic programs and research opportunities without having to relocate to Metro Manila or pursue their education abroad.

Beyond the policy launch, ASEAN–UK Higher Education Week 2026 also provided an opportunity for participating institutions to explore potential partnerships directly.

One of the event’s major activities was a university matchmaking session involving 70 higher education institutions: 15 from the United Kingdom, 25 from the Philippines, and 30 from other ASEAN member states.

The sessions were designed to connect universities with potential academic partners and help translate the objectives of the NatStrat into institutional collaborations.

CHED identified three priority areas for possible outcomes from these engagements.

The first involves the development of co-designed joint and dual-degree agreements, particularly for master’s and doctoral programs. The identified priority fields include Green Engineering, Public Health, Cybersecurity, and Data Science, with the target of rolling out programs in the 2027 academic year.

The second focuses on establishing trilateral research consortia involving faculty members from the United Kingdom, the Philippines, and other ASEAN countries. These groups are expected to explore opportunities for international research grants, particularly in climate adaptation, marine conservation, and food security.

The third involves structured faculty mobility and capability-building initiatives. These may include opportunities for Ph.D. studies and split-site research attachments at participating UK universities, supporting the professional development and research capabilities of Filipino and ASEAN academic personnel.

The matchmaking activities represent an important part of the event’s practical direction, allowing universities to move beyond general discussions and identify areas for possible long-term cooperation.

While the proposed deliverables were presented as expected outcomes of the engagements, their implementation will depend on the development of specific agreements among participating institutions.

The launch of the NatStrat also carries significance within the Philippines’ role as ASEAN Chair in 2026.

CHED views the development of a national transnational higher education framework as a contribution to the broader goal of establishing a more connected ASEAN Common Higher Education Space.

The strategy incorporates credit transfer compatibility, micro-credential recognition, and joint research protocols aligned with the ASEAN Qualifications Reference Framework (AQRF).

These mechanisms are intended to support greater recognition of qualifications and facilitate the movement of students and academic personnel across participating institutions and countries.

During the press conference, Dr. Agrupis explained that discussions among ASEAN and UK education leaders during the first day of the event had addressed regional challenges, barriers to academic mobility, and research gaps.

She positioned the NatStrat as the Philippines’ policy response to these discussions, demonstrating how a national framework can help establish a stable environment for sustainable international academic partnerships.

The strategy also seeks to provide a reference model for other ASEAN member states interested in developing their own approaches to transnational education and international academic cooperation.

The press conference featured representatives from Philippine, ASEAN, and UK education institutions and organizations.

Among the key participants were Dr. Shirley C. Agrupis, Chairperson of the Commission on Higher Education; Eduardo Ramos, Global Head of TNE at the British Council; Kamai Mamat, Head of the Education, Youth and Sports Division at the ASEAN Secretariat; and H.E. Helen Fazey, Ambassador of the UK Mission to ASEAN.

An Executive Representative of the Second Congressional Commission on Education (EDCOM II) was also identified as part of the panel.

Their participation reflected the international scope of the initiative, bringing together perspectives from government, regional organizations, and international education stakeholders.

The partnership between CHED and the British Council also underscored the importance of cooperation in developing opportunities for universities to establish academic linkages, exchange expertise, and pursue collaborative research.

ASEAN–UK Higher Education Week 2026 placed the Philippines’ internationalization agenda within a wider conversation about the future of higher education in the region.

Through the launch of the NatStrat, CHED is seeking to establish a more organized approach to international academic partnerships—one that balances global opportunities with national quality standards, local development priorities, and the needs of Filipino learners.

The strategy’s focus on joint and dual degrees, research collaboration, academic mobility, and regional participation reflects an effort to make internationalization a more accessible and sustainable part of the country’s higher education system.

The participation of 70 universities from the United Kingdom, the Philippines, and ASEAN further provided a platform for institutions to explore possible partnerships and identify areas of shared academic interest.

Ultimately, the initiative seeks to position Philippine universities not merely as recipients of international education programs but as active contributors to the development of knowledge, research, and academic innovation.

With the Philippines serving as ASEAN Chair in 2026, the ASEAN–UK Higher Education Week and the launch of the National Transnational Higher Education Strategy mark an important policy direction for strengthening the country’s international academic engagement while contributing to a more connected higher education community across Southeast Asia and the United Kingdom.  (with reports from Aljay Nevarez)

SM City North EDSA officially ushered in the Christmas season on October 23, 2026, with the launch of “Santa’s Air Express,” an aviation-themed holiday attraction at The Block Atrium. The celebration brought together music, dance performances, and the much-anticipated Christmas tree lighting, with singer-songwriter Angela Ken and P-pop group AJAA joining the festivities as special performers.

Fans gathered at the mall ahead of the program, particularly those looking forward to seeing Angela Ken and AJAA perform live. Their presence added to the excitement of the evening, as the event combined the traditional Christmas lighting ceremony with live entertainment and the unveiling of this year’s holiday attraction.

The celebration opened with energetic dance performances that set a lively tone for the evening. Guests and shoppers watched as the performers took the stage, building anticipation for the program’s main highlights.

Representatives of SM City North EDSA delivered messages during the event, followed by remarks from Quezon City Mayor Joy Belmonte. Their participation marked the mall’s official welcome to the Christmas season and preceded the ceremonial lighting of the Christmas tree.

The lighting served as the centerpiece of the launch, signaling the start of SM City North EDSA’s holiday festivities and introducing the aviation-inspired concept that will define its Christmas attraction this year.

Located at The Block Atrium, “Santa’s Air Express” gives the mall’s Christmas celebration a travel-inspired concept, drawing on the familiar image of Santa Claus embarking on his annual Christmas journey.

The attraction introduces a different setting for the holiday season, incorporating an aviation theme into the traditional Christmas experience. Its launch formed the central feature of the October 23 celebration, with the Christmas tree lighting marking the occasion’s official start.

Designed as a seasonal attraction, “Santa’s Air Express” will welcome visitors until January 10, 2027. Families, friends, and shoppers can visit The Block Atrium and experience the Christmas installation throughout the holiday period.

The concept also provides a backdrop for the mall’s Christmas activities, bringing together the excitement of the season and the appeal of a themed attraction that visitors can enjoy during their mall visits.

One of the evening’s most anticipated moments was the appearance of AJAA, whose performance drew the attention of fans who had gathered at the venue.

The P-pop group performed three songs, bringing an energetic musical segment to the celebration. Among the numbers was its cover of the Christmas classic “Last Christmas,” giving the audience a familiar holiday favorite through the group’s own performance.

AJAA’s appearance added a contemporary pop element to the festivities, complementing the traditional Christmas tree lighting and seasonal theme. For fans in attendance, the performance was an opportunity to see the group live as part of the mall’s holiday launch.

The group’s participation also helped create a lively atmosphere at The Block Atrium, where music and entertainment formed an important part of the evening’s program.

Singer-songwriter Angela Ken was another featured performer at the launch, bringing a Christmas-themed musical highlight to the event.

The Star Music artist performed “Celebrate Christmas at SM,” a song that complemented the occasion and reinforced the holiday spirit of the mall’s seasonal celebration.

Her performance was among the evening’s highlights, particularly for fans who came to see her take the stage. With her appearance, Angela added a musical dimension to the event’s Christmas theme, joining AJAA in providing live entertainment for the audience.

The performances by Angela Ken and AJAA gave the celebration a mix of holiday music and contemporary Filipino pop, making the launch an occasion for both Christmas festivities and fan engagement.

The evening’s festivities continued with the arrival of Santa Claus, accompanied by different mascots. Their appearance brought a familiar Christmas tradition to the aviation-themed celebration and provided an opportunity for a group photo with those present.

The moment added a family-friendly touch to the program, complementing the live performances and the ceremonial lighting. Santa Claus’s appearance also served as a fitting reminder of the holiday traditions at the heart of the season.

From the opening dance performances and messages from mall and city representatives to the Christmas tree lighting, musical numbers, and festive appearances, the program offered guests several reasons to join the celebration.

With the launch of “Santa’s Air Express,” SM City North EDSA has set the stage for its Christmas season with an attraction that combines an aviation-inspired concept and familiar holiday elements.

The October 23 event marked the beginning of the mall’s Christmas festivities, with Angela Ken and AJAA providing the evening’s musical entertainment. The Christmas tree lighting remained the central moment of the celebration, while Santa Claus and the mascots brought the program to a festive close.

“Santa’s Air Express” at The Block Atrium will remain open to the public until January 10, 2027, allowing visitors to experience the holiday attraction beyond the launch night.

Through its themed installation, live performances, and Christmas traditions, SM City North EDSA welcomed the season with a celebration that brought together music, entertainment, and the excitement of the holidays. (with reports from Cass Calamaya)

GMA Public Affairs’ award-winning documentary 58th continues to expand its international reach, drawing support from Filipino communities in the United States as it pursues recognition at the 99th Academy Awards.

The documentary, which revisits the Maguindanao Massacre and the story of its 58th victim, recently held screenings in New York and California, bringing an important chapter of Philippine history to audiences overseas.

The documentary was warmly received by members of the Filipino community in New York during screenings held on November 2 and 3, 2026. Before its New York screenings, 58th was also shown in Glendale, California, from October 23 to 29.

The screenings mark another milestone for the GMA Public Affairs production as it continues reaching audiences beyond the Philippines. Through its international screenings, the film provides overseas Filipinos with an opportunity to revisit the tragedy and reflect on its continuing significance to journalism, justice, and historical accountability.

As part of the documentary’s activities in the United States, Filipino-American Emmy Award-winning host Lisa Lew hosted a dinner gathering at her Beverly Hills residence for members of the 58th production team. Among those who attended were director Carl Joseph Papa, writer Aica Ganhinhin, and animator Jan Brillantes. Also present was Reynafe Castillo, daughter of Bebot Momay, who is regarded as the 58th victim of the 2009 Maguindanao Massacre. Her presence added personal significance to the gathering, underscoring the real-life experiences and families behind the documentary’s subject.

The documentary’s international screenings also come amid its campaign for consideration in the Best Documentary Feature Film category at the 99th Academy Awards. The Film Academy of the Philippines has expressed support for 58th in its Oscars bid. While the documentary’s campaign represents an important step toward international recognition, its participation does not mean it has secured an official Academy Award nomination.

Beyond the awards campaign, the film continues to bring attention to the victims of the Maguindanao Massacre and the importance of preserving their stories. The growing international exposure highlights how Philippine documentary filmmaking can bring local stories and historical issues to a wider global audience.

Kapuso fans once again have the opportunity to show their support for their favorite GMA Network stars, personalities, and television programs as the GMANetwork.com Awards returns for its second edition in 2026.

The fan-driven awards initiative allows viewers to recognize the artists and shows that have captured their hearts throughout the year, with winners determined through online voting.

This year’s edition features 11 categories, including a new award recognizing outstanding Kapuso television hosts.

The GMANetwork.com Awards 2026 covers a wide range of entertainment categories, celebrating emerging talents, established personalities, popular on-screen partnerships, and television productions.

Fans can cast their votes in the following categories:

• Rising Kapuso Male Star of the Year
• Rising Kapuso Female Star of the Year
• Kapuso Male Teen Star of the Year
• Kapuso Female Teen Star of the Year
• Kapuso Couple of the Year
• Kapuso Love Team of the Year
• Kapuso Daytime Series of the Year
• Kapuso Primetime Series of the Year
• Kontrabida of the Year
• Comedian of the Year
• Kapuso Host of the Year

The addition of Kapuso Host of the Year brings a fresh element to the competition, giving viewers another opportunity to recognize personalities who have made an impact through their hosting work.

Kapuso supporters can participate by visiting the official voting platform at www.GMANetwork.com/Polls and selecting their preferred artists, personalities, and programs. Voting will remain open until December 28, 2026, giving fans several weeks to rally behind their favorites. The online voting format encourages viewers to take an active role in recognizing the personalities and productions they have supported throughout the year.

The winners of the GMANetwork.com Awards 2026 will be announced during the 2027 Kapuso New Year Countdown Special on December 31, 2026. The announcement will add another highlight to GMA Network’s year-end celebration as Kapuso viewers welcome 2027 and discover which stars and programs received the strongest fan support.

The Pintaflores Festival celebration in San Carlos City, Negros Occidental, is set to become even more colorful as Sparkle stars Herlene Budol, Ronnie Liang, Larkin Castor, and Jeniffer Maravilla join the festivities for a special Kapuso Fiesta on November 4, 2026.

Presented by GMA Regional TV, the event promises an evening of music, entertainment, and exciting surprises for Kapuso fans and festivalgoers.

The four performers will take the stage at the Centermall Grounds starting at 8 p.m., treating the audience to special performances as part of the city’s annual Pintaflores Festival celebration. Fans can look forward to seeing Herlene Budol, Ronnie Liang, Larkin Castor, and Jeniffer Maravilla showcase their talents while connecting with supporters in Negros Occidental. The Kapuso Fiesta aims to bring together families, friends, and local residents for a festive evening filled with music, laughter, and memorable moments.

The Pintaflores Festival is one of San Carlos City’s signature cultural celebrations, known for its vibrant festivities and colorful expressions of local tradition. The participation of Sparkle artists adds another entertainment highlight to the celebration, bringing television personalities closer to their regional audiences. Through initiatives such as Kapuso Fiesta, GMA Regional TV continues to connect Kapuso stars with communities across the Philippines while supporting local festivals and cultural celebrations.

Catch Herlene Budol, Ronnie Liang, Larkin Castor, and Jeniffer Maravilla at the Pintaflores Festival Kapuso Fiesta on November 4, 2026, at 8 p.m. at the Centermall Grounds in San Carlos City, Negros Occidental.

Senator Camille Villar joined the growing excitement surrounding the Michelin Guide Philippines by treating her parents, former Senate President Manny Villar and former Senator Cynthia Villar, to a dining experience at Butcher Boy, a newly recognized Michelin Bib Gourmand restaurant located at Alabang West Parade along Daang Hari Road.

The family’s visit comes shortly after the restaurant received its Bib Gourmand distinction during the Michelin Guide Philippines awarding ceremony held on October 29, 2026, at the Manila Marriott Hotel.

Butcher Boy, which previously earned recognition as a Michelin-selected restaurant, has now achieved another milestone by securing the prestigious Bib Gourmand distinction for its combination of quality cooking and value for money.

Located along the Las Piñas–Muntinlupa corridor, Butcher Boy has become one of the area’s notable dining destinations, offering a contemporary take on Asian fusion cuisine in a relaxed neighborhood setting. The restaurant’s location is particularly familiar to the Villar family, whose property developments along Daang Hari include Evia Lifestyle Center, Portofino Heights, Brittany Homes, and the expansive Villar City development.

Butcher Boy’s latest recognition brings additional attention to the dining scene in the southern part of Metro Manila, particularly in an area that continues to develop as a destination for shopping, entertainment, and restaurants.

The Michelin Bib Gourmand distinction recognizes establishments that serve good-quality food at a reasonable price, making it particularly appealing to diners seeking memorable meals without necessarily opting for formal fine dining. Unlike Michelin Stars, which recognize exceptional cooking based on the guide’s criteria, the Bib Gourmand highlights restaurants that combine culinary quality with affordability.

Butcher Boy traces its roots to Singapore, where Michelin-starred chef Andrew Walsh founded the original restaurant in 2017 along Keong Saik Road in the Chinatown–Tanjong Pagar district. The concept combines Asian-inspired flavors with modern culinary techniques, serving dishes designed for both casual gatherings and more adventurous dining experiences.

Its Philippine location retains the brand’s neighborhood restaurant atmosphere while offering a menu that includes inventive small plates, Asian fusion specialties, and premium steaks.

Among its signature offerings are the Laksa Dumplings, Fried Baby Squid, Mini Bun Samplers, Beef Bo Sam, Butcher’s Rib-Eye Steak, and Sticky Pork Adobo Bao. The Laksa Dumplings bring together the familiar flavors of Southeast Asian laksa and the comforting appeal of dumplings, while the Sticky Pork Adobo Bao offers a playful interpretation of Filipino-inspired flavors in a soft bun.

For diners who prefer meat-focused dishes, the Butcher’s Rib-Eye Steak provides a more substantial option, reflecting the restaurant’s emphasis on premium cuts alongside its Asian fusion creations.

Meanwhile, dishes such as the Fried Baby Squid, Mini Bun Samplers, and Beef Bo Sam offer options for guests who enjoy sharing several plates and exploring different flavors in one meal. The variety makes Butcher Boy suitable for family celebrations, casual dinners, and group dining experiences.

Butcher Boy Philippines CEO Dino R. Chua personally attended the October 29 awarding ceremony at the Manila Marriott Hotel to receive the restaurant’s recognition. The event was attended by President Ferdinand Marcos Jr. and First Lady Liza Araneta-Marcos.

For Chua, the distinction represents the dedication of the restaurant’s culinary and service teams, as well as the continued support of its customers.

“This recognition is entirely for our team and our guests who have supported us along the way,” Chua said. “Winning a Bib Gourmand proves that you don’t need to sacrifice quality or creativity to deliver great value.”

He also expressed optimism about the restaurant’s future following the recognition.

“It’s an exciting chapter for us, the fire in the kitchen is burning brighter than ever, and we’re just getting started,” he added.

The award further strengthens Butcher Boy’s position in the local dining industry as Filipino diners become increasingly interested in discovering restaurants recognized by international culinary guides.

With its combination of Asian fusion dishes, premium steaks, and casual dining atmosphere, Butcher Boy offers an accessible option for families and groups looking to celebrate special occasions or simply enjoy a quality meal. Its Bib Gourmand recognition also highlights the growing diversity of the Philippine restaurant industry, where innovative concepts can earn international attention while maintaining a focus on value.

Butcher Boy is located at Alabang West Parade along Daang Hari Road, serving the Las Piñas–Muntinlupa area. For reservations and inquiries, guests may contact 0939-868-0531.

Who would have thought that a love story between a woman and a man made entirely of wicker could offer some of the most relatable lessons about relationships, trust, insecurity, and the human need to be loved?

As someone who loves finding deeper meanings in movies, I found plenty to reflect on in ‘Wicker’. Beneath its bizarre premise, dark humor, and unusual characters lies a surprisingly emotional story about how our fears and insecurities can destroy something genuinely beautiful.

Directed by Alex Huston Fischer and Eleanor Wilson, ‘Wicker’ is an unconventional romantic comedy with elements of fantasy, folk horror, and social satire. It stars Olivia Colman, Alexander Skarsgård, Peter Dinklage, and Elizabeth Debicki. It’s strange, funny, occasionally uncomfortable, and unexpectedly heartbreaking. More importantly, it’s the kind of film that makes you think about your own experiences long after leaving the cinema.

Set in a seemingly medieval village where women are expected to follow strict social conventions, ‘Wicker’ follows a fisherwoman played by Olivia Colman. Independent, outspoken, and unmarried, she is constantly judged by the people around her. Her refusal to conform makes her an outsider in a community where marriage often represents a woman’s submission to her husband. Tired of loneliness and society’s expectations, she approaches a basketweaver with an unusual request: she wants him to create a husband for her.

The result is the Wicker Husband, portrayed by Alexander Skarsgård.

Despite being made entirely of woven branches, he possesses qualities that many people would consider ideal in a romantic partner. He is caring, patient, devoted, and genuinely interested in making his wife happy. He doesn’t attempt to control her or change who she is. Instead, he approaches marriage as an opportunity to love and support someone. The irony is fascinating. In a village filled with actual human beings, the man made of wicker appears to understand love better than anyone else. And that is where the film becomes more than just an amusing fantasy.

One of the film’s most powerful ideas revolves around a simple but uncomfortable truth: sometimes, we find it easier to believe something terrible about someone than to accept the good they consistently show us. This was the aspect of Wicker that resonated with me the most.

We spend so much of our lives searching for someone who will understand us, appreciate us, and love us without conditions. Yet when that person finally arrives, we sometimes struggle to believe that their intentions are genuine. We question their kindness. We become suspicious of their affection. We interpret ordinary situations through the lens of our previous disappointments. And before we realize it, our fears begin influencing the very relationship we once hoped to find.

The film explores how emotional wounds can affect our ability to trust others. It also suggests that love, no matter how sincere, can become vulnerable when insecurity and suspicion are allowed to take over. What makes this particularly heartbreaking is the possibility that the problem isn’t always the absence of love. Sometimes, the love is already there. We simply don’t know how to accept it.

Another compelling aspect of ‘Wicker’ is its portrayal of the villagers.

They are judgmental, intrusive, and uncomfortable with anything that challenges their understanding of what a relationship should look like. Rather than allowing the fisherwoman to enjoy her unconventional marriage, they become increasingly interested in questioning and scrutinizing it. It’s an exaggerated situation, but one that feels surprisingly familiar.

How many relationships have been affected by unsolicited opinions, rumors, and assumptions from people who don’t actually understand what happens between two individuals? Sometimes, a relationship is perfectly fine until someone introduces doubt. A harmless interaction becomes suspicious. An ordinary misunderstanding turns into a major issue. Suddenly, the opinions of outsiders begin carrying more weight than the actions of the person we supposedly trust.

The film cleverly uses its small village to illustrate how easily society can interfere with personal happiness. It also raises an important question: Should we allow other people’s judgments to determine whether the love we experience is real?

A premise this unusual could easily have become ridiculous in the wrong hands. Fortunately, Wicker benefits from two outstanding lead performances.

Olivia Colman is exceptional as the fisherwoman. She brings humor, vulnerability, frustration, and emotional complexity to a character who is not always easy to understand or agree with. Her performance is especially effective because she doesn’t portray the fisherwoman as a flawless heroine. Instead, we see someone who desperately wants companionship but also carries insecurities that complicate her relationships. Colman makes those contradictions believable.

Alexander Skarsgård faces an entirely different acting challenge. As the Wicker Husband, his physical appearance limits his ability to communicate through conventional facial expressions. Yet he manages to convey remarkable tenderness and sincerity. Through his voice, movements, and interactions with Colman, he creates a character who feels emotionally authentic despite his impossible existence. It’s impressive how a man who is essentially a walking basket can become one of the film’s most sympathetic characters.

Peter Dinklage and Elizabeth Debicki also deliver strong supporting performances, adding personality and tension to the film’s eccentric world.

Visually, ‘Wicker’ is striking. Its rustic environments, period-inspired costumes, and atmospheric cinematography create a world that feels both familiar and otherworldly. The filmmakers embrace the absurdity of their concept rather than attempting to make it conventional. There are moments of outrageous comedy, uncomfortable intimacy, and unexpected emotional depth. The film also finds humor in the practical realities of being married to someone made of wicker.

Not every joke will appeal to everyone, and the film’s unusual storytelling may require some patience. Its pacing can feel deliberately slow, particularly for viewers expecting a more traditional romantic comedy. Certain scenes linger, allowing the atmosphere and character dynamics to develop rather than pushing the story forward quickly. But the film’s eccentricity is also its greatest attraction.

Instead of relying on familiar romantic formulas, Fischer and Wilson create something refreshingly imaginative while exploring recognizable human behavior. The result is a film that can make audiences laugh at one moment and question their understanding of relationships the next.

LionhearTV‘s Verdict: What I appreciate most about ‘Wicker’ is that its strangest element is not necessarily the man made of woven branches. It’s the way ordinary human beings respond to genuine affection, independence, and relationships they cannot understand.

The movie reminds us that finding someone who loves us is only one part of building a meaningful relationship. Learning to trust that person, communicate honestly, and resist the influence of unnecessary suspicion can be equally important. It also encourages us to examine how our past experiences shape our expectations of others.

Are we protecting ourselves from getting hurt, or are we allowing our fears to prevent us from experiencing something good? That question stayed with me. ‘Wicker’ may not be everyone’s idea of a romantic comedy. It’s unconventional, sometimes unsettling, and certainly not afraid to embrace its own weirdness. But beneath the absurdity is a thoughtful and surprisingly touching exploration of love, vulnerability, and the consequences of mistrust.

Ultimately, ‘Wicker’ isn’t simply about finding the perfect husband. It’s about recognizing genuine love, appreciating it while it’s there, and understanding how easily we can destroy something beautiful when we allow fear to become stronger than trust. And perhaps that’s the film’s most meaningful lesson: Sometimes, the greatest threat to a good relationship isn’t another person. It’s the doubt we allow to grow within ourselves.

‘Wicker’ opens in Philippine cinemas on November 5, 2026, exclusively at SM Cinema, with advertised discounted ticket prices of ₱275 in Metro Manila and ₱230 in other areas.

The mother of ‘Pinoy Big Brother: Collab Edition 3.0’ housemate Bela Arcal has publicly expressed her disappointment over her daughter’s emotional revelations inside the reality show’s house, disputing Bela’s account of their relationship and even urging her to leave the competition.

Bernadette Cagadas Arcal took to social media to address statements made by Bela about her childhood and the affection she felt she had missed growing up. While Bernadette emphasized that she was initially proud of her daughter’s participation in PBB, she said the stories being shared on national television were hurting their family and misrepresenting her efforts as a mother.

During an emotional conversation with her fellow housemates, Bela recalled feeling different from other children because her mother became pregnant with her at 17. She revealed that some neighbors even believed she was adopted.

“[My neighbors thought I was] adopted. Kasi nga, 17 years old [nabuntis ang nanay ko],” Bela shared.

The housemate then spoke about her perception of their relationship when she was younger.

“So, alam mo yun? Parang hindi ko naranasan yung pagmamahal ng isang magulang. Or feeling ko nga lang, hindi ko siya na-appreciate—I think.”

Bela appeared to question her own interpretation of those experiences, acknowledging that she might not have fully appreciated the love shown to her. She also recalled not remembering certain everyday expressions of maternal affection.

“Kasi, hindi niya rin naman ako na-try… hindi ko maalala, pero hindi man lang niya napusod yung buhok ko,” she said.

The conversation brought Bela to tears as she shared her memories with the other housemates.

Following the circulation of Bela’s statements, Bernadette publicly challenged her daughter’s account.

“Hindi po totoo mga kwento nya. Proud ako na nanay dahil nakapasok sya jan. Sinuportahan ko sya sa lahat ng pangarap nya,” she wrote.

Bernadette emphasized the sacrifices she said she made to raise and educate Bela without relying on financial assistance from others.

“Pinag aral ko sya na kahit kelan di ako humingi ng tulong sa iba. Kulang nalang maging uod ako sa lupa mabuhay lang sya.”

Although she was happy about Bela’s opportunity to join the reality show, Bernadette said she was becoming increasingly distressed by the way their family was being portrayed.

“Masaya ako dahil anjan sya. Pero sa bawat kwento nya may mali na eh. Bakit kame dito sa labas ang target nyang wasakin,” she continued.

She accused her daughter of dramatizing their family experiences for the cameras, arguing that relatives outside the house were being affected by the public attention.

“Puro ka kadramahan, bago ka sana nag sasalita at nagpapaawa epek sa kamera naisip mo sana na may mawawasak kang tao sa labas, ordinaryong tao lang kame.”

Bernadette further appealed to Bela not to damage her reputation while pursuing a career in entertainment.

“Di kame katulad mo na gustong magartista. Pero sana wag mo naman alisan ako dignidad, integrity. Kasi ako tahimik lang,” she said.

She also referred to painful experiences involving Bela’s father, expressing concern that her daughter’s statements could bring additional distress.

“Winasak na nga ng ama mo buhay ko, pati ba naman ikaw yun din gagawin mo sakin,” Bernadette wrote.

The mother questioned why Bela appeared to focus on difficult family memories rather than acknowledging what she described as years of financial and emotional sacrifice.

“Naaalala mo kakulangan ko sayo pero never mong nakita na ako bumuhay sayo at ako lang nagpaaral sayo,” she stated.

Bernadette also expressed frustration that events from nearly three decades ago were being discussed publicly.

“Almost 30 yrs na yang kwento mo na hinahalungkat tapos mali mali pa,” she added.

In the strongest part of her statement, Bernadette told Bela that being her daughter did not mean she would tolerate what she believed were inaccurate or hurtful claims.

“Anak kita pero hinding hindi ko itotolerate ang mga maling ginagawa mo kahit feeling mo sikat ka na,” she declared.

She then urged Bela to leave the reality competition.

“Lumabas ka nalang jan. Simpleng tao lang kame pero nadadamay kame sa ambition mong mali.”

The public disagreement has drawn attention to the contrasting perspectives of mother and daughter. Bela described how she remembered and emotionally experienced her childhood, while Bernadette defended the sacrifices she made as a parent and disputed the accuracy of her daughter’s recollections. Neither account, on its own, establishes the full circumstances of their relationship.

The production of ‘Los Salvajes Bravos’, the historical drama starring Romnick Sarmenta and Ruru Madrid, nearly faced cancellation after escalating conflict involving Iran disrupted international travel plans just as the cast and crew were preparing to film in Spain.

Executive producer Father Emmanuel “Nono” Alfonso, SJ, of JesCom Films revealed the challenges behind the ambitious production during the film’s grand media conference, where the team also celebrated its selection as one of the eight official entries to the 2026 Metro Manila Film Festival (MMFF).

Despite travel uncertainties, rising expenses, and the logistical demands of filming overseas, the production pushed forward to bring a little-known chapter of Philippine history to the big screen.

According to Fr. Nono, the production team was preparing to travel to Spain when news of the conflict involving Iran raised concerns about the safety of international flights. Disruptions affecting travel routes through the Middle East complicated their plans, while rising global oil prices contributed to higher airfare and production costs. These developments prompted the management team to reconsider whether proceeding with the overseas shoot was worth the potential risks.

However, the cast and crew remained committed to completing the film, which explores the experiences of Filipinos brought to Spain during the colonial period. Fr. Nono recalled how a fellow priest questioned his decision to undertake such a demanding project.

“Bakit ka ba naghahanap ng batong ipupukpok sa iyong ulo, Father Nono?” the priest reportedly asked him.

For Fr. Nono, the answer lay in Jesuit Communications’ mission to preserve and communicate historical truth, particularly at a time when misinformation, disinformation, and historical revisionism remain pressing concerns.

“Sa kabila hamon at pagsubok, nanindigan kami na ikwento ang ating masalimuot na kasaysayan para mailahad ang katotohanan at maipagbunyi ang magiting na bertud ng lahing Pilipino,” he explained.

Directed by Paolo Dy, ‘Los Salvajes Bravos’ follows Filipinos who traveled to Madrid for the 1887 Philippine Exposition, only to find themselves exhibited as representations of supposedly primitive colonial subjects. Instead of receiving the dignity they deserved, the Filipinos were displayed at El Retiro Park alongside animals, plants, and products brought from the Philippines. The historical exhibition drew criticism from Filipino reformists, including national hero José Rizal.

Romnick portrays Ismael Alzate, a veteran Igorot who emerges as a leader among the indigenous Filipinos, while Ruru plays Purganan. Director Paolo Dy explained that the film centers on ordinary Filipinos recruited from different communities who had little idea of what awaited them in Spain.

“Kwento ito tungkol sa mga ordinaryong mga tao na galing pa sa mga bundok, sa iba’t ibang lugar ng Pilipinas at ni-recruit sila at dinala sila sa Madrid. So yung mga communities, ‘di nila inexpect na mangyayari sa kanila ito,” Dy shared.

Beyond exposing colonial discrimination, the film explores sacrifice, hope, and the pursuit of a better future—experiences the filmmakers believe resonate with the struggles of overseas Filipino workers today.

Romnick revealed that he was grateful to finally join the production after the filmmakers patiently worked around his busy schedule. Fr. Nono had earlier shared that securing the actor’s participation took considerable effort.

“Tinanong ko nga sila kung sigurado ba sila, eh,” Romnick joked during the media conference.

The veteran actor also expressed excitement about working with Ruru for the first time and reuniting with fellow performers, including Michael de Mesa, Christian Vasquez, and Joel Saracho.

“Blessing lahat, eh,” he said.

Romnick hopes families will support the film, particularly because it tackles a historical episode that receives relatively little attention in schools.

“Sana nga pamilya ang mga manood ng isang pelikulang hindi pinag-uusapan sa mga eskuwelahan,” he added.

For Ruru, the film’s inclusion in the MMFF means reaching a much wider audience, especially younger Filipinos who may be unfamiliar with the 1887 exposition.

“Maganda na nakapasok siya sa MMFF, mas malaki ‘yung platform, ‘yung mas maraming Pilipino makakapanood ng pelikulang ito,” he said.

“History is a reflection ng kinakaharap natin ngayon,” the Kapuso actor emphasized.

He believes the struggles portrayed in the film can remind audiences that hope remains possible despite the challenges facing society.

‘Los Salvajes Bravos’ was filmed largely in Spain, with Spanish actors joining the Filipino ensemble. Approximately 60% of the film’s dialogue is in Spanish, adding another layer of complexity to the production. The cast also had to contend with Madrid’s cold weather during filming. The ensemble includes Andreas Muñoz, Jojit Lorenzo, Arnold Reyes, Elora Españo, Paolo O’Hara, Javier Godino, and Aya Sarmiento.

The movie marks another historical project for JesCom Films, whose previous productions include Ignacio de Loyola and the acclaimed 2023 MMFF entry ‘GomBurZa’. Dy also directed Ignacio de Loyola, continuing his collaboration with the production company on films rooted in history and faith. Fr. Nono said the goal is not simply to revisit a painful chapter of the past but to encourage audiences to examine how people treat one another today.

“We are proud to bring this story to the big screen because it is an important part of our history that deserves to be remembered,” he said. “Beyond revisiting the past, we hope it encourages Filipinos today to reflect our own humanity and how we treat one another despite our differences.”

Despite the challenges that nearly disrupted its production, ‘Los Salvajes Bravos’ will compete at the 2026 Metro Manila Film Festival and open in Philippine cinemas on December 25, 2026.

Ashtine Olviga and David Licauco are already showing undeniable chemistry ahead of their first team-up in Viva One’s Philippine adaptation of the hit Korean drama ‘Fight for My Way’. But when the possibility of filming a kissing scene came up, Ashtine admitted feeling nervous—while David had a hilarious response about preparing with 10 bottles of mouthwash.

The two stars, collectively known to fans as AshVid, shared their experiences working together during the series’ grand media conference ahead of its November 20, 2026 premiere. Beyond the playful exchange, both actors expressed admiration for each other’s professionalism and revealed how they gradually overcame their initial awkwardness on set.

In the Filipino adaptation of the 2017 Korean series, Ashtine plays Aira, originally portrayed by Kim Ji-won, while David takes on the role of Hanz, the character made famous by Park Seo-joon. The story follows two longtime friends whose relationship gradually develops into something more romantic.

With the series centered on a friends-to-lovers storyline, Ashtine was asked about the possibility of sharing an intimate scene with her new leading man.

“Nakakakaba po, pero kailangan po naming i-fight, fight, fight,” she said.

According to the actress, director Crisanto B. Aquino had not yet filmed a kissing scene between them at the time of the interview. However, she emphasized that she would be willing to do one if it were required by the story.

“Kailangan po, eh. Kasi siyempre, adaptation ‘to, eh, so kailangan gawin namin,” Ashtine explained.

David, meanwhile, lightened the mood by joking that he was already prepared for such a scene, claiming he had purchased 10 bottles of mouthwash. The exchange drew attention to the pair’s increasingly comfortable dynamic despite working together for the first time.

Ashtine admitted that she initially found David intimidating because of his quiet and serious demeanor.

“Medyo na-intimidate ako sa kanya noong una kasi tahimik, hindi ngumingiti at all. Pero eventually, lumabas din yung kakulitan niya, yung playfulness niya,” she shared.

David acknowledged that his reserved personality sometimes creates the wrong impression.

“Mahiyain talaga kasi ako and more often than not, I’d rather keep to myself,” he explained.

He recalled how Ashtine encouraged him to smile during their first look test.

“Nung first time kami nagkita ni Ashtine for the look test, she made me realize na hindi ako nag-smile dahil sabi niya, ‘Mag-smile ka naman.’ So, ayun. It made me relax a bit. Pero masakit sa panga ang mag-smile parati,” David joked.

Their director also admitted that he initially wondered what David would be like as a collaborator. However, Aquino discovered that the actor was approachable and cooperative once they started working together.

“Once you get to know him, you’d realize he is easy to work with, very collaborative,” the director said.

Ashtine expressed appreciation for David’s patience, especially during moments when she struggled with scenes during filming.

“Kumbaga, minsan nag-i-struggle ako sa taping namin pero di niya pinaramdam sa akin na ‘ano ba yan, you’re taking too much time,’” she shared.

She said David never made her feel that she was delaying production or preventing him from resting.

“Yun. Sobrang naa-appreciate ko po sa kanya yon,” she added.

David returned the compliment, praising Ashtine for consistently arriving on set prepared and treating everyone respectfully.

“She comes on set na prepared, di ba? Memorized niya lines niya and then mabait siya sa lahat ng tao, eh, di ba?” he said.

The actor also appreciated that Ashtine remained humble despite her success.

David admitted that portraying a character associated with Park Seo-joon comes with considerable expectations, particularly from fans familiar with the original Korean series.

“Because it’s an adaptation and people are bound to compare it with the original,” he explained.

He also recognized the challenge of bringing together supporters of two actors who previously belonged to different on-screen pairings. Nevertheless, he considers the pressure an opportunity to improve.

“It’s good to feel that kind of pressure cause it pushes you to do better, work harder,” David said.

To prepare for Hanz’s physically demanding storyline, David underwent taekwondo and mixed martial arts training. He recalled experiencing back pain after performing a spinning kick for one scene, noting that the training may have helped him avoid a more serious injury.

Joining Ashtine and David are McCoy de Leon and Aubrey Caraan, who complete the story’s central group of friends, dubbed the “Crazy Fantastic Four.” The supporting cast includes Rob Gomez, Icee Ejercito, Rafa Siguion-Reyna, Albie Casiño, Abby Bautista, Maui Taylor, Taneo, Marlo Mortel, Billy Villeta, Maru Delgado, Lester Llansang, and Nikka Ruiz.

Director Crisanto B. Aquino said the adaptation aims to preserve the emotional appeal of the original series while incorporating distinctly Filipino settings, food, culture, and everyday experiences.

The Philippine adaptation of ‘Fight for My Way’ premieres exclusively on Viva One on November 20, 2026, with new episodes streaming every Friday.