’Queen of the Islands’ pageant revealed as GMA Pictures’ satirical comedy ‘Red Crown’

THE secret behind the crown is finally out, and it’s pure bardagulan that everyone will love.

After weeks of social media frenzy surrounding the viral ‘Queen of the Islands’ pageant, GMA Pictures officially pulled back the curtain on August 28, revealing that the much-talked-about contest is actually the central storyline of its upcoming satirical comedy film Red Crown.

With star-studded candidate reveals, a record-breaking cash prize at stake, and viral pasarela walk videos, Queen of the Islands had pageant enthusiasts and the public passionately guessing and backing their favorite candidates. The plot twist? The highly anticipated contest is a major promo campaign for Red Crown.

But Red Crown isn’t just for hard-core pageant fans-it’s a full-throttle comedy designed to make everyone root for their bets. Directed by Dominic Zapata, with a screenplay by Kit Villanueva and Ken de Leon, the film dives headfirst into the hilariously brutal, ‘laban kung laban’ world of pageantry, capturing the stories behind the glitz, gowns, and killer walks. Moviegoers are sure to be glued to their seats, constantly guessing who will outsmart the competition and take home the crown.

The film features a massive lineup of real-life pageant royalty and Sparkle stars: Yana Aduana, Alethea Ambrosio, Ara Arida, Herlene Budol, Skye Chua, Faith da Silva, Michelle Marquez Dee, Haley Dizon, MJ Encabo, Shuvee Etrata, Gazini Ganados, Rein Hillary, Maika Kemmochi, MJ Lastimosa, Aira Lopez, Sanya Lopez, Ahtisa Manalo, AZ Martinez, Ashley Ortega, Vanessa Peña, Sandy Riccio, Jade Tecson, Tarah Valencia, Yna Angela Uy, and Yza Thalia Uy.

The first phase of the film’s promo featured carefully crafted teasers, including official social media handles for Queen of the Islands, candidate posters, behind-the-scenes videos of pageant rehearsals, a rundown of pageant sponsors, and even a ‘pageant presentation’ attended by the pageant press and pageant content creators.

GMA Pictures promises this is just the beginning, with more cast members and storyline details to be unveiled soon.

Who will be the Queen of the Islands?

Red Crown hits cinemas nationwide this October.

More announcements will be made on the social media accounts of GMA Pictures and Queen of the Islands. More information on GMA are available on the network’s Facebook, Instagram, TikTok, X, and YouTube pages.

’SANSÓ: Pusong Pilipino’ | At the National Museum, Sanso’s works on his deep love for the Philippines

Mounting a retrospective at the National Museum that summarizes in 100 select paintings the seven decades of modernist maestro Juvenal Sansó’s amazing life experiences, devoted art practice, and compelling works is a daunting task, admitted Ricky Francisco, Foundation Sansó director and curator of the show, ‘Sansó: Pusong Pilipino.’

But it’s also a long-time dream of the foundation.

According to Francisco, three main challenges stood out: Selecting a limited number of works from Sansó’s extraordinarily vast and varied artistic career; navigating the National Museum’s institutional scale and approval processes; and balancing the time and energy of the Fundacion Sansó team while it was handling other projects, too.

‘Sansó: Pusong Pilipino is the first solo exhibition at the National Museum of the Philippines devoted entirely to the art of Juvenal Sansó. It represents a major moment not only for the foundation, but also asserts the place in Philippine art occupied by Sansó.

‘The exhibition is also, in many ways, a belated acknowledgment by the Philippines of Sansó as one of its own artists,’ added Francisco.

The National Museum exhibition has been an aspiration of Fundacion Sansó, which didn’t materialize until his passing last year.

According to Francisco, it was when National Museum Director-General Jeremy Barnes visited the wake and paid respects to the artist that the conversation started rolling about presenting Sansó’s works at the National Museum.

‘We believe it is important for Mr. Sansó’s works to be exhibited at the National Museum because he always considered himself Filipino, even though he was unable to complete the process of acquiring Filipino citizenship,’ replied Francisco.

Spiritual homeland

Born in Catalonia, Spain, on November 23, 1929, Sanaó emigrated with his family to Manila when he was only five years old. He lived through World War 2 in Manila and became an art student at the UP School of Fine Arts. To explore modernism, he also took up special classes at the University of Sto. Tomas.

Later, he traveled to Europe to pursue higher studies and to reside there.

Though he lived in Europe for most of his life, he remained connected to the Philippines. His experiences in the Philippines-particularly his wartime experiences-shaped his vision and remained present throughout his career.

But at least once a year, he returned from Europe to the Philippines and presented an art exhibit. Eventually, he retired in the country and established Fundacion Sansó with close friends in 2014. He passed away on March 28, 2025 in Manila at the age of 95.

The foundation has a museum of his works in San Juan City, but beyond that, it also supports talented younger artists through art grant programs and scholarships.

‘For these reasons, we felt a responsibility to give the exhibition the care it required. Despite the many competing demands on our time, we had to protect the project, focus our energies, and make sure that it was presented with the seriousness and dignity that both Mr. Sansó and the National Museum deserved,’ Francisco told BusinessMirror.

Long-time goal

The National Museum exhibition has been an aspiration of the foundation, but it didn’t materialize until his passing away last year.

According to Francisco, it was when National Museum Director-General Jeremy Barnes visited the wake and paid respects to the artist that the conversation started rolling about presenting Sansó’s works at the National Museum.

‘We believe it is important for Mr. Sansó’s works to be exhibited at the National Museum because he always considered himself Filipino, even though he was unable to complete the process of acquiring Filipino citizenship,’ replied Francisco.

Work of love and respect

In the National Museum exhibition, the result of the judicious process of selecting from among 600 of Sansó’s artworks that he entrusted to the Philippines is 100 works that capture the scope and spirit of Sansó’s visual language.

‘We believe it is important to honor him as a Philippine artist. He loved the Philippines. He learned his art here and later honed it in Europe, but he never forgot his roots.

His Philippine experience-particularly his experiences during the Second World War and his survival of its violence-profoundly shaped and inspired his work.

Besides the collaboration with the museum, under the leadership of Barnes, several rarely seen-and, in some cases, previously unseen-works by Sansó were made possible through the generous cooperation of the artist’s collectors.

Among the works inspired by Sansó’s spiritual motherland is the Hermana Mayor Series, focusing on the coastal landscape of Zambales.

‘We are deeply grateful to Raffy Cuevas, Rey Gonzales, and Marlon and Marissa Sanchez for lending important works from the Hermana Mayor Series to the exhibition. Their generosity has allowed us to present this significant aspect of Sansó’s engagement with the Philippine landscape more fully,’ said the Fundacion Sansó director.

Other rare highlights are Sansó’s Ati-atihan paintings, which belong to Sansó’s broader Moderno Series from the early 2000s, lent by gallerist Jack Teotico.

‘Sansó translated his movement, rhythm, color, and collective energy into his own modern artistic vocabulary,’ Francisco noted.

‘The exhibition also presents some of Sansó’s early student works, generously lent by Mr. Rafael Simpao Jr. and his son, Raffy Simpao. These works allow viewers to examine his artistic beginnings and to see the foundations of the visual language that he would develop throughout his career,’ said Francisco.

Also on show are his ‘Barong-Barong’ and ‘Baklad’ Series, generously lent by Eliot Maguan and Andrew Yap.

‘The exhibition allows audiences to encounter works that may be unfamiliar even to those who have followed Sansó’s career for many years. More importantly, they show that the Philippines was not a peripheral subject in his art. It was one of its enduring sources,’ commented Francisco.

Sansó for the younger generation

Besides its scholarship grants, other initiatives by Fundacion Sansò to make the master artist’s works accessible to a wider audience include organizing pop-ups in malls like SM Megamall and Rockwell, as well as in educational institutions like De La Salle-College of Saint Benilde and the University of the Philippines College of Fine Arts, and with institutions outside Luzon.

The foundation has also partnered with museums and has published books that document Sansó’s life and artistic journey in the context of history and culture.

It has likewise collaborated with brands like Theo and Philo Artisan Chocolates and Tsaa Laya, wherein iconic paintings of the artist are featured in their packaging.

‘For Fundacion Sansó, keeping his work relevant does not mean changing it to follow every new trend. It means continually creating meaningful ways for new generations to encounter it,: Francisco noted.

Through its dynamic efforts within and outside the foundation’s venue, Francisco stated: ‘Sansó remains relevant not only as an artist to be remembered, but as an example of how an artist’s legacy can continue to serve others,’ stated Francisco.

The Trilogy of Conscience

We did not begin in 1521. We did not begin in 1898. We did not begin when others finally wrote about us. We were already here-praying, trading, sailing, burying, remembering, promising, failing, repairing, and beginning again.

Three Dates, One Nation: The Flag, the Republic, and the Conscience of Rizal

A flag sewn by women.

A Republic carried in a hammock.

A dawn entrusted to Basilio.

I. The Flag: A Cloth That Remembers.

EVERY year, toward the end of May, the Philippine flag begins to appear more visibly in our streets, schools, public buildings, offices, and homes. It is raised, saluted, photographed, printed on posters, and sometimes worn almost as decoration. Children stand before it. Soldiers march before it. Officials speak beneath it.

But a flag is never merely cloth.

If it is true, if it has been earned by suffering and sacrifice, a flag is memory made visible. It is the soul of a people lifted into the wind.

During my years at the National Historical Institute, the days from late May to June were among the busiest in the historical calendar. There were flags to be raised, wreaths to offer, speeches to deliver, protocols to observe. History, during those weeks, seemed to put on barong and stand under the sun.

But what often stayed with me was not the speech. It was the child.

One sees him in almost every ceremony: restless at first, shifting from one foot to another, perhaps more interested in the heat, the crowd, or the snack waiting after the program. Then the flag begins to rise.

The anthem begins. Something happens. For a brief moment, the child straightens. He may not yet understand 1896, Bagumbayan, Alapan, or Kawit. But he senses that the cloth climbing the pole is not ordinary cloth.

That moment is where Flag Day should begin.

On May 28, 1898, after the Filipino victory at Alapan, the Philippine flag was first hoisted. But before it flew in Cavite, it had to be made by human hands. In Hong Kong, Marcela Agoncillo, with her daughter Lorenza and Delfina Herbosa Natividad, sewed the flag within five days.

This is the anecdote we should never lose. Before the flag became a national symbol, it was first a work of patience, fabric, thread, eyes, fingers, and faith.

A nation was being stitched before it was declared.

Carlos P. Romulo once called the Filipino an ‘inheritor of a glorious past’ and a ‘hostage to the uncertain future.’ That phrase still cuts deeply because it remains true.

We inherit courage, sacrifice, faith, language, memory, and wound. But we are also answerable to the future. We cannot simply claim the past like ancestral jewelry and then live carelessly under its shine.

The Philippine flag did not invent the Filipino soul. It gathered it.

It gathered memories older than the Republic. The discovery of Homo luzonensis reminds us that the human story in these islands reaches into deep time.

The Manunggul Jar tells us that our ancestors imagined death as passage, the soul as voyager, and the boat as bearer between worlds. The Laguna Copperplate Inscription of 900 CE shows a society of law, debt, kinship, writing, and obligation, already part of a wider Southeast Asian world.

We did not begin in 1521. We did not begin in 1898. We did not begin when others finally wrote about us. We were already here-praying, trading, sailing, burying, remembering, promising, failing, repairing, and beginning again.

Then came 1521: encounter, conquest, cross, wound, gift, violence, conversion, humiliation, transformation.

The centuries that followed did not erase the older Filipino. They buried him under new names, trained him in new rituals, wounded him with new hierarchies, but also gave him new instruments of imagination. Out of that long contradiction came the Filipino who could kneel and rebel, pray and write, endure and rise.

By the time the flag appeared in 1898, it was not a sudden decoration for a successful battle. It was 1896 given color and wind, the flowering of an older life-force. Beneath its colors were the barangay and the galleon, the babaylan and the friar, the datu and the gobernadorcillo, the peasant and the ilustrado, the book and the bolo, the prayer and the blood.

Its sun was awakening.

Its stars were direction.

Its colors were vows.

This is why we dishonor the flag when we reduce it to protocol. We salute it in the morning, then sometimes betray it by noon-through corruption, cruelty, indifference, historical forgetfulness, or the selling of public duty for private gain.

A flag asks something from the people beneath it.

It asks whether courage still lives among us. It asks whether freedom has become merely comfort. It asks whether patriotism has been reduced to slogans while children struggle to read, farmers struggle to live, rivers are poisoned, and public office too often becomes private enterprise.

The flag should not be rescued only from disrespect. It must be rescued from emptiness.

When we look at it, we should see not only the Revolution, but the entire arc of our becoming: ancient soul, colonial wound, revolutionary courage, republican hope, and the unfinished work of national formation.

We should see the overseas Filipino worker carrying the nation quietly in airports, hospitals, ships, homes, and construction sites abroad.

We should see the teacher who keeps teaching with little support, the nurse who heals, the soldier who watches, the farmer who feeds, the judge who must stay honest, the artist who remembers beauty, the child who still believes the country can be good.

The flag is not asking us to worship the past. It is asking us to become worthy of it.

This is why Flag Day should not be treated as a minor prelude to Independence Day. It is the beginning of a national examination. Before we declare freedom, we must ask what kind of people are declaring it. Before we celebrate sovereignty, we must ask whether the soul of the sovereign people remains awake.

A country does not become great because its flag flies high. It becomes great when the life beneath the flag rises with it.

The Philippine flag remembers.

The question is whether we still do.

A flag is not honored by waving it alone. It is honored when the people beneath it become worthy of its wind.

II. The Republic: The Man in the Hammock

Every June 12, the Philippines returns to Kawit.

We remember the balcony, the proclamation, the flag, the music, and the trembling hope of a people declaring itself free. These are necessary images. Without them, memory thins, gratitude weakens, and citizenship becomes merely administrative.

But there is another image near that moment which deserves equal reverence.

Apolinario Mabini, paralyzed, was carried in a hammock by relays of men so he could reach Aguinaldo and help give the Revolution a mind.

Pause there.

The Republic, in that image, is no longer only a ceremony. It is a burden carried by ordinary backs. It is a wounded body bearing a lucid conscience. It is the people carrying wisdom toward power, so that freedom may become government, and government may become duty.

The Revolution of 1896 opened the door. June 12, 1898 declared that the Filipino people claimed the right to exist as a free nation. But a Republic cannot be completed by proclamation. Like the human soul, it must be formed, defended, disciplined, corrected, and renewed across generations.

Freedom is not a date. It is a daily discipline.

Mabini gave us the severe moral grammar of nationhood when he wrote that one must ‘strive for the happiness of thy country before thy own,’ making her a ‘kingdom of reason, of justice and of labor.’ That is not sentimental patriotism. That is republican doctrine. A people cannot build a country if everyone first asks what can be taken from it.

The easy part of independence is freedom from foreign rule. The harder part is freedom from our own unfreedoms: poverty, corruption, ignorance, fear, patronage, dynastic entitlement, weak institutions, shallow education, and the quiet cynicism that teaches citizens to expect little from public life.

The Filipino has been politically independent for many years. Yet the deeper work of republican formation remains unfinished. We have had constitutions, elections, courts, congresses, commissions, heroes, martyrs, and movements. We have also had authoritarian temptation, elite capture, transactional elections, and repeated disappointment.

But disappointment is not destiny.

The Republic is not a machine that runs by itself. It is the moral life of a people organized into public institutions. When the people are awake, institutions can be renewed. When public office becomes private property, the Republic becomes costume.

This is why Mabini in the hammock matters.

He could not walk, but he helped teach a nation how to stand. His body was limited, but his mind enlarged the Revolution. He reminds us that power needs conscience, courage needs discipline, and freedom needs thought. A revolution may begin with fire, but a Republic must be built with reason.

Our struggle for independence moved through many thresholds: ancient communities of sea and river; the wound and gift of 1521; the awakening of the nineteenth century; Rizal’s birth in 1861; the Revolution of 1896; the proclamation of 1898; the formal sovereignty of 1946; the rupture of Martial Law in 1972; the moral uprising of 1986; and the unfinished work of building a nation worthy of its own promise.

Seen this way, Independence Day is not nostalgia. It is summons.

It asks: What have we done with freedom?

Have we used it to build schools that truly form the young? To protect rivers, forests, farms, and seas? To create honest work, fair opportunity, and institutions worthy of trust? Have we used it to raise citizens, or merely voters? Leaders, or merely personalities?

The great task before us is development. But not development understood only as roads, airports, bridges, investments, statistics, and ribbon-cutting. These are necessary. A poor country cannot romanticize poverty. Infrastructure matters. Jobs matter. Technology matters. Competence matters.

But development without soul becomes extraction. Development without justice becomes spectacle. Development without education becomes shallow growth. Development without conscience becomes the old inequality wearing newer clothes.

The Philippines needs development with depth.

It needs a people formed in soul, skill, and service. Soul, because without inner anchoring, freedom decays into appetite. Skill, because love of country without competence cannot build anything durable. Service, because talent without sacrifice becomes vanity.

This is why education lies at the heart of the Republic. The classroom is not separate from Independence Day. It is where Independence Day either lives or dies.

A child who cannot read well, think clearly, speak truthfully, work honestly, and care for others is not merely an educational statistic. He is a warning about the future of the Republic.

The same is true of public leadership. A nation cannot rise if its leaders treat public power as inheritance, business, revenge, or theater. The Republic requires stewardship, not domination; service, not performance; intergenerational duty, not short-term advantage.

The Filipino people are not lacking in soul. We have endured too much, loved too deeply, prayed too stubbornly, laughed too often in suffering, and risen too many times from ruins to be dismissed as a failed people. But we must stop confusing endurance with transformation.

Survival is not yet progress. Ceremony is not yet citizenship.

June 12 should therefore be celebrated, but also allowed to disturb us.

It should disturb every official who speaks of patriotism while weakening public trust, every citizen who complains about corruption but sells a vote, every institution that displays the flag but neglects its duty.

And yet, Independence Day should not leave us bitter. It should make us serious.

Mabini was carried to Kawit because the newborn nation needed more than victory. It needed conscience, law, thought, and the difficult discipline of becoming worthy of freedom.

We are still being asked to carry that Republic.

Not only presidents and generals. Not only judges, legislators, teachers, and soldiers. Every citizen carries it, either by strengthening it or by adding weight to its wounds.

When the speeches end, the real Republic begins.

The Republic was not born only on a balcony. It was carried on the shoulders of men who understood that freedom, if it is to live, must be borne.

III. Rizal: Those Who Will See the Dawn

NEAR the end of Noli Me Tangere, a wounded man lies in the darkness as a boy gathers wood.

The boy is Basilio. His mother, Sisa, is dead. The man is Elias, though Basilio does not yet fully know the meaning of the life departing before him.

Elias has given everything. He has helped Ibarra escape, drawn danger away, and received the wound meant by history for men who give more than they keep. He will not see the morning.

Still, before dying, he turns toward the east. He speaks of a dawn he will not live to welcome, and asks that those who will see it should not forget those who fell during the night.

That is one of Rizal’s messages to the Filipino future.

History is not inherited as comfort. It is inherited as obligation. If we have seen any dawn at all-freedom, education, sovereignty, speech, memory-we have received what others died without seeing.

We are Basilio.

Rizal’s birthday, June 19, must therefore be more than homage to the child born in Calamba in 1861. It must be an examination of those who survived into the morning.

Rizal was not born to decorate plazas. He was born to disturb the conscience of a people. He did not command 1896, but entered it as moral fire. If we remember him only as statue, portrait, holiday, or quotation, we have already begun to lose him.

His greatness was not simply that he died. Many have died bravely. His greatness was that he formed himself inwardly until his death became the final expression of discipline. He walked toward it with eyes open, mind sharpened, heart wounded, and conscience awake.

The graveyard scene with Elias and Basilio tells us why Rizal still matters.

Rizal understood that nations are not built only by those who triumph. They are also built by those who plant in the dark, suffer without applause, speak before they are believed, and die before the dawn they made possible.

Elias is not the official hero of the novel. He disappears into sacrifice. Yet it is Elias who entrusts the future to Basilio.

This is the Filipino question: What have we done with the dawn entrusted to us?

Rizal’s novels did not merely attack abuses. They revealed a society where power had lost conscience, religion had lost humility, education had lost truth, and the people had been trained to fear their own dignity. He exposed not only colonial oppression but the deeper slavery of the mind.

That is why Rizal remains dangerous.

A living Rizal asks uncomfortable questions. Why are our schools still failing so many children? Why does public life reward spectacle more than wisdom? Why do we praise heroes but often punish integrity?

Rizal’s answer was not rage alone. It was formation.

Dapitan is the proof.

In exile, Rizal could have spent his days in bitterness. Removed from the centers of power, separated from the wider movement, watched by authorities, and placed at the edge of empire, he did not merely wait for history to happen to him.

He built.

He taught boys. He practiced medicine. He studied nature. He improved water systems. He planted, organized, healed, measured, carved, wrote, and formed a small community of learning and usefulness.

Dapitan was not a pause in Rizal’s life. It was a revelation of his method.

It showed that Rizal’s patriotism was not noise. It was formation, work, discipline, and love made practical. There, the future Republic appeared in miniature: school, clinic, water, garden, science, art, order, service, and moral seriousness.

No grandstand. No slogans. No applause machine. Just the hard, quiet labor of making human beings better and community life more livable.

This is why Rizal’s birthday belongs naturally after Flag Day and Independence Day.

The flag gives the Filipino a symbol. Independence gives the Filipino a political claim. Rizal gives the Filipino a moral measure.

Without the flag, memory has no visible form. Without independence, memory has no public sovereignty. Without Rizal, sovereignty may lose conscience.

Rizal reminds us that the true measure of the nation is not only territory, population, GDP, military strength, or diplomatic posture. These matter, but they are not enough. The deeper question is anthropological and spiritual: What kind of human being is the Filipino becoming?

The world today is wealthy in technology but poor in wisdom. It can move capital, edit genes, build artificial intelligence, and destroy cities from the sky, yet still struggles to form human beings capable of compassion, restraint, truthfulness, reverence for life.

Here the Filipino may yet have something to offer.

Our history has wounded us, but it has also deepened us. We know suffering, migration, family, prayer, laughter amid ruin, and the art of absorbing many worlds while still singing in our own voice.

At our best, we know that life is not merely possession, but relation-kapwa, loob, kaloob, bayanihan.

These are not museum words. They may be seeds for the future human being.

Rizal understood this before we fully did. He was modern, but not soulless; rational, but not cold; patriotic, but not narrow. He loved the Philippines, yet belonged to the world. He carried pain, but turned it into vision.

That is why June 19 must not be allowed to shrink into annual homage. It must become an annual self-examination.

Are we forming Rizalian Filipinos – young people who can think clearly, feel deeply, work competently, serve generously, and stand courageously before falsehood? Are we preparing citizens for the Republic, or merely workers for the economy and voters for the next election?

Rizal’s birthday reminds us that national destiny begins in formation. Before a country can rise, a human being must rise. Before a Republic can be renewed, conscience must be awakened.

Before development can become humane, the soul must govern skill.

Elias died before morning. Rizal died before the Republic matured. We have seen more dawn than they did.

The question is whether we have become worthy of the light.

Drought fears spur PHL rice purchases

Imported rice arrivals jumped to 3.34 million metric tons (MMT) in January to July despite government efforts to limit shipments by halting the entry of the 5 percent broken variant to support domestic farmgate prices.

Socioeconomic Planning Secretary Arsenio M. Balisacan said the inability of the country to open more irrigated areas has contributed to the continued reliance of the Philippines on rice imports.

In a chance interview during the Senate budget hearing last week, Balisacan said the country’s total irrigated area has practically remained unchanged over the past 10 years, limiting its ability to make farmland more productive.

‘Our capacity to develop our farmlands into more productive lands by developing irrigation system, constructing (irrigation) has practically been not very slow, (it’s) almost flat,’ Balisacan told reporters.

Figures from the Bureau of Plant Industry (BPI) showed that imported rice shipments in the 7-month period rose by 29.47 percent to 3.34 MMT, from the 2.58 MMT recorded in the same period last year.

On a monthly basis, rice arrivals in July rose by almost 15 percent to 548,046.74 metric tons (MT), from the 477,758.525 MT in June.

As of August 13, however, BPI data indicated that rice shipments have reached 3.46 MMT.

Of the latest volume that arrived in the Philippines, 2.59 MMT came from Vietnam, which remained the country’s leading supplier of the staple grain. This was followed by Thailand at 378,404.278 MT.

The Philippines also purchased rice from other nations, including Myanmar (286,052.650 MT), Pakistan (107,485.5 MT), Cambodia (87,802 MT), and India (13,101.830 MT).

Earlier, Agriculture Secretary Francisco Tiu Laurel Jr. asked importers to stop bringing in 5 percent broken rice starting July, as it poses stiff competition to local palay (See: https://businessmirror.com.ph/2026/07/02/da-to-importers-stop-bringing-in-5-broken-rice/).

He said the move is meant to help prop up farmgate prices of paddy rice, which tends to go into freefall during the main harvest season.

‘The farmgate price of palay during the mid-September to October harvest shouldn’t plunge to P8 to P12 per kilo like what happened last year,’ he said.

‘That’s our main challenge, and we’ve thought of a solution. We will no longer allow the entry of 5 percent broken rice into the Philippines starting now. It should only be 25 percent broken rice or worse (grades).’

Meanwhile, Agriculture Assistant Secretary Arnel de Mesa attributed the surge in rice imports to the market’s ‘natural response’ to the compounding factors that rattled the sector, such as hike in input costs and the potential impact of El Niño on production.

De Mesa also said rice imports this year could reach a new all-time high due to the spike in fertilizer and fuel prices affecting palay production.

Input prices previously skyrocketed to record levels, owing to the Middle East war that closed the Strait of Hormuz and choked off oil shipments.

Data from the Philippine Statistics Authority (PSA) showed that palay harvest in January to June slid by 0.6 percent to 9.02 MMT, from the 9.08 MMT recorded in the same period last year.

Population growth

The country’s chief economist said population growth has also outpaced rice production growth, with the population expanding by 1.23 percent annually compared with 0.9 percent for rice production.

He said the gap has persisted for years, leaving imports necessary to meet the country’s rice consumption needs.

Apart from limited irrigation expansion, Balisacan also cited the conversion of productive agricultural land to other uses as another factor behind insufficient domestic production.

‘We should pass our National Land Use Code so that it can properly designate the areas that should not be converted to other uses,’ he said.

Balisacan particularly pointed to agricultural areas where the government has already invested in irrigation, saying conversion of these lands would mean wasting those investments.

The proposed National Land Use Act is among the common legislative agenda identified by the Legislative-Executive Development Advisory Council (Ledac) for passage by the end of the 20th Congress.

The measure seeks to establish a national framework for the ‘rational, holistic, just allocation, utilization, management, and development of land and water resources’ across the country.

The bill is now being considered by the Senate after the House of Representatives approved the proposal on third and final reading in May.

Oil firms slate ?3 rollback

OIL firms are implementing a rollback this week by as much as P3 per liter.

Seaoil said it will slash diesel and kerosene prices by P3.83 and P3.84 per liter, respectively. Meanwhile, gasoline will be sold P0.32 per liter cheaper.

Shell, for its part, will reduce kerosene and diesel prices by P3.80 per liter. For gasoline, it will sell it at P0.30 per liter cheaper.

The new pump prices will take effect Tuesday, September 1.

Other oil firms have yet to announce their price rollbacks as of press time.

Last week, oil companies increased pump prices by P1.08 per liter for gasoline, diesel by P2.31, and kerosene by P0.95.

Indonesian motorists lift H1 toll revenues of MPIC unit

Metro Pacific Tollways Corp. (MPTC) grew its toll revenues by 8 percent to P19.6 billion in the first half, as newly opened road sections and stronger operations in Indonesia offset a soft domestic market where Philippine traffic slipped 1 percent.

The wider regional network-now spanning more than 1,100 kilometers of toll roads across the Philippines, Indonesia and Vietnam-pushed average daily vehicle entries up 1 percent to about 2.5 million.

Indonesia led the gains with 3-percent traffic growth to 1.67 million entries a day, while Philippine roads averaged 715,200 daily vehicle entries.

Revenue was buoyed by the opening of Cavitex C5 Link Segment 3B Phase 1 and Calax Subsection 3, which brought more of the company’s network into service.

In Indonesia, steady logistics activity, scheduled tariff adjustments and improved toll-road access amid ongoing road works also lifted performance.

MPTC, a subsidiary of Metro Pacific Investments Corp. (MPIC), said its share in the net earnings of equity investments in Indonesia further boosted core profit.

‘Our first-half results reflect a broader and still-expanding regional business. Traffic in the Philippines is only one part of the picture. New road openings, stronger Indonesian operations and our equity investments all contributed to the period’s performance,’ the company said.

The Indonesian contribution traces to MPTC’s late-2024 investment in PT Jasamarga Transjawa Tol (JTT), which manages a 676-kilometer network of 13 strategic toll roads across West Java, Central Java and East Java.

At home, MPTC spent P7.6 billion in capital expenditures during the first half, down 5 percent year-on-year as right-of-way and related construction issues affected completion schedules. Ongoing works include Nlex Segment 8.2 Section 1A from Mindanao Avenue to Quirino Highway, the remaining Calax subsections, the Cavitex-Calax Link Expressway, Cavitex C5 Link Segment 3B Phase 2, and the Nlex Connector.

The company said toll adjustments are implemented only after regulatory approval and are meant to fund the operation, maintenance and continued development of expressways under their concession agreements.

It added that it has extended toll relief worth more than P2 million a day to qualified public transport and freight operators under government transport-support programs.

‘Our priority remains the same: keep our roads safe and reliable, finish critical links as quickly as right-of-way and construction conditions allow, and deliver better mobility for motorists, commuters and businesses,’ MPTC said.

Legislator wants total ban on digital gambling ads

Warning that the rapid expansion of digital gambling has effectively placed a casino within reach of every smartphone user, Cebu Rep. Karen Hope Garcia has filed a measure seeking to prohibit the advertising and promotion of online gambling across traditional and digital platforms.

House Bill 10982, or the proposed Online Gambling Advertising Prohibition Act of 2026, seeks to ban advertisements, promotions, endorsements, and sponsorships involving online gambling in the Philippines.

‘Every smartphone is now a potential 24-hour casino,’ Garcia said, arguing that the accessibility of online gambling has been amplified by aggressive marketing strategies that reach consumers through multiple channels.

Under the proposed measure, the prohibition would cover television, radio, print publications and billboards, as well as social-media platforms, websites and mobile applications.

Search-engine advertisements, targeted digital campaigns, influencer and affiliate marketing, email and text-message promotions would likewise be covered.

Cemap: Tatak Pinoy opens room for factory output

THE government’s push to favor locally made goods in public procurement could give local manufacturers a steadier market, with the Cement Manufacturers Association of the Philippines (Cemap) saying the Tatak Pinoy strategy could help reduce the country’s reliance on imports over time.

Cemap President John Reinier Dizon, who was recently appointed as a private-sector representative to the Tatak Pinoy Council, said the strategy’s broader objective is to encourage more manufacturing activity in the country.

‘Hopefully in the long run we would become less import-dependent. Nothing wrong with importation, but we need to watch out for our balance of trade,’ Dizon said on Monday in a televised interview.

His remarks came as businesses contend with the peso’s recent slide past the P62-to-the-dollar level, which has raised the local cost of imported fuel, raw materials and other inputs.

‘We’re all observing the peso devaluing and, you know, it’s frankly impacting the businesses in the country. We are, as you know, still highly import dependent on oil and gas and a number of consumer goods,’ he said.

Republic Act 11981, or the Tatak Pinoy (Proudly Filipino) Act, which was enacted in February 2024, is the country’s first national industrial policy institutionalized through law.

It seeks to expand the productive capabilities of domestic enterprises and enable them to produce more ‘globally competitive goods and services.’

The Council oversees the formulation and implementation of the Multi-Year Tatak Pinoy Strategy, which sets the policy’s priorities across government and the private sector.

For manufacturers, meanwhile, one of its more immediate implications is government procurement.

‘Given a choice between importing products, if the product that a manufacturer is looking for is locally available, we do encourage that the local supply be preferred. That is also part of the Tatak Pinoy Act, particularly for government procurement,’ Dizon said.

Government, he added, accounts for a large share of overall procurement, giving it the capacity to create demand for locally produced goods.

The policy push comes as manufacturing activity has started to pick up. Philippine Statistics Authority (PSA) data showed the Volume of Production Index for manufacturing rose 10.1 percent in June, sharply faster than the 2.3-percent growth recorded a year earlier.

The country still faces external pressures, including geopolitical tensions and the Middle East crisis, but Dizon argued that manufacturing needs to expand alongside the country’s growing labor force.

‘We have easily 65 to 70 million working population, and we’re adding one million per year because of our demographics. So we need to create more jobs. We need to spur up manufacturing,’ he said.

Despite a rise in unemployment, the number of employed Filipinos increased to 50.66 million in June from 50.47 million a year earlier. The labor force also expanded to 53.25 million from 52.42 million.

For Dizon, strengthening domestic manufacturing ultimately comes down to creating demand for what local companies produce. ‘Let’s all support local industries. Let’s all buy local. And in that way, we create what is called the multiplier effect,’ he said.

Recent data from the PSA showed exports reached $54.92 billion in the first seven months of 2026, while imports totaled $92.26 billion, leaving the Philippines with a $37.34-billion trade deficit.

Tieza OKs ?350-M Mt. Isarog project for watershed, tourism

THE Tourism Infrastructure and Enterprise Zone Authority (Tieza) has approved a project aimed at protecting a critical watershed, as well as boosting visitor arrivals in Naga City, Camarines Sur.

Tieza Chief Operating Officer Dr. Mark T. Lapid told the BusinessMirror he recently visited Naga City Mayor Maria Leonor Gerona Robredo to officially inform her that the Tieza Board has approved her P350-million request to fund the development of the 25-hectare Mt. Isarog National Park.

‘We are already preparing the bid documents for the project,’ he said, which is ‘necessary to protect a critical watershed, while enabling sustainable economic growth for Naga City and its surrounding communities.’

While the vital project was proposed by Robredo for 2027 Tieza funding, Lapid said it needs to be fast-tracked ‘before our funds run out.’

Lawmakers continue to push the removal of the travel tax, without identifying alternative funding sources to aid the development of tourism destinations.

Ecological stability in Bicol

AS per the Tieza project brief, Mt. Isarog serves as a ‘primary source of water and ecological stability in the Bicol Peninsula [and thus,] plays a vital role in sustaining agriculture, domestic water supply, and biodiversity.

The absence of proper infrastructure and management mechanisms exposes the area to environmental degradation caused by unregulated access and informal activities.’

Tieza added, ‘The proposed development addresses these concerns through the provision of controlled access, visitor facilities, and environmental protection measures, ensuring that tourism activities are conducted in a sustainable and regulated manner.’

Under the project, the scope of work includes the provision of Forest Park administrative office and pre-park amenities; camping grounds, lodges, and spa; the repair of existing facilities; installation of wildlife conservatories; waterfalls development; canopy walks and trails; landscaping; and hauling works; among others.

In May, Robredo unveiled a new tourism brand for the city, with the slogan: ‘Naga is the heart,’ identifying it as the gateway to Bicol Region. No updated figures have been made available, but in 2022, Naga City attracted some 2.2 million tourists, of which, 2.13 million were domestic travelers, and 57,522 were foreigners.

She has also met with industry leaders to secure their inputs on how to improve tourism in the city.

‘No construction of big structures’

MEANWHILE, in a post on her Facebook page on August 26, Robredo said the Mt. Isarog project ‘will rehabilitate or repair structures originally built by the Department of Environment and Natural Resources, many of which have already deteriorated due to years of neglect and underutilization.’

She added that the project is being pursued not only to promote Mt. Isarog as a tourism destination but, more importantly, to help preserve its ecology. ‘Preservation of the ecology at Mt. Isarog is a component of the project,’ said Robredo said.

The mayor noted, however, that they didn’t want over-tourism in Mt. Isarog. Instead, the project that Tieza will fund, will focus on enhancing existing facilities and providing more opportunities for adventure activities without damaging the environment.

‘There will be no construction of big structures or facilities,’ she said, emphasizing that the goal is to promote tourism, while protecting the natural environment.

Lapid also visited Naga to inspect other Tieza-supported projects in the Bicol region, including the ecotourism project in Pasacao, Camarines Sur, as well as the Peñafrancia Museum, which is nearly completed.

Aside from Mt. Isarog, the annual Peñafrancia Festival, which honors the Our Lady of Peñafrancia, attracts millions of visitors to Naga. The latter, held every September, is reputed to be the largest Marian celebration in Asia.

Filipino student’s jeepney artwork wins UPS envelope design contest

THE traditional Filipino jeepney, in all its rugged vibrancy, is set to travel across the world on an envelope.

De La Salle-College of Saint Benilde (DLS-CSB) student Lauren Kerby Obaldo and his jeepney artwork won the 2026 Philippine edition of the UPS Express Envelope Design Competition, besting more than 400 submissions. Obaldo’s grand prize-winning entry, titled Haraya sa Kalsada, will be reproduced on an official UPS Express Envelope used by customers in the Philippines for international shipments under the shipping and logistics company’s massive network of 220 destinations worldwide.

‘I thought that the jeepney is important to our culture, especially na nakakalimutan na ‘to ng iba dahil sa modernization. Gusto ko lang i-imply na part ‘yung jeepney ng life and culture natin as Filipinos,’ the incoming sophomore Multimedia Arts student said last week at the Ayala Museum, where the top entries were recognized and showcased in an exhibit.

Obaldo’s design shows a textured depiction of the cultural icon skipping on the road beneath festive banderitas. Meanwhile, its driver in barong Tagalog peeks out of the vehicle with a smile and a wave, as the orange gradient background represents hope and a brighter future for the country.

This year’s competition featured UPS’ partnership with DLS-CSB, inviting students to reimagine the UPS Express Envelope. The initiative was launched in Japan in 2023 and expanded to Singapore in 2025.

‘Through this competition, we wanted to create a platform for young creatives to showcase their talent and bring fresh perspectives to one of the most recognizable symbols of our company,’ said Russell Reed, managing director for UPS Philippines and Indonesia. ‘What impressed us most wasn’t just the artistic talent on display, but the originality and thoughtfulness behind every submission.’

For this year’s contest, the students worked with three themes. The list included ‘Roots of Progress,’ which center on Filipino culture, values and heritage, and resilience as the ability to adapt and move forward.

There’s also ‘Galaw ng Bayan, Abot ang Mundo,’ which focuses on connectivity, and how stronger connections open access to global opportunities. Lastly, ‘Clark Rising: Asia’s Center, Philippines’ Pride’ showcase innovation and modern infrastructure that place the Philippines within Asia’s network. The theme draws inspiration from UPS’s upcoming Clark Hub, which will open later in 2026, envisioned to strengthen connections between local businesses and the global marketplace.

Each submission was scored based on creativity and originality, visual appeal and design, design message and thought, and applicability of the design to logistics. From the 400+ submissions, DLS-CSB shortlisted 69 entries, or 23 per theme. It was trimmed down to half through public voting via the school’s official Facebook page, and then through another round of voting, this time by UPS employees in the Philippines. Finally, Filipino contemporary artists Jigger Cruz, Demi Padua, and Olivia d’Aboville, along with art patron Lisa Ongpin-Periquet, ranked the top three winners in each category and selected the overall grand prize winner.

Aside from the grand winner’s design being printed on the official UPS Express Envelope and distributed across Asia Pacific, there was also an additional P18,000 in shopping vouchers as a prize for first-placers per theme. Second placers got P12,000 in shopping vouchers, and third-placers P6,000 in the same value. The first-placers for each theme were Aleana Szobelle P. Lallamant’s Started From the Bottom Now We’re Here! for ‘Roots of Progress,’ Jana Lois D. Oliveros’ Reach for the Waves for ‘Galaw ng Bayan, Abot ang Mundo,’ and Obaldo’s Haraya sa Kalsada for ‘Clark Rising.’ From these three, Obaldo was chosen the grand winner.

‘What makes each edition [of the UPS Express Envelope Design Competition] special is seeing how local students interpret the challenge through their own culture and experience,’ said Benedict Wu, Vice President of Marketing for UPS Asia Pacific. ‘I can honestly say that the DLS-CSB students made this chapter a very memorable one.’

According to Angelo Marco Lacson, vice chancellor for academics, DLS-CSB, they value partnerships like this with UPS, as they bring learning beyond the classroom and allow students to create for a real-world, global platform.

‘For our students, seeing their ideas move from the classroom into the real world is incredibly meaningful,’ he said. ‘It affirms that their creativity has a place, and an audience, beyond De La Salle-College of Saint Benilde.’