In the riveting soap opera of Philippine showbiz, the rumor mill is churning faster than a conspiracy theorist’s brain on caffeine. 

Toni Gonzaga, known for her plot twists both on and off-screen, is allegedly making a U-turn back to ABS-CBN, the anti-Marcos haven, leaving ALLTV in the dust. The irony is thicker than a teleserye plot as her husband, Paul Soriano, bids adieu to his role as Bongbong Marcos’ Special Assistant for Creative Communications. Are the Gonzaga-Soriano duo staging a coup against the Marcoses, or is this just another ingenious marketing strategy?

Perhaps Gonzaga is a secret fan of non-existent, no-franchise networks, or maybe she’s just nostalgic for the good old days of black-and-white TV. Either that or her crystal ball predicted the rise of holographic broadcasting. Whatever the reason, the real mystery here is why anyone would voluntarily leave a job with a title that sounds more fictional than the latest teleserye plot twist. Stay tuned for the next episode of “As the Network Turns.”

MENLO PARK, California (The Adobo Chronicles, Menlo Park Bureau) – Blame it on its PR Department, but ABS-CBN’s Meta/Facebook account has been indefinitely suspended.

It all sprung from a post by ABS-CBN’s PR Department announcing the passing of actress Maricel Soriano — or at least the character she played in the teleserye — “Pira Pirasong Paraiso.”

The FB announcement shocked fans thinking Soriano had passed on. It was actually the character Amanda Barrameda she played who had passed.

But worst of all, the ABS-CBN post included a graphic of a knife which led fans to believe that Soriano was killed through a knife attack, a violent way for anyone to leave this earth.

Facebook’s community standards couldn’t be more clear about the ban on posting violent photos and graphics about killing weapons, including knives!

by Pol Pinoy

Oh, what a travesty it is that Nora Aunor’s cinematic masterpiece “Pieta” has been snubbed, overlooked, and unceremoniously left out of this year’s illustrious Metro Manila Film Festival! The disappointment among Noranians and Filipino film enthusiasts is palpable, as they were eagerly awaiting a rare opportunity to witness the magic of Philippine cinema’s true superstar.

It’s quite the cinematic paradox when a festival that claims to celebrate the best of Filipino cinema manages to exclude one of the most iconic figures in the history of Philippine entertainment. It’s as if they’ve decided to hold a Lechon Festival without the actual lechon. How can we possibly have a meaningful discussion about the true queen of Filipino cinema without considering the astounding contributions of Nora Aunor?

Instead, we are presented with a selection that includes the likes of the “Star for All Seasons” Vilma Santos and the “Mega Star” Sharon Cuneta. Now, don’t get me wrong; Vilma and Sharon have had their moments of glory, and they’ve given us some fantastic films over the years. But let’s not kid ourselves; they are but mere mortals compared to the celestial presence of Nora Aunor.

It’s like hosting a “Who’s the Greatest Actor of All Time” contest and omitting Meryl Streep while throwing in a few Hollywood newcomers. Nora Aunor is not just an actress; she’s a national treasure, a legendary performer who has transcended generations. Her contribution to Philippine cinema is nothing short of monumental.

The exclusion of “Pieta” from the festival is a blatant injustice, a cinematic crime of epic proportions. Nora Aunor is a national artist, for heaven’s sake! She deserves a spot at any cinematic gathering, especially one that claims to showcase the best of the best. Leaving her out is akin to hosting a fiesta without the lechon, a halo-halo without the leche flan.

But fear not, fellow Noranians and cinema enthusiasts. We know the true queen of Filipino cinema, and her reign transcends awards and festivals. Nora Aunor’s legacy will continue to shine, casting its brilliant light on the hearts of those who truly understand and appreciate her remarkable talent.

So, let the Metro Manila Film Festival have its moment in the spotlight with its other offerings, but let’s not pretend that it’s the definitive yardstick for measuring greatness in Filipino cinema. Nora Aunor, the Superstar and National Artist, will forever be etched in our hearts and in the annals of Philippine film history, regardless of any festival’s myopic decisions.