Mary Jane Veloso’s saga reads like a grim reality show—one where death row becomes the ultimate waiting room.
After over a decade of prayers, protests, and presidents, she’s finally home. Noynoy Aquino played the role of the unlikely savior, pleading with Indonesia to spare her life, while Bongbong Marcos surprisingly picked up the baton. But Rodrigo Duterte, ever the strongman, nearly turned her into collateral damage in his “tough love” diplomacy.
Meanwhile, local newspapers couldn’t resist the dramatic flair, effectively “killing” her in headlines the morning after her reprieve. Truly, nothing says “faith in journalism” like declaring someone dead when their heart is still beating.
Mary Jane’s story is a poignant reminder that in the Philippines, survival is less about justice and more about whose pen writes your fate. In the end, the irony is clear: Mary Jane defied death, but the system, as always, remains terminally ill.
Ah, Maurizio Cattelan’s Comedian—the pinnacle of human achievement, where the humble banana transcends its destiny as a smoothie ingredient and becomes high art.
A banana duct-taped to a wall has once again proven that the art world operates on a different plane of reality. $6.24 million for a perishable fruit! At that price, I hope it comes with a lifetime supply of potassium and a guarantee that it won’t ripen before the auction paperwork is signed.
But the real question isn’t why someone paid millions for it—it’s whether it’s the same banana. Are we witnessing the banana of 2019’s fame, preserved like some Dorian Gray of fruit? Or has it been replaced, secretly, like a museum’s centuries-old tapestry? If so, is this fraud? Or just… performance art?
Perhaps the duct tape is the true star, holding not just the banana but the fragile thread of our collective sanity together.
The Adobo Chronicles 
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