“I know everybody is happy in Philippines” says Manny Pacquiao (Philippines most famous boxer turned politician) and why wouldn’t they.
The country of Philippines has over forty youth oriented shows, a hundred and twenty comedy shows, one hundred and twenty drama series, sixty fantasy series, forty game shows, seventy soap operas, almost a hundred news channels and much more to entertain a Pinoy population of over 102 million people. The Pinoy TV shows have spread across the globe like a welcomed side attraction attracting Asians from all over the world. Their audience are obviously those group of people who understand the Tagalog language commonly spoken in Philippines but most recently a surge has been reported in the popularity of Pinoy tv shows such that the natives of English speaking countries such as USA, Canada and other countries like Cambodia and Kazakhstan, have started watching the Pinoy sitcoms and dramas interpreted in English and other respective native languages.
Due to its non complex and close to reality plots, the ideology behind the Pinoy tv shows that attract the masses is the fact that the audience sitting at home feels the storyline of these dramas reflect the problems faced by Filipinos in their teenage and post marriage years. Mostly there is a romantic plot followed by a sharp twist folded in beautiful Filipino music. One more reason behind the rising global spread and fame of these Pinoy TV shows is the Filipino workforce itself working abroad all over the globe. Known for their perfection in whatever task they make take, the Filipinos are known for upholding their culture and language. In a survey of 2015, over 2.47 million Filipinos were working abroad. The spread might have increased 50% by the year 2016, which helped in upgrading the Pinoy tv to a major reality in the entertainment world.
Just like every high has a low, there is, however, a less attractive opinion about the colorful pinoy television surfacing. An insight into the content of the Pinoy dramas and sitcom gives a feeling of display of monotonous issues and comical themes that are” less comedy and more noisy” when it comes to script writing. In order for an entity to survive in the market, it needs to keep shape shifting to blend in. Same is the case for the entertainment industry, where Pinoy tele dramas and theatre needs to upgrade itself to the standards of reigning American / British sitcoms and soap operas to survive in the lime light and glamour. A stereotypical way of dressing and use of old Tegalog scripts no longer used by the Asian community needs to be dealt with along with the picture quality and in some cases, “larger than life” plots.
The popularity of Pinoy TV shows series and operas can be described as a “caterpillar about to become a butterfly”. Despite being in the entertainment business for over 60 years it’s still an emerging yet naive market. No matter what but the reality of the situation is that in the dark dim lit streets of France, shabby labor apartments of Dubai, high rise apartments in UK or under the bridges of New York, the laughing, jingling sounds of the Pinoy actors and actresses followed by a chorus of laughter of its audience can be heard even from a great distance.