Latest News

Stories of inspiration and hope today from the lift life workshop for aspiring women entrepreneurs. This is a program of #angatbuhay, with the help of our partner from the Bohol Investment Promotion Center (Bipc), which aims to guide our women on how to start a business, and give them a skill for financing, training, business development, housing & resettlement, and women empowerment. We believe this is the first step for our women to stand on their own feet.

Once again, we are very grateful to our partners: Mayor Leonila Montero of panglao; Ms. Boots Garcia and the spark! Philippines; Ms. Christine Romero, from j. Amado Araneta Foundation; Ms. Dalareich Polot, from gold fine chocolates corporation; and Mr. Reginald Ong, from Bohol Chambers of commerce and industry (BCCI). Because of their conviction and solidarity with us, we have more affordable dream of a better future for our fellow filipina.

Ringu director Hideo Nakata returns from whence he came with Sadako, another J-Horror offshoot inspired by Kôji Suzuki’s malevolent novels. Audiences more familiar with Gore Verbinski’s The Ring remake should understand this foreign import favors storytelling over paralyzing scares – or, at least attempts to highlight scripted intrigue. That’s not to say previous Ringu-adjacent titles care only about jumps, but Sadako barely musters enough fear to meet Shudder’s Sadako vs. Kayako crossover. Which, if you’ve seen the heavyweight rumble, isn’t a particularly high bar to vault over.

Elaiza Ikeda stars as psychologist Mayu Akikawa, a hospital employee whose latest patient is an abandoned child (Himeka Himejima). Elsewhere, Mayu’s YouTube (equivalent) “celebrity” brother Kazuma (Hiroya Shimizu) is off embarrassing himself for internet clicks. As Mayu observes the child, information about her upbringing suggests ties to a name best not uttered. At the same time, Kazuma seeks subscriber-base fame by exploring a burned apartment building (lil’ mystery patient’s former home) currently condemned because of its “haunted” past. It’s not soon after that Kazuma goes missing, Mayu finds a strange clip spliced into Kazuma’s videos, and the legend of “Sadako” begins anew.

Writer Noriaki Sugihara reimagines Sadako’s outreach through live streaming and viral video terms. We’ve evolved from damned physical media to tainted online clips, much like in 2017’s Rings. Sadako opens the door to prankster personalities spreading subliminal curses through their latest “pick up girls in a mini-truck” uploads (actual video we watch), teasing how Sadako can continue to claim souls. It’s a necessary reinvention in terms of modernization, but also only half fleshed-out deciphering when Sadako appears and in whose videos. Kazuma awakens the beast by infiltrating soiled grounds, but why does Japan’s next hopeful Logan Paul become afflicted? As we learn, that’s nary most important.

Nakata’s vision for Sadako is that of an unsettled drama favoring talisman mysticism over in-your-face screams. Gone is Sadako’s well, now an island cavern system where children were once swallowed by tidewaters as a form of sacrifice. There’s more to learn about a small psychic child whose mother once tried to burn their apartment down thinking her daughter was Sadako incarnate – who was also saved by Sadako? But then is followed and chased by Sadako? Mayu’s motivation – powered by her loneliness as an orphan – is always to protect the rescued child under her watch. It’s just that Sugihara’s smashup of Kazuma’s disappearance and the child’s relationship to Sadako confuses already flimsy trajectories. Two subplots fighting for dominance, loosely wrapped together with ties that struggle to bind.

While Mayu freeze-frames Kazuma’s posted content and analyzes new black-and-white clips incorporated by Sadako, it’s hard to ignore how the chilling imagery that once defined Ringu is missing. Even Slender Man features scarier, more invasive imagery when playing its “infectious” recording. Save for one throwback instance where Sadako crawls through a digital television barrier towards one cowering victim, Sadako’s hair-covered presence is never maximized. A ghostly-pale hand may grab someone’s shoulder, Sadako’s bones crackling as she crawls on all fours, but there’s a disappointing sense of devolved thrills throughout Nakata’s latest. Kazuma’s shaky-cam gasps, Sadako’s lurking within reflections, waterfront lair submerging – all such downplayed traumatization.

Benefitting the slower and more casual tone of Sadako is a score that reminds of Italian classics and instrumentally inclined orchestral efforts. Original scoring teases mystery over horror, which – in this case – is a vital necessity. Mundane detective work finds an alluring backdrop in the form of musical accompaniment, building atmosphere through what we hear more than the visuals Nakata’s team puts on screen. Sound design benefits Sadako and livens scenes where a lack of villainy might become more noticeable otherwise.

For the record, I’m not coming down on Sadako for being an investigative ghost story and less a shocking nightmare. It’s more how the pieces fit – or, in this case, fail to interlock – as we’re left scratching our heads over what Sadako’s placement in this revamped world even means. Attempts at backstory only lead to more blurry beginnings, retreading the same Ringu blueprints but without freakish intensity, provoked squeals, or signature devastation that once dominated international markets. Sweeter sentiments fail Sadako’s latest uprising, paling in comparisons to both American and Japanese franchise entries.

Sadako is a frustratingly procedural demonic spiral from Hideo Nakata. It’s sleepy, listless, and favors moments pulled from soap opera architectures that counteract any attempts at purified horror. For how iconic Sadako and Samara have become, 2019’s return doesn’t showcase the same class of terrifier. Evilness and familial drama can coexist compatibly, scaring and heartwarming in equal bursts, but Sadako balances neither element favorably. Alas, falling prey to the greatest of all cinematic sins: numbing blandness.

Well-known actor, comedian, and retired professional basketball player Benjie Paras once more renewed his ties with Jardine Distribution, Inc. (JDI) and SureSeal Elastomeric Sealant in a contract signing with Peachy Tiu, JDI Construction Supplies Division AVP, last June 6 at Chili’s Bar and Restaurant in San Juan City.

As a family man, certified do-it-yourself enthusiast, and skilled “handyman around the house,” Paras has always trusted JDI products and services, particularly SureSeal Elastomeric Sealant, which he uses to effectively repair leaks in the house.

“I am grateful to JDI and SureSeal for making me an endorser for the fourth consecutive year. As I have mentioned before, I was a longtime SureSeal user before I signed up to pitch for the product. I can assure all homeowners that you will be in good hands when you use it,” Paras stated during the contract signing.

SureSeal, an elastomeric, solvent-release, temperature curing sealant, is applied in various substrates as an effective sealing and bonding agent. When cured, it transforms into a strong, rubber-like gasket that offers reasonable contraction, motion, and expansion of connected elements without losing adhesion.

Best used in GI roofing, PVC pipes, downspouts and gutters, SureSeal is made of polychloroprene rubber, resulting in very tough adhesion of joined substrates. It is also available at a much affordable price compared to other elastomeric sealants.

Jardine’s line of Waterproofing, Adhesive and Sealants, Wood Preservative and Protection, and Home Pest Solutions are available at leading supermarkets (Shopwise, Rustans, Wellcome), DIY stores (Handyman, Ace, Citi, and Wilcon), and in your nearest hardware store, among others. Jardine products are also available online at https://www.lazada.com.ph/shop/jardine-distribution-inc/. For more information, go to www.jardinedistribution.com.ph.

GMA Network continued its stronghold in the key areas of Urban Luzon and Mega Manila in June, according to the latest data from ratings service provider Nielsen TV Audience Measurement.

From June 1 to 29 (with June 23 to 29 based on overnight data), GMA posted an average total day people audience share of 35.3 percent, which outscored ABS-CBN’s 30.7 percent in Urban Luzon. The viewer-rich area accounts for 72 percent of all urban TV viewers in the country.

The Kapuso Network led in the afternoon block with 36.3 percent audience share, versus rival network’s 32.9 percent.

GMA Network also posted winning numbers in the evening block with 38.1 percent as against ABS-CBN’s 30 percent.

Kapuso shows again dominated Urban Luzon’s list of top-rating programs in June with Kapuso Mo, Jessica Soho (KMJS) remaining unbeatable in the number one spot. KMJS was likewise the most-watched program in National Urban Philippines.

Included in the list as well were Sahaya, Kara Mia, 24 Oras, Daddy’s Gurl, Magpakailanman, Starstruck, Pepito Manaloto, Love You Two, and Daig Kayo ng Lola Ko.

Eat Bulaga, Studio 7, Kapuso Movie Night, Imbestigador, Amazing Earth, Bihag, Wowowin, and Bubble Gang also made it to the top programs list.

Similarly, GMA Network ruled in Mega Manila, which accounts for 60 percent of all urban viewers in the country.

Based on official data from June 1 to 22, GMA recorded 36.3 percent average total day people audience share, beating the 28.8 percent of ABS-CBN. In Mega Manila’s list of top-rating programs, 21 out of the top 30 shows were from GMA.

Nielsen TV Audience Measurement’s client pool covers a total of 32 clients/subscribers consisting of 6 local TV networks including ABS-CBN, TV5, Aksyon TV and CNN Philippines, among others; 3 regional clients; 2 blocktimers; and 21 agencies (17 media agencies, 3 consulting agencies, and 1 digital agency).

Back at the start of the decade, did you ever think that in 2019, there’d be beef between the Terminator and Donald Trump? Well, here we are.

Arnold Schwarzenegger has been forced to clarify he is alive after President Donald Trump appeared to claim he was dead.

The action legend has had some health problems recently, undergoing heart surgery in April 2018, but he’s still very much here and fitter than most of us will ever be. Which makes it all the stranger that the US President said he was ‘there’ when Arnie died, as he spoke at a social media summit. Yahoo’s White House Correspondent Hunter Walker tweeted: ‘“Arnold Schwarzenegger … You know what? He died … I was there.” – President Donald J. Trump — Arnold Schwarzenegger is, in fact, alive.’ And Arnie, 71, was keen to set the record straight.

The former Governor of California tweeted: ‘I’m still here. Want to compare tax returns, @realDonaldTrump?’ Being sassed by the Terminator – ouch. It turns out, however, that Trump didn’t think Schwarzenegger had actually kicked the bucket – he was apparently talking about the ratings of the Celebrity Apprentice dying when Arnold took over from Donald in 2015.

Y’know, the real issues America is facing. Trump mocked the ratings of Celebrity Apprentice after he left (Picture: Michael Brochstein/Sipa USA) Walker tweeted: ‘The president was talking about Apprentice ratings when he quipped that Schwarzenegger “died.” Real life and death stuff.’ Trump has had a real bee in his bonnet about the Twins star taking over as the Celebrity Apprentice host when he decided to run for office. He repeatedly mocked Arnold’s ratings, saying at the National Prayer Breakfast in 2017: ‘They hired a big, big movie star, Arnold Schwarzenegger, to take my place.

And we know how that turned out. The ratings went right down the tubes.

It’s been a total disaster. And Mark [Burnett, the creator of Apprentice] will never, ever bet against Trump again. ‘I want to just pray for Arnold, if we can, for those ratings.’

 

A former Sycamore High School (Cincinnati) teacher who had a sexual relationship with a student and initially was charged with sexual battery pleaded guilty to a low-level felony Friday and was sentenced to probation.

The case against 27-year-old Jennifer Walsh took a dramatic turn earlier this week, when she was in the process of being sentenced on a gross sexual imposition charge. She had pleaded guilty to that charge in early June and faced up to 18 months in prison.

On Wednesday, the lead detective told Hamilton County Common Pleas Judge Jody Luebbers that he believed the relationship between Walsh and the female student, who was 17 at the time, “was actually real…and it will probably continue to be real.”

Montgomery police Detective Steve Hoy also said Walsh had been truthful and cooperated with him throughout the investigation. He asked for leniency.

The student, now 18, told Luebbers that she never felt coerced. She wasn’t in a class with Walsh.

“I am completely in love with this woman, without a doubt,” she said.

Luebbers then stopped the sentencing, and according to Walsh’s attorney, Stew Mathews, asked prosecutors to reconsider their case.

Mathews said in an interview he had never seen that happen before.

“That closer look was spurred by Judge Luebbers, who’s compassionate and has a huge heart,” he said.

On Friday, prosecutors allowed Walsh to plead guilty to the new charge, interference with custody, and Luebbers imposed a one-year probation term.

Luebbers called the case “truly unique.” She said the female student wasn’t harmed and “engaged in this conduct willingly.”

“The detective said you’re not a sexual predator,” she told Walsh, “and I don’t think you are, either.”

Walsh, a special education teacher and girls junior varsity lacrosse coach, resigned in October 2018, three days after a report was made to Montgomery Police. Job and Family Services contacted police, documents say.

Walsh has lost her teacher’s license and won’t be able to teach again. She didn’t make a statement Friday, but at Wednesday’s hearing apologized, saying, “I would just like the opportunity to get back on my feet.”

Thank you Argentina, Australia, Austria, Bahamas, Bulgaria, Croatia, Czech Republic, Denmark, Fiji, Iceland, Italy, Mexico, Peru, Slovakia, Spain, Ukraine, UK Great Britain and Northern Ireland, and Uruguay for caring about the thousands of our poor countrymen who have been killed in the Philippine government’s deadly war on drugs.

These countries have called for the Philippine government to "take all necessary measures to prevent extrajudicial killings and enforced disappearances, to carry out impartial investigations and to hold perpetrators accountable, in accordance with international norms and standards, including on due process and the rule of law."

We urge the government to heed the call of the resolution of the United Nations Human Rights Council which also calls on it to cooperate with UN offices and mechanisms by facilitating country visits and "refraining from all acts of intimidation or retaliation."

We hope this resolution will convince the Executive department, the AFP and the PNP, and leaders of both Houses of Congress to rethink its drug war policy and find real, long-lasting solutions to the drug menace that places a premium on respect for human life. Daily killings while failing to go after drug syndicates is not the solution to eradicating the menace of illegal drugs.

We also urge the Supreme Court to view this resolution as a signal that the international community is deeply concerned about the deteriorating human rights situation in the country, and to act swiftly to correct the situation by ruling on the tokhang cases still pending before it.

Long after the Duterte administration is gone we will all be judged as to where we stood as the mass murder of our hapless poor was taking place in our country. Taken from Kiko Pangilinan Facebook