The Philippine film industry had suffered a significant decline during the 1960s. Hollywood movies predominated local screens, while only a few dozen local films were made annually. Fortunately, the introduction of digital film made independent Filipino filmmakers enter the field. Jon Red's Still Lives (1999) and Raymond Red's Anino (Shadows) were examples of this new trend. The rise of the Philippine film industry has also led to the success of several international films.

Despite the high quality of Teleseryes in the country, critics still claim that it was the 1950s when Filipino film began to mature and become more artistic. However, the rise of the "Pinoy Tambayan" genre was a period of instability for the film industry in the Philippines, and the studio system continued to produce films despite the low budget. Despite the mediocre quality of films, the studio system created a monopoly that stifled the development of independent cinema in the country.

The rise of celebrity-based television coverage

The growth of television celebrity-based programs in the Philippines is evidence of the increasing public attention devoted to this form of popular culture. Filipinos engage in overlapping categories of fandom, with these activities sometimes converging around particular texts or offline events. While these activities may be considered separate from other forms of engagement, such as buying celebrity-endorsed products, they are part of the entertainment public and, therefore, produce different forms of capital.

The Philippine entertainment industry is characterized by a rich history of popular cultural production. The nineteenth century saw the beginning of commercial entertainment networks, while radio and local theatre shows remained the mainstay of towns and cities throughout the 20th century. The 20th century saw the growth of television, radio, and digital platforms. Today, television and digital media are key elements of Philippine entertainment culture. This growth is only likely to increase as more Filipinos gain access to smartphones, computers, and the Internet.

In the late 1990s, celebrity-based television coverage of Philippine entertainment accelerated. Film and television stars were interviewed on midday shows and chat shows, while their performances on live shows across the country became more frequent. As a result, many celebrities began 'career-building' careers through film, recording, and comedy, and appeared in the gossipy entertainment press. These developments made celebrity endorsements more valuable and lucrative.

In addition to these new commercial media outlets, the Philippines also saw early growth in print journalism. The first formal newspaper was published in 1811, and Philippine newspapers contributed significantly to the anti-colonial movement in the late 19th century. During the 1950s and 1960s, the Philippine press was considered the licentious in the East. These developments in both news and entertainment media contributed to a thriving post-war entertainment industry.

In recent years, however, the Philippines has seen a resurgence of celebrity-based television coverage of Filipino entertainment. This trend has been fueled by a broader culture of celebrity-based television. The recent closure of ABS-CBN television has placed the entertainment media under threat from its government. However, these new networks are still very popular, despite their shortcomings. Nevertheless, some critics say that they have lost their credibility due to their lack of commitment to the Marcos administration and the country's interests.

The influence of digital and social media platforms

In this article, we examine the role of the Filipino entertainment public and the evolution of the digital and social media landscape in the Philippines. The entertainment industry has long been a source of political support in the Philippines, and new social media encounters with entertainment content have expanded and engaged publics. The new digital and social media platforms operate on the foundation of traditional televisual media, creating networks of viewers, followers, and fans that cultivate loyalty and various forms of capital.

The Philippines has long been a televisual nation, and with the advent of digital technologies, its televisual dominance has grown. However, the rise of social media platforms and mobile communication did not result in a significant decline in television viewing, and the influence of social media has not been as measurable as some had feared. Indeed, the growth of social media has helped television producers integrate content from new media platforms back into traditional broadcast programmes.

While most Filipinos continue to consume television content, Nielsen Global Video-on-Demand Survey shows that 81 percent of Filipinos now subscribe to an online video service provider. Of those, 85 percent watch VOD whenever they have free time, making the trend even more dramatic. While this disruption may still be a long way off, it is clear that the Filipino public is gradually adapting to the shift and watching their favourite shows at their own convenience.

While the Philippines is a relatively young country, it has been home to the largest concentration of Asian-language films and television shows. However, this does not mean that social media platforms have no influence on the Philippine entertainment industry. Its recent popularity has contributed to its emergence as a global phenomenon. For example, YouTube has helped local artists reach the United States. Social media has also given rise to the creation of a new generation of entertainment professionals.

The use of social media in the Philippines is a testament to its power. Filipinos have a tsismis appetite, and social media has created a convenient means for feeding their voyeurism and curiosity. By lurking on social media, they can see the latest goings-on. Even if their friends and families are not online, they can still be in the know by reading what others have posted about them.