A Familiar Story That Feels Real

Meet, Greet & Bye follows the Facundo family, led by Mama Baby (Maricel Soriano), who faces cancer for the second time. This time, however, she refuses to undergo chemotherapy, losing hope after years of battling her illness. Her four children — Tupe (Piolo Pascual), Brad (Joshua Garcia), Leo (Juan Karlos), and Geri (Belle Mariano) — must come together to search for an alternative treatment before time runs out.

The story feels familiar because it’s the kind of struggle many Filipino families know all too well — facing sickness, financial challenges, and emotional strain, yet never losing love for one another. Beneath the film’s simplicity lies a truth that reflects countless Filipino homes: we may not always have much, but we have each other.

Its trailer, released on October 8, showcases moments of joy and tears — the kind of mix that defines the Filipino family experience. Viewers can expect to laugh, cry, and reflect as they see bits of their own family stories unfold on screen.

“A Film Made for You”

During the film’s media conference, Maricel Soriano proudly expressed her excitement for the project.

“Talagang pinagmamalaki namin ang pelikulang ginawa namin para po sa inyo na handog ng Star Cinema at ABS-CBN. Sana panoorin nyo, hinding-hindi kayo magsisisi,” she said.

Belle Mariano hopes the film’s message resonates deeply with audiences. “Sana yung mensahe umabot sa manonood natin. It will give so much importance to the people you love in your life,” she shared.

Meanwhile, both Piolo Pascual and Juan Karlos admitted that making the movie was emotionally difficult because of how relatable it was.

“It was really hard to do because, I don’t wanna say personally, but it hits close to home, especially for Filipino families, and it’s something we have to face inevitably no matter who we lose as long as he’s part of the family,” said Piolo.

“Especially with what I personally went through in life, it’s also way too close,” added Juan Karlos, echoing the emotional weight of the story.

A Love Letter to Parents

According to writers Jumbo Albano and Patrick Valencia, Meet, Greet & Bye was inspired by a universal truth — the fear of losing one’s parents.

“What really pushed us to tell this story is that this is our love letter to our parents, the same way kung paano siya naging love letter din ni Direk [Cathy] sa kanyang mga anak,” explained Albano.

“It’s a universal fear for everyone to lose yung mahal nila sa buhay so yun ang naging focus namin while writing this story na sana maraming tao ang maka-relate. Gusto naming ikwento ‘to kasi kwento natin itong lahat,” added Valencia.

Their words reflect what makes the movie special — it’s not about grandeur or fantasy, but about reality. It’s a quiet, powerful story that mirrors our fears and celebrates our love for family, no matter how imperfect it may be.

A Story That Feels Like Home

Meet, Greet & Bye stands out because of its honesty. It’s a simple story, yet it captures the depth of Filipino family life — the laughter at the dining table, the silent sacrifices, and the shared pain when one member falls ill. Every character feels real, every scene feels lived-in, and that’s what makes it so easy to relate to.

It’s not just a movie about saying goodbye; it’s a story about holding on — to love, to family, and to hope. Because even when life brings hardship, the Filipino spirit endures.

With its strong cast, heartfelt storytelling, and emotional truth, Meet, Greet & Bye has all the makings of a blockbuster hit. It’s the kind of movie that stays with you long after the credits roll.

The film also revealed its official poster last weekend, lighting up ABS-CBN’s ELJ Building with the letters MGB, a symbol of the touching story it represents.

Where to Watch

Meet, Greet & Bye opens in cinemas worldwide on November 12. Visit meetgreetandbye.com to get tickets and learn more about the movie.

Follow Star Cinema on Facebook, X (formerly Twitter), Instagram, YouTube, and TikTok for updates. For other news and press releases, follow @abscbnpr on Facebook, X (Twitter), Instagram, and TikTok, or visit www.abs-cbn.com/newsroom .

During the media launch, creative producer Arah Badayos and head writer Benson Logronio shared that the series explores the moral gray areas of injustice, delving into how choices made in desperation can change lives forever.

“It’s clear in the trailer that there was an injustice done,” Arah shared. “Pero mapapakita rin na it was not simple — the people who caused the injustice are victims of injustice themselves.”

The lead stars also opened up about portraying emotionally demanding roles that balance fragility and resilience. Janella, Sue, Kaila, and Charlie revealed how their characters are pushed to their limits as they confront both external threats and their own inner demons.

Joining the ensemble are Jake Cuenca and JM de Guzman, who expressed excitement over portraying roles that challenge their previous screen personas, alongside Yves Flores, Race Matthias, and Jameson Blake. The series is directed by Froy Allan Leonardo and Dado Lumibao.

"What Lies Beneath" premieres October 17 on Netflix, followed by October 18 on iWantTFC, and October 20 on Kapamilya Channel, Kapamilya Online Live, A2Z, and TV5.

For updates, follow @abscbnpr on Facebook, X, Instagram, and TikTok, or visit www.abs-cbn.com/newsroom.

The “JANE DOE” music video features the two artists, dressed entirely in black, sitting apart on benches on a train station platform. It depicts a station platform where passengers heading in different directions briefly cross paths only during boarding and getting off. While waiting for the next train, two passengers who happen to sit on the same bench exert a light gravitational pull on each other, like invisible, large circles. Directed by Tomokazu Yamada, known for music videos including Kenshi Yonezu's “Lemon,” “Uma to Shika,” and “Sayonara, Mata Itsuka! – Sayonara.” Hikaru Utada’s “Mine or Yours,” “A Flower of No Color,” and “Gold -Mata Au Hi Made-,” as well as directing last year’s “SCIENCE FICTION TOUR 2024.”

“IRIS OUT” is already setting another record on the Spotify Japan Daily Chart, achieving the “highest daily play count ever recorded” for six days in a row. “IRIS OUT” debuted on Spotify's Top Songs Debut Global Chart at #2, is also currently at #3 on Apple Music's Global Daily Top 100 chart. The music video for “IRIS OUT” was also released on September 15 and has already surpassed 10 million views on YouTube, generating significant buzz as earning #4 on the Global YouTube Daily Music Videos Charts. Available to watch now.



CHAINSAW MAN – THE MOVIE: REZE ARC will be hitting theatres in United States on October 24, 2025 from Sony Pictures Entertainment, who has acquired the worldwide distribution rights for the film. The theatrical release of CHAINSAW MAN – THE MOVIE: REZE ARC opened on Friday, September 19th in Japan. Rocket started with a huge hit, topping the weekend box office rankings exceeding the sales of the smash-hit Demon Slayer: Kimetsu no Yaiba Infinity Castle.

ABOUT CHAINSAW MAN – THE MOVIE: REZE ARC

The film version of CHAINSAW MAN – THE MOVIE: REZE ARC is set after the final episode of the Chainsaw Man TV anime series. It depicts the main character, Denji, who is thrown into an unpredictable destiny by a girl he meets by chance, Reze, alongside the fast-paced action scenes for which MAPPA studio is renowned. The film will be released in more than 50 countries and regions, beginning with Japan on Friday, September 19. CHAINSAW MAN – THE MOVIE: REZE ARC will be hitting theatres in United States on Oct 24, 2025. Sony Pictures Entertainment has acquired the worldwide distribution rights for the film and will be releasing it in the country.

The original CHAINSAW MAN series has sold more than 30 million copies and is currently being serialized in the popular Shonen Jump+ magazines. The author is Tatsuki Fujimoto, a genius manga artist who has created a series of high-profile works including Fire Punch, Look Back, and Sayonara Eri. In 2022, the anime series was broadcast by the animation production studio MAPPA (Jujutsu Kaisen, Attack on Titan: The Final Season, etc.), and high acclaim was won not only in Japan but also around the world. The anime series has been streamed in over 200 countries and regions.

ABOUT KENSHI YONEZU

After gaining success with Vocaloid music under the stage name HACHI, Kenshi Yonezu began producing under his real name in 2012. In addition to music, he has attracted attention for his album cover illustrations and video productions. The video for his hit single “Lemon”, the long-running theme song for the TV series Unnatural, is the most-viewed music video in Japan, and topped Billboard Japan’s year-end charts for two consecutive years, leaving a mark on music history both in Japan and abroad.

His 2020 album STRAY SHEEP set a record of 1.9 million copies sold with the highest-placing Japanese artist ever to appear on the IFPI year-end global ranking chart. He continued to work tirelessly during the COVID-19 pandemic, including performing as the first Asian in a virtual concert hosted by the online game Fortnite. Collaborated globally with UNIQLO on their UT collection with the storefront collaboration displays in NY and other 8 UNIQLO stores worldwide. He was awarded an AAC Award, listed in Forbes’ 100 Asian Digital Stars, and received the Minister of NEWS RELEASE Education, Culture, Sports, Science and Technology’s Art Encouragement Prize for New Artists.

In 2022, he released “M87” as the theme song for the film Shin Ultraman, and “POP SONG” as the theme song for a PlayStation commercial. His single “KICK BACK,” the opening theme for the TV anime CHAINSAW MAN, made Spotify’s Global Top 50, and became the first Japanese-language song certified Gold by RIAA®. He was also selected as the first and only Japanese artist to be a part of the “RIAA Class of 2023”, with which the association summarized the artists who had flourished in the year.

In 2023, Yonezu released “Tsuki Wo Miteita - Moongazing” as the theme song for the RPG game Final Fantasy XVI, and “Chikyugi - Spinning Globe” – the theme song Studio Ghibli’s animated film The Boy and the Heron (Academy Award Winner for Best Animated Feature, 2024), directed by Hayao Miyazaki.

In August 2024, Yonezu wrote “Garakuta – JUNK”, the theme song of the movie LAST MILE, and released his sixth studio album, LOST CORNER. In September, Yonezu released an exclusive line of graphic tees in collaboration with Uniqlo, as part of their ongoing UT series celebrating pop culture from around the world. After 11 years, Hachi (Kenshi Yonezu) himself created a new illustration for the VOCALOID song “Donut Hole”, and a fully animated music video based on the illustration. Original chocolate was also released from Godiva Japan as the “GODIVA x HACHI Donut Hole Collection” from October as the first time for Godiva worldwide to create a chocolate collection lineup in collaboration with an artist. In November Yonezu released “Azalea”, a song written as the theme song for the global Netflix series Beyond Goodbye. For the first time in 6 years, appeared at Kohaku Uta Gassen.

In 2025, Yonezu released “Plazma”, a theme to the film Mobile Suit Gundam GQuuuuuuX -Beginning- and also the theme to its anime series Mobile Suit Gundam GQuuuuuuX -Beginning-. He then released the theme to the anime series Medalist with a collaboration music video between Kenshi Yonezu and the Winter Olympics gold medalist Yuzuru Hanyu. Yonezu kicked off his largest-scaled world tour, KENSHI YONEZU 2025 WORLD TOUR / JUNK after performing domes in Japan, toured Asia, Europe, and the U.S., drew a total of 440,000 people. Kenshi Yonezu has just recently announced his new tour, KENSHI YONEZU 2026 TOUR / GHOST— a 6-city, 14-show arena headliner across Japan. The tour will kick off in Nagano on November 6, 2026, and will travel through Osaka, Aichi, Fukuoka, Miyagi, and Kanagawa, concluding on December 17. In September, he dropped his latest track, “IRIS OUT”, the official theme for the new film CHAINSAW MAN – THE MOVIE: REZE ARC, and its ending theme "JANE DOE" on 9/22.

As for Yonezu’s music videos, “Lemon” has surpassed 930 million views, continuing to break the records of Japanese artists. It is one of the 16 music videos of his songs that garnered him a commanding record of surpassing 100 million views each (“Lemon,” “Eine Kleine,” “LOSER,” “Peace Sign,” “Haiirotoao (+Masaki Suda),” “orion,” “Flamingo,” “Kanden,” “Fireworks,” “Paprika,” “Shunrai,” “Uma to Shika,” “Spirits of the Sea,” “KICK BACK,” Foorin’s “Paprika” and Masaki Suda’s “Machigaisagashi”). He has over 7.89 million subscribers on his official YouTube channel.


CONNECT WITH KENSHI YONEZU
WEBSITE | INSTAGRAM | X | TIKTOK | YOUTUBE

ABOUT HIKARU UTADA

A Japanese singer-songwriter and producer Hikaru Utada debuted with the single ‘Automatic/time will tell’ on December 9, 1998. Their first album First Love remains the best-selling Japanese album of all time. In 2024, they released their first greatest hits album SCIENCE FICTION to commemorate their 25th anniversary of their debut, followed by their first tour in six years ―the nationwide HIKARU UTADA SCIENCE FICTION TOUR 2024. In 2025, continuing a dynamic run of creative output, Utada’s latest digital single “Mine or Yours” has captured attention as the theme for the Ayataka green tea commercial, marking the second consecutive year of Utada’s collaboration with the brand. Electricity Remixes, a limited-edition vinyl released on July 9 featuring three remixes by internationally recognized artists Karen Nyame KG, Arca and salute, has already generated excitement among music fans in Japan and around the world following the earlier digital releases.

CONNECT WITH HIKARU UTADA
WEBSITE | INSTAGRAM | X | YOUTUBE

Why Season 2 Could Be Even Better

While plot details are still under wraps, there are plenty of reasons to be excited. For one, the surviving characters are expected to return to a world still grappling with the aftermath of the outbreak. Season 1 ended with some of the infected developing unusual abilities — a hint that the zombie virus might have evolved.

With a bigger budget, a fresh storyline, and new characters, fans are hoping for more action, suspense, and perhaps even a deeper dive into the origins of the virus. Rumors suggest that Season 2 may explore how the government handles the outbreak long-term — and what happens when the infection spreads beyond Hyosan.

In an interview with The Hollywood Reporter, director Lee Jae-kyoo hinted that the next season would focus more on the “survivors and the evolved zombies,” giving the story a darker and more action-packed tone.

A Korean ‘High School of the Dead’?

All of Us Are Dead has often been compared to the Japanese anime High School of the Dead — and for good reason. Both series revolve around high school students trying to survive a zombie apocalypse while society collapses around them. The similarities in tone, pacing, and setting have led some fans to call the Korean series a live-action, spiritual cousin of the anime.

In a feature by Collider, critics noted that while All of Us Are Dead drew inspiration from its anime predecessor, it brought a uniquely Korean perspective — one focused more on social dynamics, bullying, and youth resilience.


Sure, it’s been a long wait — and yes, fans have every right to be skeptical after three and a half years of anticipation. But with Netflix officially confirming production and teasing a fresh batch of chaos, Season 2 is shaping up to be one worth waiting for.

Whether you're in it for the thrills, the emotional drama, or just the zombies, it looks like All of Us Are Dead is finally coming back from the dead — and this time, it’s going to bite even harder.

Sources:
Netflix Table Read Video Announcement (YouTube, July 2025)
The Hollywood Reporter - “All of Us Are Dead Director Talks Season 2 Ideas”
Collider - “Korean Zombie Thriller All of Us Are Dead Compared to High School of the Dead”
Fan Comments from X (formerly Twitter) and Reddit threads on r/KDRAMA and r/netflix

For first-time actors JM Ibarra and Fyang Smith, stepping into their roles in the iWant Originals series Ghosting felt like stepping into another world—literally and emotionally.

Fresh off their Pinoy Big Brother Gen 11 stint, the two now find themselves as the lead pair in a romantic supernatural series that blurs the lines between life, death, and love. But for JM and Fyang, the real challenge wasn’t just acting as a restless spirit or a heartbroken girl trying to heal—it was watching themselves not as JM and Fyang, but as Wilberto and Jaja.

“It’s different when you're just being yourself on reality TV,” JM shared with a nervous laugh during a behind-the-scenes interview. “But when I watched myself in the series for the first time, ang dami kong napansin. Am I moving my hands too much? Am I saying this right? Nakakahiya.”

Fyang echoed the feeling. “There were moments I had to look away from the screen! Sobrang conscious ako. Pero at the same time, I was proud. We did it. We really acted.”

This raw honesty adds another layer of charm to Ghosting, a series that doesn't just tell a story about moving on from love and life—it’s also about stepping into the unknown, much like JM and Fyang are doing with their acting careers.

More Than Just One Kind of Ghosting

The series takes its name from two meanings of the word "ghosting"—the popular millennial term for being suddenly ignored or left without closure, and the literal sense of encountering ghosts.

In the story, Fyang’s character, Jaja, escapes to her lola’s quiet provincial home after being ghosted by a guy she cared about. But instead of finding peace, she meets Wilberto (played by JM), a charming—but very much dead—local. What follows is a strange, slow-burn romance between the living and the spirit world.

But if you ask the cast, some scenes hit a little too close to reality.

A Fresh Start in a New Light

While the supernatural elements hook the audience in, it's the emotional honesty that grounds Ghosting. Directed by romcom veteran Ted Boborol (Vince & Kath & James, Finally Found Someone), the series delicately weaves grief, love, and letting go into eight binge-worthy episodes.

And at the center of it all are JM and Fyang, navigating unfamiliar territory both as actors and as onscreen lovers—awkward, uncertain, and completely relatable.

They may be haunted by nerves now, but their chemistry is anything but lifeless.

Catch the Premiere

Ghosting streams exclusively on the newly revamped iWant starting Saturday, July 19 at 8PM (PHT). Catch JM and Fyang's hauntingly awkward but heartfelt acting debut—and maybe discover that ghost stories, like love, aren’t always what they seem.

Unlock iWant Originals for just ₱35 per month. Stream the feels, the frights, and the firsts—only on iWant.

From Living Rooms to Backyards

Saturday mornings meant gathering in living rooms to watch “Rock ’n’ Wrestling” cartoons, and Sunday afternoons were for WWF Superstars. On playgrounds and backyards, kids reenacted the Hulkster’s dramatic poses and moves. One recalled trying the leg drop and leg-wrapped body slam, playing for hours until dinnertime drew them in.

Hogan gave children a hero they could emulate, someone who always seemed to win. “Hulkamania was more than entertainment; it was a promise of excitement and hope,” wrote a fan nostalgic for the era.

Nickelodeon’s Rare Moment

In 1991, Hogan appeared on Nickelodeon’s “Stories from Growing Up,” sharing his childhood struggles with weight and confidence. The special offered a glimpse behind the persona: a young boy learning to overcome challenges, to transform himself, just as he encouraged his young fans to do.

A Cultural Phenomenon

Hogan’s influence reached far beyond wrestling. He starred as Thunderlips in Rocky III and led an exercise tape and toy workout kit that inspired kids to get moving.

The Real American Hero

Florida Governor Ron DeSantis described Hogan as “a superhero to a generation,” recalling how children in Tampa Bay saw him as a local icon, a man they felt they knew. Fans on social media echoed the sentiment: “To kids of the ’80s and ’90s, Hulk Hogan was a real‑life superhero”.

Enduring Echoes

Even years later, adults remember the surge of energy at the mention of Hogan’s catchphrases. One teacher shared a cherished memory of a 6-year-old who mimicked Hogan, “Ocelot859” on Reddit said the child’s “moxy and charisma” reminded them of the power of unfiltered childhood joy.

Today, those childhood memories remain vivid. Parents who once donned blond wigs and bandannas as childhood fans now share videos of their own children imitating his drills, proof that Hogan’s influence spans generations.

A Hero’s Lasting Legacy

Hogan’s passing leaves a void in the wrestling world. But for legions of fans, now parents themselves, his spirit endures in their homes and hearts. The memories he created were simple but profound: a strong hero, a clear message, and boundless childhood imagination.

In a world of changing heroes, Hulk Hogan remains timeless. His life reflected the power of storytelling and the magic of belief. And for many, that made growing up a little brighter, a bit stronger, and full of Hulkamania.

More Than a Remake: A Cultural Rebirth

Director Mae Cruz-Alviar and the creative team behind the show didn’t simply copy the Korean original, they transformed it. The story’s core remained: a guarded caregiver named Patpat (played by Joshua Garcia), his brother Matmat (Carlo Aquino), who lives with autism, and a successful yet emotionally scarred children’s book author Mia (Anne Curtis). Together, they wrestle with the ghosts of their past, uncovering old wounds and learning how to heal.

But this version unfolds with a uniquely Pinoy flavor. From the characters’ personalities to the backdrop of familiar landscapes, every detail was chosen to reflect how Filipinos experience pain, connection, and healing.

Instead of cherry blossoms and Korean winters, we see lush local scenery and sunlit countrysides. Filipino homes replace glass-walled hospitals. And yes, even the language shifts the tone. Where the Korean version may have leaned into restraint, the Filipino version isn’t afraid to show vulnerability, the kind that comes out during family dinners, late-night confessions, or quiet moments of prayer.

Scenes Rewritten for the Filipino Heart

Some of the Korean drama’s iconic scenes were respectfully adapted, or entirely reimagined, to match the Philippine setting and emotional rhythm. Supporting characters were restructured to reflect Filipino family dynamics, while scenes around mental health were softened and localized to better match the nation’s current awareness and openness.

“Kailangan namin i-handle na ‘wag biglaan ‘yung audience, na ‘wag sila ma-overwhelm,” said Director Cruz-Alviar. “So there is careful handling in telling the story but also staying true to the core of the show.”

Mental health isn’t an easy topic in any culture, but in the Philippines, where stigma and silence still surround conditions like depression and autism, telling this story required deep sensitivity and care. The production team partnered with advocates, therapists, and even visited special schools to portray the characters truthfully and respectfully.

A Personal Story for the Actors, Too

For Joshua Garcia, the role of Patpat hit close to home. “Nakaka-relate ako sa kanya kasi parehas kaming mapagmahal na kapatid at nangungulila sa nanay,” he shared. “Pati ‘yung pagka-burned out ng character ko, naramdaman ko rin.”

Meanwhile, Carlo Aquino underwent immersion sessions and intensive workshops to authentically portray Matmat, a person on the autism spectrum. The result? A performance that’s grounded, moving, and rooted in real-life experiences.

Anne Curtis, returning to teleseryes after years, gives life to Mia Hernandez, a role she describes as complex but ultimately healing. “It’s a healing story and it’s a beautiful journey of love,” Anne said. “Every Filipino… will be able to relate to the story of healing, pain, and love.”

An Advocacy, Not Just a Show

Beyond being a primetime teleserye, It’s Okay to Not Be Okay serves a bigger purpose. It’s an advocacy to understand and destigmatize depression, trauma, and the struggles of individuals with special needs.

At a time when many still whisper about mental health, this show speaks boldly, yet gently. It reminds viewers that it’s okay to feel broken. It’s okay to seek help. And it’s okay to not be okay.

And in true Filipino fashion, the story doesn’t end in sorrow, it ends in connection, healing, and hope.