Chismis ang business ng guests natin! Ibubunyag ng mga entertainment writers na sina Lhar Santiago, Aster Amoyo, Veronica Samio, Julife Navarro, at Ricky Lo kung bakit natural na marites ang mga Pinoy!
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00:00We walk hand in hand, we dream together. We giggle and laugh like kids forever.
00:12We're two different people, but we're having fun.
00:16We talk about anything under the sun. We are sisters, we are friends.
00:23We've got magic that never ends.
00:27I got you sis, you got me.
00:31The best of friends we'll always, always be.
00:39We always have fun being together. You know me the best, we're friends forever.
00:46Through good times and bad, I'm here for you sis.
00:50Right by your side, hit or miss.
00:53We are sisters, we are friends.
00:57We've got magic that never ends.
01:01I got you sis, you got me.
01:05The best of friends, the best of friends.
01:09The best of friends we'll always, always be.
01:13We are sisters, we are sisters.
01:17Good morning mga sis, Jenny.
01:22One of the complaints of our wives is that we're too gossipy.
01:28That's true, that's what our wives complain about.
01:31It's not obvious, right?
01:34No, it's not.
01:35How did Mr. say that? It's too early, you're not married yet.
01:39You're gossiping there.
01:41It's not all, it's not all.
01:43But it's fun, right? It's entertaining and fun.
01:47Gossiping is fun too.
01:49Sometimes you don't just listen, you just listen.
01:53Why are you happy at the start? Because of the who.
01:57Sometimes, even if you're not that interested in gossiping,
02:00as long as you're laughing and having fun, it's okay.
02:02I'm really gossipy, right? I have S files.
02:05That's why you know I'm gossipy.
02:08But of course, gossiping or writing an issue about the life of an artist,
02:12just like what happened to Orduja,
02:14winning the case of Padilla Family Against,
02:17in the book that Orduja wrote.
02:19Because it's a great honor to reach,
02:22if ever the book of the Padilla family was published.
02:25Or maybe the showbiz news is really good to talk about,
02:30because you can't stop.
02:32Because there's a sequel, there's a sequel, there's a sequel.
02:34So there's no ending.
02:35Correct.
02:36Continuous.
02:37Just like an item that broke up with Elizabeth Urupesa and her boyfriend,
02:41the guy said, I love you forever.
02:44Dot, dot, dot, dot.
02:45Of course, there's no ending.
02:47You can't stop.
02:49Correct.
02:50Gossiping is not what we're going to talk about today,
02:52and issues.
02:53What we're going to talk about today,
02:55and who we're going to be with today,
02:57are the writers in the showbiz,
02:58who sometimes don't really write gossip,
03:01but just tell the truth.
03:03Our guests today,
03:05and they're going to give us their blind item for the day.
03:09Entertainment editor of People's Tonight Philippines and People's Tonight Hong Kong,
03:13Julie Fennavar.
03:15Who is this famous actor who always brings his leading lady to the woman's condo?
03:21He brings her around 11 or 12 at night.
03:23The neighbors wonder why when the man comes home,
03:27it's already 3 or 4 in the morning.
03:30Is there something happening to them?
03:33Segment host of Unang Hirip,
03:35news and TV reporter of Saksi and Frontpage here in GMA,
03:39Lars Santiago.
03:41Who is this bold star who has a boyfriend who is a politician?
03:47The bold star hopes that he will marry a politician,
03:50until he discovers that this politician has another girlfriend who is a TV personality.
03:57So now, this bold star is just waiting to be the number 2 girl of a politician.
04:05He has a column in People's Journal,
04:06Philippine Star, Intrigue Magazine, Hot Copies, and Pinoy Gazette in Japan.
04:13Aster Amoyo.
04:15Who are these two bold actors who are seen in a resort in the north,
04:20that their image in the public is macho.
04:26But they were seen holding hands.
04:28Who are they?
04:31Entertainment editor of the Philippine Star now,
04:33and he also has a column in Sangasangang Dila, Veronica Samuel.
04:39The good thing about this actor is that he has two children.
04:42He has a live-in,
04:43but he was seen having a date in a music bar,
04:48and they were holding hands.
04:49He is also an actor.
04:52Entertainment editor and columnist of the Philippine Star, Ricky Lo.
04:57Who is this couple who has a routine in their married life?
05:02To avoid the routine and to break the boredom,
05:05they make love in their new house.
05:09They are the ones we will be with today.
05:11Of course, this is only here in...
05:13SIS!
05:32If there is something I should ask why we love gossip and entertainment news,
05:36there is no one else but the people who write it.
05:40The freshness of writing is new.
05:44We don't know anything yet.
05:45They are all new.
05:48Okay, why is gossip entertaining?
05:51Is it delicious, thrilling, exciting, or you're in?
05:55Or because... I don't know. Why is that?
05:58Filipinos are basically fond of gossip.
06:01You can see it when you sit in a store,
06:04or when there are stairs.
06:06That's where they talk about their neighbors.
06:09How much more are the artists who are larger than life?
06:12Okay, what is the thing about the gossip?
06:14Is it because it's a peek into somebody else's life aside from your own?
06:18Or is it because there are things to talk about for lack of things to do?
06:23Both.
06:24Like what ELR said,
06:26Filipinos are really fond of gossip.
06:29Even politicians, right?
06:31Yes.
06:32Even men.
06:33All kinds of gossips.
06:35Artists, politicians, neighbors.
06:38Exactly.
06:39Ordinary people.
06:40Even relatives.
06:41Even the maids.
06:43When the maids are not around, they gather.
06:45They gossip about their maids.
06:47That's true.
06:48For me, I resent the word gossip.
06:51Why is it that when we write gossip,
06:54we write it based on facts.
06:58And our guests today are based on facts.
07:01Yes.
07:04Most people have the illusion that they are the artist,
07:08or we can be an artist, or we can be a politician.
07:11That's why everyone wants to know what the artist's life is like.
07:15And Jelly,
07:16Filipinos, basically,
07:18instead of minding their own business,
07:20we are more interested in our neighbors, right?
07:23That's true.
07:25That's the beauty of gossiping.
07:27I think it's a part of the culture of Filipinos.
07:29It is.
07:30And as Janice said,
07:31it's like you're covering yourself up.
07:33You're not talking about yourself,
07:35you're talking about someone else.
07:37Why do we need gossip?
07:40Public opinion.
07:42They say stars are public property.
07:45Fans have a movie promo.
07:48PR on the news.
07:50It's a spice in life, right?
07:52It's like there's no gossip.
07:53It's like there's no life.
07:55It's really exciting.
07:57It's like a lifeblood conversation, right?
07:59It's like,
08:00for example,
08:01like in the news,
08:02after a lot of news,
08:05crime,
08:06politics,
08:07the last thing you notice is the showbiz.
08:10It's always the same.
08:11People stay to watch.
08:13It's like an out story.
08:14It's a light.
08:16But, Lar, excuse me,
08:17usually,
08:18the first thing people read is the showbiz.
08:21They open the tabloid,
08:22the broadsheet.
08:23They open the entertainment,
08:24they open the action,
08:25they open the propaganda.
08:27The gossip is universal.
08:28If you look at the States,
08:30Lewinsky, right?
08:32It started as a gossip.
08:34It became a national issue, right?
08:35Gossip, excuse me.
08:36It's not inherent to Filipinos.
08:38Gossip is the cheapest form of entertainment.
08:41There's no pay.
08:42There's no pay.
08:43There's no pay.
08:44Aside from this,
08:45what they talk about is
08:46what a lot of people know.
08:47Artists.
08:48Okay, why entertainment?
08:50Why did you choose entertainment?
08:51Why didn't you choose politics?
08:53News?
08:54Art events?
08:55Of course.
08:56First of all,
08:57maybe it's because
08:58we're all movie fans at heart, right?
09:00We love movies, right?
09:01Did you all start as movie fans?
09:03Yes.
09:04Yes.
09:05Was it the glitter and the glamour
09:07that fascinated you?
09:08Basically,
09:10you're a starstruck.
09:12When you're a fan,
09:14you're looking at an artist.
09:16For example,
09:17I was a Bill Mannion back then.
09:19I was still in high school.
09:20That's how they live their lives.
09:22Here's a question.
09:23When you were in college,
09:24were you in...
09:25Okay, let's say,
09:26who took up journalism?
09:28I did.
09:29So when you were there,
09:30did you think,
09:31I will be a showbiz reporter?
09:33No.
09:34I was like that.
09:35You were like that?
09:36Because from the start,
09:37I was really into movies and films.
09:38So the drive comes from inside.
09:40So when you were still in school,
09:42you were thinking,
09:43I will go there.
09:44Because when I watched movies,
09:45I saw Jelly,
09:46Janice,
09:47on the big screen, right?
09:48What do they do in real life?
09:49What do they do in real life?
09:50When it rains,
09:51do they think?
09:52Do they read?
09:53Because we put them on the pedestal.
09:55Oh, God.
09:56You know,
09:57their human side,
09:58to find out their human side.
09:59And our knowledge of their private lives
10:03helps in understanding their performances.
10:06In my case,
10:07I just want my idol to be close to me.
10:09My number one is Susan Rosas.
10:11And I really follow her.
10:14For me, Jelly,
10:15after 10 years,
10:16I worked in a women's magazine.
10:18Then I went to a showbiz.
10:20Women's magazine?
10:21As a mod.
10:22I was an associate editor of Mod for 10 years.
10:24Then I shifted to entertainment writing.
10:27I even regretted
10:28why I didn't rush to become an entertainer.
10:31It's really fun.
10:32It's fun.
10:33It's fun.
10:34In graphic,
10:35you don't know showbiz.
10:36For me,
10:37Oh, that's not it.
10:38I didn't do showbiz.
10:39I had no intentions of becoming a writer.
10:41Then, accidentally,
10:42I was written by Fred Marquez,
10:44May Soul Rest In Peace.
10:45That's how I started becoming a writer.
10:47And the people in People's Tonight said,
10:49Why don't you join us?
10:51So, I joined.
10:52While I was writing the artists,
10:54it was fun.
10:55It was exciting.
10:56So, how do you get the info?
10:58The schools?
10:59There.
11:00Do you have connections?
11:01Friends?
11:02Things like that.
11:03I'm all.
11:04There's a lot.
11:05I'm an author.
11:06I'm an author.
11:07Let's start with the name, DPA.
11:09That's it, right?
11:10That's the source.
11:13Depenestration agent.
11:14Oh, okay.
11:15Depenestration agent.
11:16So, Riquelot, how did you get it?
11:17I was about to get married.
11:19It's in my DPA.
11:20You know what?
11:21My DPA is really
11:22a small house.
11:23Is that true, Shelly?
11:24Because it's so small.
11:25When he wrote it,
11:26it's really small.
11:27December 23rd.
11:28I didn't know.
11:29December 22nd, right?
11:30I released it on May 22nd.
11:32Yes.
11:33Seven months before.
11:34Maybe you talk in your sleep.
11:35I'm talking.
11:36I'm calling the reporter.
11:37Huh?
11:38Maybe you talk in your sleep.
11:39I'm calling the reporter.
11:40I'm talking.
11:41Maybe you talk in your sleep.
11:43But when you've been in the showbiz for a long time,
11:45it's automatic.
11:47It's automatic.
11:48Like now,
11:49there are people who will text you,
11:50like this,
11:51I saw this,
11:52like that.
11:53There are really sources.
11:55Question.
11:56So, when you get that kind of text,
11:58what is it?
11:59Will you write it right away?
12:00How would you find out
12:01if it was really true,
12:02whatever they did?
12:03You have to verify.
12:04How do you verify?
12:05You have to verify.
12:06There,
12:07we'll give it to you.
12:08That's what we said.
12:09We can't give it to you.
12:10We can't give it to you.
12:11Okay.
12:12When is the decision?
12:13When is the decision?
12:14Okay.
12:15Let's say,
12:16you got a tip.
12:17There.
12:18Okay.
12:19I saw Jelly.
12:20She's in the...
12:21She's with another guy.
12:22Like that.
12:23When do you make a decision
12:24to actually put it on print?
12:27When you're sure
12:28that your source of information
12:29is credible and reliable.
12:31How do you make sure of that?
12:33Of course,
12:34you know the people
12:35you're talking to.
12:36Now,
12:37if you're not sure,
12:38you can make it speculative.
12:40You know,
12:41someone told us
12:42that they don't know
12:43if it's true
12:44but it's spreading
12:45in the text.
12:46So,
12:47it's up to you
12:48if you believe it.
12:49I'm just an example.
12:50We have a network.
12:51Yes.
12:52Clarification,
12:53verification.
12:54In my case,
12:55I never put out
12:56a single word
12:57or a single sentence
12:58that's not verified.
12:59That's not verified.
13:00If the artist has a side,
13:01like Janice has a side,
13:02Jelly has a side,
13:03I put it there
13:04so there are two sides.
13:05Actually,
13:06in fairness,
13:07you're right.
13:08It has to be that way.
13:09And you make it a point
13:10that the artists involved,
13:12as much as possible,
13:13even if you can't talk to them,
13:15talk to the managers
13:16so you'll know if it's true.
13:18If you talk to them,
13:19they'll deny it, right?
13:20Yes.
13:21It's just hard sometimes.
13:22They'll deny it.
13:23It's just hard sometimes
13:24if you write,
13:25for example,
13:26one side
13:27and the other person
13:28interviews you,
13:29the other side
13:30will talk to you.
13:31The other side.
13:32That's how it is.
13:33Yes,
13:34especially if they're
13:35the salarymen.
13:36You know what?
13:37In fairness,
13:38that's my experience.
13:39I may not put it on print,
13:40but, you know,
13:41doing S-files,
13:42it's a peek
13:43into other people's lives.
13:44It's a peek
13:45into celebrities' lives.
13:46It's really hard.
13:48Why is it hard?
13:49As an artist,
13:50at first,
13:51I didn't understand that.
13:52It's hard to understand
13:53because you feel
13:54that you really need
13:55to write this.
13:56Or broadcast it.
13:57Yes, right?
13:58But now,
13:59doing the same job,
14:00just broadcasting,
14:01you know,
14:02it's really like that.
14:03Sometimes,
14:04it's really like that.
14:05Does it make you
14:06understand each other?
14:07Sometimes,
14:08someone will get mad at you
14:09because you don't have
14:10any intention
14:11to hurt them.
14:12You really reported it.
14:13But what happens is,
14:14sometimes,
14:15you want to check
14:16your sources.
14:17You want to know
14:18if the news is true.
14:19Before you know it,
14:20you're ahead of other people.
14:21That's true.
14:22That's what happened to me.
14:23So, you should be fast.
14:24That's what happened to me.
14:25That's part of the art.
14:26What do you call it?
14:27My editor even confirmed
14:28if the news is true.
14:29She's afraid of confirmation.
14:31I talked to my editor
14:32and he said,
14:33don't do it now
14:34because Boyel
14:35is just starting
14:36to get ready.
14:37We told him
14:38that we don't want
14:39to be followed by others.
14:40For you showbiz writers,
14:41it's just a job, right?
14:42That's your job.
14:43So, for you,
14:44it's just a job.
14:45But what the artists
14:46say is,
14:47there's no personality.
14:48So, what do you do?
14:49Right?
14:50They don't want
14:51personality
14:52but that's your job.
14:53Before you answer that,
14:54we will pause
14:55for a break
14:56and we'll be back.
15:06Always, always be
15:08We are sisters
15:10We are sisters
15:15Sometimes, we wonder
15:16why we are so interested
15:17in the personal lives
15:19of others
15:20especially the artists.
15:22But as they say,
15:23it's just a job.
15:24The showbiz news
15:25writes
15:26this girl.
15:29Okay, here.
15:30I asked you earlier
15:31why do artists
15:32need to know
15:33their personal lives
15:34because there are artists
15:35who are separated,
15:36who are single,
15:38who are pregnant,
15:39who are pregnant,
15:40who have boobs,
15:41who have their nose fixed,
15:42and so on.
15:43Why do we need to know that?
15:44If it's not an artist,
15:46we want to know, right?
15:47How much more?
15:48You know the artists,
15:50it's like an aquarium.
15:52It's like there are hundreds of artists
15:54and every move of an artist
15:55is visible.
15:56They live in a glass.
15:57Yes, right.
15:58And they are role models.
16:00We don't want to accept that.
16:02They are role models, right?
16:03Yes, they are role models.
16:04So the aspects of your life
16:05that are personal,
16:06you can't avoid the personal
16:07because you write about
16:09the breakup,
16:10the marriage.
16:11It's personal, right?
16:12The audience chooses
16:13the role models
16:15that they will imitate.
16:16I have that too.
16:17What about you?
16:18Of course,
16:19when I went to Luigi's,
16:20he was the first,
16:22but he was a blind guy.
16:23How did you know?
16:24I don't know.
16:25Of course, he doesn't remember.
16:26Maybe I'll talk about it in the news.
16:28Okay.
16:29I wasn't there.
16:31How did you know that?
16:33Honestly,
16:34that's what people want to know.
16:35We don't want to write about the personal.
16:38Let's admit it.
16:40It's not religious
16:41at the human level.
16:42But you know,
16:43there's also a risk.
16:44There's also a risk to us,
16:45to the writers,
16:46when we get scooped.
16:48Like in my case,
16:49up to now,
16:50that artist,
16:51his talent manager,
16:52also scoops me.
16:53But I stood by it.
16:55What I wrote is true.
16:56Actually,
16:57in the form of a blind item.
16:58Who is that?
16:59Up to now,
17:01minutes before.
17:02Who is that?
17:03Months before the marriage,
17:06I know she was 4 months pregnant.
17:09My source is from a hospital.
17:12Is that a singer?
17:13It's like this.
17:14So anyway,
17:15it's like this.
17:16Your source is from a hospital.
17:18Yes, of course.
17:19Hospital.
17:20Marriah.
17:21Marriah.
17:22Asparagus market.
17:23Hospital in Cebu.
17:24There's one.
17:25Here in New York.
17:26What is this?
17:27We have one.
17:28What is this source?
17:29As in source that really,
17:30they themselves are like,
17:31Hey!
17:32It's like that.
17:33Landshow is a land source.
17:35Yes, they really laugh.
17:37There are hidden microphones.
17:39Hidden cameras.
17:42But before I wrote,
17:44I went to a party.
17:45The host we were talking about earlier was there.
17:48I heard what he was saying
17:50against his co-host.
17:52So I called his house.
17:53The following day,
17:54I said,
17:55Can I...
17:56You're being silly.
17:57Can I know his side?
17:59You know,
18:00I called him 4 times or 4 days
18:02but he didn't answer.
18:03So on the 4th day,
18:04I said,
18:05I'll write it down.
18:06So that evening,
18:07the production staff called me.
18:10They had a meeting.
18:11And the sad ending was,
18:13he's no longer being a co-host.
18:15But now,
18:16he's allowing it again.
18:17Was he removed or moved?
18:18He's allowing it again.
18:20What channel is this?
18:24We're friends now.
18:26Okay.
18:27Question.
18:28Now, what if,
18:29just like you,
18:30he's speaking against.
18:31But what if,
18:32the one saying,
18:34the one who's not speaking well,
18:36he happens to be a friend.
18:37It's like,
18:38he's really like that.
18:39She's very vocal about what she says.
18:41Do we need to write it down?
18:42Yes.
18:43Do you have that?
18:44It depends on the context.
18:45You have to consider that.
18:46Oh, yes.
18:47We do also.
18:48You can show it.
18:49It's offensive.
18:50Or,
18:51would you consider not even writing about it?
18:53Sometimes.
18:54Sometimes.
18:55There's a difference between a friend and a speaker.
18:57Like me,
18:59I'm just saying it.
19:00Would you write down everything I said?
19:01No.
19:02No.
19:03You haven't said anything yet?
19:04Not yet.
19:05We haven't caught up yet.
19:06Let's say,
19:07we're talking,
19:08we met at a restaurant,
19:09I'm telling a story,
19:10you heard me telling a story.
19:11Would you write that down?
19:12It depends.
19:13It depends on what you said.
19:14You said it so juicy.
19:16Oh, no.
19:17If Jenny comes to the restaurant,
19:18and she sees you,
19:19she'll be like,
19:20I really hid it.
19:21Be careful.
19:22There might be plates.
19:23What would you say,
19:24Ricky,
19:25when you offended Paps
19:26on the issue of Piolo Pascual?
19:29Did I offend him?
19:30Touch.
19:31Actually,
19:32Paps shouldn't have cried.
19:33He should have said,
19:34He was hurt.
19:35He was hurt.
19:36That's right.
19:37That's not his intention.
19:38Paps said,
19:39when we met,
19:40his reaction shouldn't have been crying.
19:42What reaction?
19:43He should have said,
19:44at my age,
19:4535, right?
19:46I said,
19:4738,
19:48he's 35.
19:49He should have said,
19:50at 35,
19:51I'm attracted to someone like Piolo.
19:52Yes.
19:53That's how it should be.
19:54You wrote,
19:55he's 38.
19:56Yes.
19:57I'm sorry for that.
19:58I'm sorry for that.
19:59I'm sorry.
20:00This is 35,
20:01last December.
20:0212, right?
20:03Yes.
20:04Yes, 35.
20:05But he should be proud.
20:06He should be attracted.
20:07I clarified to Paps,
20:08we're friends with Paps
20:09and Martin.
20:10He's just like that.
20:11He's just like that.
20:12You're the one who scooped
20:13that they're having an affair.
20:14Their breakup.
20:15Yes.
20:16After three years,
20:17we admitted it to ourselves.
20:18We started it.
20:19Let's just trace it.
20:20Always when you guys write,
20:21there's a basis.
20:22Was there ever a time
20:23that you guys wrote,
20:25of course,
20:26you verified it,
20:27but it turned out to be wrong.
20:29It's like,
20:31Who's the side of the artist
20:32that we should bring?
20:33It's a small percentage.
20:34In our case.
20:35In our case,
20:36it's a very small percentage.
20:37Because that's,
20:38we don't write
20:39without a basis.
20:40Because part of
20:41the writer's credibility
20:42is the humility
20:43to apologize.
20:44To apologize.
20:45To say,
20:46I'm sorry,
20:47I made a mistake.
20:48And to put out the other side.
20:49That's part of credibility.
20:50You still worry
20:51about credibility.
20:52Of course.
20:53You don't worry.
20:54You sort of maintain it.
20:55You take care of it.
20:56Because what about
20:57the managers,
20:58talent managers?
20:59Dogs,
21:00he's your friend.
21:01Dogs is your friend, right?
21:02Yes.
21:03He doesn't tell stories.
21:04Tight-lipped.
21:05But sometimes,
21:06for example,
21:07you'll call Dogs,
21:08Dogs,
21:09Richard,
21:10there's this,
21:11there's that.
21:12Are there times
21:13when,
21:14for example,
21:15Dogs says,
21:16Ricky,
21:17that's just arbor.
21:18Can you do that?
21:19Because it's friendship.
21:20That's just arbor.
21:21That's just arbor.
21:22In my case,
21:23it's really friends.
21:24But in fairness to Dogs,
21:25out of all the times
21:26I called him,
21:27he was my friend
21:28from the very start.
21:29He didn't say arbor to me.
21:30You know what he'll do?
21:31Dogs seems to be
21:32everybody's friend.
21:33Yeah.
21:34That's right.
21:35You know what he'll say?
21:36I'll give you
21:37the number of Jelly,
21:38I'll give you
21:39the number of Richard,
21:40I'll give you
21:41the number of Janice,
21:42call them up.
21:43He'll give me
21:44your number,
21:45your phone number.
21:46I remember many times
21:47I called you.
21:48Yes, that's true.
21:50I used to be.
21:51I used to be,
21:52but I stopped now.
21:53Do you tend to become biased?
21:54When you were the manager
21:55of these artists,
21:56were you biased?
21:57Like every day
21:58you were writing
21:59about them?
22:00In a way, yes.
22:01In a way.
22:02But at the same time,
22:03I get too emotionally attached
22:05also to my talent
22:06to the point that
22:07when my talent is being denied,
22:08I get hurt.
22:10If someone writes,
22:11I'll call them.
22:12Why is it like this?
22:13And I'll explain.
22:14Really?
22:15Yes, it's like that.
22:16Most of the artists
22:17are not open.
22:18That's true.
22:19That open,
22:20most of the artists
22:21are not.
22:22But there are also
22:23a lot of friends who are open.
22:24Yes.
22:25It's just stories
22:26that are not
22:27off-the-record to us.
22:28They're off-the-record
22:29to Lar,
22:30off-the-record to Julie.
22:31It's like they already know
22:32what's going to be told
22:33and what's going to be said.
22:34Or sometimes,
22:35there are artists
22:36that depend on their connections.
22:37They trust you.
22:38There's someone like that.
22:39There's someone like that.
22:40You're off-the-record, right?
22:41I'm like that.
22:42You're really off-the-record?
22:43Yes.
22:44I thought you were
22:45saying you're off-the-record.
22:46You're really off-the-record.
22:47You already know
22:48what's going to be said.
22:51You said earlier
22:52that there are friends,
22:53managers,
22:54PROs,
22:55and even the artists themselves.
22:56Does that mean...
22:57Can you
22:58arbor
22:59a story?
23:00Yes, of course.
23:01Yes.
23:02Does that mean
23:03you should be afraid
23:04that you're not friends?
23:05Yes.
23:06Yes.
23:07Yes.
23:08Yes.
23:09Yes.
23:10Yes.
23:11Yes.
23:12Yes.
23:13Yes.
23:14Yes.
23:15If a journalist is decent,
23:16it's better
23:17if he's not a friend.
23:18It's better if he's a friend.
23:19It's more equal.
23:20In writing,
23:21friendship is not the basis.
23:22The basis is
23:23the news,
23:24the facts.
23:25And
23:26when you write,
23:27you practice
23:28what you call
23:29the ethics
23:30of journalism.
23:31Yes, there's ethics.
23:32Does everybody
23:33practice
23:34the ethics of journalism?
23:35I hope everybody does.
23:36We would like to give you
23:37that badge.
23:38There's an object like that
23:39in school,
23:40the ethics of journalism.
23:41If you're a journalist,
23:42what if you're not?
23:44I am not.
23:45Ethics in particular
23:46is not the basis.
23:47If you learn
23:48the ethics,
23:49the code of ethics,
23:50journalism,
23:51whatever,
23:52it's out of school, right?
23:53There are a lot of books
23:54in journalism.
23:55And it also depends
23:56on the person.
23:57Yes, your values.
23:58You said that you
23:59arbor
24:00certain scoops,
24:01certain articles.
24:02Yes.
24:03An example of
24:04even just one
24:05that you arbor
24:06because of...
24:07Who's the editor?
24:08You're the editor, right?
24:09I'm the editor.
24:10She's the editor
24:11because she's the editor.
24:12Yes, I'm the editor.
24:13I forgot
24:14what the news was about
24:15but I was able to talk
24:16to Snooki
24:17and he told me
24:18not to write.
24:19What is this?
24:20So,
24:21after two days,
24:22I read the other...
24:23It's so annoying!
24:24It's so annoying!
24:25I said,
24:26don't write,
24:27don't say,
24:28don't read.
24:29Did it make you feel bad
24:30that you couldn't write?
24:31I really felt bad
24:32and
24:33I felt bad
24:34when I read
24:35the writing of a writer
24:36because he said
24:37Snooki asked him
24:38to do it.
24:39In the first place,
24:40Snooki told me that
24:41but he said,
24:42Tita,
24:43don't write.
24:44What did it do?
24:45Maybe Snooki
24:46respects you.
24:47I hope.
24:48Maybe
24:49he also told him
24:50not to write
24:51but he just wrote it.
24:52It happens.
24:53There are writers
24:54that even if you tell them
24:55not to write
24:56it's off the record,
24:57you'll know
24:58what they're saying.
24:59Actually,
25:00they said
25:01it's happening
25:02and I told them
25:03it's off the record,
25:04Tita Julie.
25:05So,
25:06save it to LAR.
25:07Save it to LAR.
25:08Save it to LAR
25:09because they know
25:10what's happening.
25:11That's true.
25:12That's true.
25:13That's true.
25:14You know,
25:15he told me this
25:16but he told me
25:17not to write.
25:18He promised
25:19not to write.
25:20No,
25:21if he told me,
25:22it's off the record.
25:23Can you give us
25:24an example?
25:25Don't.
25:26It stops with me.
25:27If I told you,
25:28it's off the record.
25:29That's great.
25:30You know,
25:31the point is
25:32I'm very close
25:33to a particular artiste.
25:34In my case,
25:35let's say
25:36Paps Fernandez.
25:37I'm very,
25:38very close to her
25:39to a point
25:41and yet,
25:42I can't write about her.
25:43You know what I mean?
25:44Because I don't want
25:45Paps to get involved with me.
25:46So,
25:47when people see that,
25:48it's like you're being
25:49humiliated
25:50and you can't
25:51do anything about it.
25:52That's friendship.
25:53That's how it is
25:54when you're close.
25:55You know a lot.
25:56We still have a lot
25:57to ask.
25:58We still have a lot
25:59to ask.
26:00But,
26:01sometimes,
26:02gossip is destructive.
26:03For you,
26:04when can you say
26:05that a showbiz writer
26:06is constructive
26:07or destructive
26:08in his writing?
26:09You know.
26:10You'll answer that.
26:30Okay.
26:31Hanging question.
26:32When can you say
26:33that a showbiz writer
26:34is constructive
26:35or destructive
26:36in his writing?
26:37Maybe,
26:39he's constructive
26:40if he's writing
26:41for the betterment
26:42of the artist.
26:43Like what,
26:44for example?
26:45Like, for example,
26:46if you're writing
26:47about separation.
26:49For example,
26:50the separation
26:51of two
26:52artists' spouses.
26:54He's constructive
26:55if you're writing
26:56not just
26:57to gossip
26:58or not just
26:59to spread rumors
27:00about separation.
27:01But,
27:02to show people
27:03that the artists
27:04also have
27:05their own problems.
27:08And just like that,
27:09Ricky's columns.
27:10I read them every day.
27:11Ricky,
27:12after he graduated
27:13from school,
27:14he gave
27:15advice to the artists.
27:16He said,
27:17this is just a reminder.
27:20So, you'll know
27:21why Ricky wrote that
27:22to remind
27:23the artists.
27:25I also have
27:26a columnist,
27:27Senel Alejandrino.
27:28Sometimes,
27:29I'll even remind
27:30the artists.
27:31But,
27:32that's just a reminder.
27:33You're an artist.
27:34You need to be
27:35a role model.
27:36Thank you, Julie,
27:37for the compliment.
27:38Maybe,
27:39the write-up
27:40can be distracting
27:41if there's a malice.
27:42That's true.
27:43That's true.
27:44If there's an ulterior motive
27:45that Jelly is angry,
27:46Jelly will be closed.
27:48You'll see that
27:49in the tone of writing.
27:50And also,
27:51if the writers
27:52want to be controversial,
27:55you'll know
27:56in the tone of writing.
27:57And you'll know
27:58from their fans
27:59who write to you,
28:00the hate mail
28:01that you receive.
28:02They're wondering
28:03why you're writing
28:04these artists.
28:06You can write
28:07negative aspects
28:08of the life
28:09of the art stars.
28:12Not offensive
28:13and not distracting.
28:15We do also accept
28:16or we do receive
28:17positive coming
28:18from our readers.
28:19There are also
28:20negative
28:21depending on
28:22what we write.
28:23So,
28:24not all of them
28:25are positive.
28:26The reaction
28:27of the readers
28:28is always there.
28:29Maybe,
28:30we're cheap
28:31or they react
28:32to what we write.
28:33Yes,
28:35you're even threatened.
28:37For me,
28:38for example,
28:39I was following
28:40the news
28:41about
28:42Jinggoy Estrada.
28:44This is after
28:45the episode.
28:46The people
28:47who are
28:48annoying
28:49and the things
28:50that happen to her.
28:51There are calls
28:52from the GMA.
28:53They told her
28:54not to report
28:55about Jinggoy.
28:56She's too sensitive.
28:57Things like that.
28:59Things like that.
29:00Just like when
29:01I wrote this
29:02to Donita Rose
29:03she was the one
29:04who asked for it.
29:05She was invited
29:06by Mark Anthony
29:07in the movie.
29:08Someone called me
29:09and asked,
29:10Do you know
29:11who I am?
29:12Do you know
29:13what you're writing about?
29:14Yes.
29:15They said,
29:16your writing is bad.
29:17It's not right.
29:18Who called you?
29:19It doesn't matter
29:20who Donita's
29:21admirer is.
29:22It doesn't matter
29:23who her fan is.
29:24Maybe,
29:25she's needed
29:26in the scene.
29:27The next day,
29:28I talked to Donita
29:29and I said,
29:30why is it like that?
29:31You're the one
29:32who called me
29:33to my job.
29:34Some people
29:35will accept that.
29:36What if
29:37it comes to the point
29:38that you think
29:39your writing is
29:40constructive.
29:41I'm not
29:42malicious
29:43when it comes
29:44to my writing.
29:45It's constructive.
29:46But,
29:47your writing
29:48is angry.
29:49It's not.
29:50It's too personal.
29:51What are you doing?
29:52It depends on
29:53the perception
29:54of the artist
29:55or the public.
29:56Some people
29:57might think
29:58it's personal.
29:59Others might think
30:00it's objective.
30:01A lot of artists
30:02are sensitive.
30:03They're very sensitive.
30:04If your writing
30:05is true,
30:06your reaction
30:07is negative.
30:08The initial reaction
30:09is usually like that.
30:10When an artist
30:11is...
30:12Peek-a-boo.
30:13Yes.
30:14They'll be like,
30:15why did she write this?
30:16There's always
30:17an artist
30:18who, for example,
30:19the article came out
30:20and they read it.
30:21They'll call you
30:22and say,
30:23hello,
30:24why did you write
30:25this?
30:26It's not like that.
30:27Actually,
30:28it's better
30:29if they're like that.
30:30They'll react.
30:31Why better?
30:32Because...
30:33You'll know
30:34her side.
30:35So the next day,
30:36you'll write that.
30:37That's it,
30:38her side.
30:39It's better.
30:40You'll know
30:41if she's mad at you
30:42instead of
30:43just hearing
30:44that you're being hunted.
30:45Or that you're being
30:46bullied.
30:47I'm not being hunted
30:48by you.
30:49I want to kill you.
30:50I won't fight you.
30:51When I participated
30:52in the Vilma Nora
30:53Rivalry,
30:54the fans
30:55who wrote
30:56about me,
30:57because I'm
30:58Noranyan,
30:59they wrote
31:00that they don't
31:01like me.
31:02They said,
31:03don't go out
31:04of the office.
31:05Do you have
31:06biases?
31:07Of course.
31:08A little.
31:09You know,
31:10being human beings,
31:11we have biases.
31:12But we should
31:13minimize them
31:14as much as possible.
31:15Journalism should
31:16be as objective
31:17as possible.
31:18So you won't be objective
31:19if you have biases.
31:20Minimize them
31:21a little.
31:22It's hard to control.
31:23As much as you can.
31:24It's hard to control.
31:25No,
31:26if you're in the business
31:27for a long time,
31:28you can do it.
31:29If you're in the business
31:30for a long time.
31:31The Padilla family
31:32won their case
31:33against Orduja.
31:34Orduja.
31:35The book
31:36written by Orduja.
31:37Of course,
31:38everyone who writes
31:39has risks
31:40that they face.
31:41Yes.
31:42Did you encounter
31:43such serious
31:44risks?
31:45There's
31:46demand,
31:47there's
31:48threats.
31:49Libel.
31:50Libel.
31:51There.
31:52But you'll answer
31:53that later
31:54because when we come back,
31:55you won't answer that.
31:56We still have
31:57a challenge.
31:58Later.
31:59Always,
32:00always be
32:01real sisters.
32:03Real sisters.
32:08Always,
32:09always be
32:10real sisters.
32:12Real sisters.
32:17What are the risks
32:18that they experience
32:19in their writing?
32:20There's demand,
32:21there's libel.
32:23What is it?
32:24There's threats.
32:25Threats.
32:26Maybe it's just libel
32:27but we have a star,
32:28we have a lawyer
32:29that when we feel
32:30that the item is
32:31a bit sensitive,
32:32you consult
32:33with the lawyer
32:34before releasing it.
32:35And later,
32:36we know the
32:37loss of life,
32:38the libel loss.
32:39Even in GMA,
32:40right?
32:41Yes.
32:42You consult
32:43with the lawyer
32:44if it's too sensitive.
32:45But sometimes,
32:46even if it's not libel
32:47that you're writing,
32:48if it's a bit negative
32:49but that's the truth,
32:50there are people
32:51who get mad at you.
32:52So there's an
32:53action star
32:54that I met
32:55in person
32:56because
32:57his ex,
32:58his wife,
32:59told me,
33:00Julie,
33:01I remember
33:02what you wrote
33:03but I didn't
33:04call you,
33:05I didn't contact you.
33:06But it's obvious
33:07that he has
33:08feelings.
33:09Who is that?
33:10And I wrote
33:11something
33:12and told the reporter,
33:13stop that
33:14because
33:15you're not sure
33:16when that
33:17artist will go.
33:18So there are
33:19artists
33:20that have
33:21threats.
33:22Yes, there are.
33:23And in life,
33:24in your life,
33:25it's part of
33:26the risk
33:27of our job.
33:28It's like
33:29the hazard.
33:30I think
33:31everyone
33:32has a risk
33:33in their job.
33:34It's like you and
33:35Jenny,
33:36because you're part
33:37of the media
33:38in a way.
33:39Actually,
33:40I feel
33:41different.
33:42Let me give you
33:43an example.
33:44Let me give you
33:45an example.
33:46There are a lot
33:47of people
33:48who read
33:49your column.
33:50They watch
33:51whatever program
33:52you're in.
33:53They give you
33:54an update
33:55on the artist.
33:56In their column,
33:57there are
33:58characteristics
33:59of the artist
34:00or the showbiz.
34:01And they ask
34:02you for a comment
34:03whether it's
34:04constructive
34:05or not.
34:06It's up to you.
34:07So this is
34:08our challenge.
34:09That's what will
34:10happen.
34:11These are
34:12the questions
34:13of your fans.
34:14Jenny might get
34:15mad at you.
34:16Should we
34:17put a waiver
34:18for opinions
34:19expressed here?
34:20Not necessarily
34:21opinions of the host.
34:22Yes.
34:23We're not.
34:26I'll choose.
34:27There's a question
34:28here.
34:30Beauty first.
34:32Let's distribute
34:33all the questions.
34:40Who's the artist
34:41that's too hard
34:42to handle?
34:44There are a lot
34:45of artists.
34:46I can mention
34:47Gabby Concepcion
34:48before.
34:50I want to interview
34:51her.
34:52She's already there.
34:53But I need to go
34:54to her father
34:55because he's the one
34:56managing her.
34:57So I asked
34:58my father,
34:59can I interview
35:00your son?
35:01He said,
35:02you need to
35:03make an appointment.
35:05She's just there.
35:06Why do I need to
35:07make an appointment?
35:08When?
35:09Not now?
35:10She's just here.
35:11She's not doing anything.
35:12She's already
35:13doing two things.
35:16That's the only
35:17thing I saw
35:18that's too hard.
35:19She's already there.
35:21Who's the artist
35:22that's too good
35:23to handle?
35:24There are a lot.
35:28I like Vilma.
35:29Vilma Santos
35:30is too good to handle.
35:33Osang.
35:34Rosana Roses.
35:36She's very generous.
35:37She has a lot
35:38to say.
35:40Robin Padilla
35:42is also too good
35:43to handle.
35:44Sharon.
35:46She's also
35:47very generous.
35:48Tita Aster.
35:50Who's the artist
35:51that has a lot of secrets?
35:52There are a lot.
35:54I don't think so.
35:55She has a lot.
35:56She's really like
35:57top three.
35:58Top three.
35:59Yeah, top three.
36:00She doesn't want to.
36:01She doesn't want to.
36:02Actually,
36:03number one
36:04is Tita Aster.
36:05Number one is
36:06she has a lot of secrets.
36:07She doesn't want to.
36:08Tita Aster is
36:09really difficult.
36:10It's the same for you.
36:11Although you're
36:12open to others
36:13or the press,
36:14there are still things
36:15you're hiding
36:16Of course.
36:17Of course.
36:18All artists
36:19have secrets.
36:20I cannot just
36:21pinpoint one.
36:22Don't tell us
36:23their secrets.
36:24Just choose them.
36:26Tita Aster.
36:28Tita Aster.
36:29Okay.
36:30Next.
36:32Janice.
36:33Who's the star
36:34that doesn't have
36:35any gossip?
36:36Or is she really
36:37super all out?
36:38Okay, I care.
36:39What is it?
36:40Christina, my friend.
36:41She's very vocal.
36:42She's very articulate.
36:43Sometimes,
36:44without her own permission,
36:45she's very talkative,
36:46right?
36:47Without provocation.
36:48Without provocation.
36:49That's what's good about her.
36:50She doesn't have
36:51anything against you.
36:52She doesn't have
36:53a lot of money.
36:54And before we leave
36:55what we were talking about,
36:56I just remembered,
36:57can I add
36:58Nora Honor's name?
36:59Because Nora is
37:00difficult.
37:01She's difficult.
37:02And sometimes,
37:03you already have
37:04an appointment
37:05when you go to
37:06your appointment.
37:07You're not sure.
37:08You'll wait
37:09for five hours
37:10but she's still not there.
37:11How many times?
37:12But that was
37:13the other day.
37:15Okay.
37:16Name your top
37:17three newsmakers
37:18of all time.
37:19Well,
37:20of all time,
37:21in your career.
37:22In all.
37:23In your career.
37:24In your three decades.
37:25None.
37:28Who are they?
37:29Vilma,
37:30Nora,
37:33Robin.
37:34That's right.
37:35How is that right?
37:39Sharon.
37:41Sharon.
37:42Vilma.
37:43Vilma.
37:45Can I name four?
37:46Sure.
37:47Dolphine.
37:48FPJ.
37:49FPJ.
37:50Let's go.
37:51I'll go with
37:52Nora Vilma
37:53and Chris Aquino.
37:54Chris Aquino.
37:55I'll go with
37:56Nora Vilma,
37:57Sharon Maricel.
37:59I'll go with
38:00Dolphine Shasha
38:01because
38:02the issues
38:03they're talking about
38:04are serious.
38:05Martin and Pops.
38:06Martin and Pops.
38:07It's been a while
38:08since they stretched.
38:09Chris Aquino,
38:10the issues
38:11they're talking about
38:12are from Asia,
38:13all over the world.
38:14It's been on TV.
38:16RANK THE FOLLOWING
38:18ACCORDING TO IMPORTANCE
38:19IF YOU CONSIDER
38:20THE ISSUE
38:21FOR YOUR COLUMN.
38:23AN ACTOR
38:24OR AN ACTRESS?
38:28I'm sorry.
38:29A.
38:30IS INTO DRUGS?
38:32B.
38:33QUESTIONABLE
38:34GENDER PREFERENCE?
38:35C.
38:36INTO A FORBIDDEN
38:37RELATIONSHIP?
38:39RANK THAT.
38:40RANK IT.
38:41If I were to write it,
38:43what would be more important to write there?
38:45If I were to write it?
38:47Oh, three headlines.
38:49Equally rank.
38:51But still, if you write it,
38:53you can't write it equally.
38:55You can't?
38:57You can separate it.
38:59Although, three different titles.
39:01No, just for fun.
39:03For fun, yes.
39:05For drugs.
39:07Sexual preference.
39:09For me,
39:11questionable gender is number one.
39:13Why?
39:15Because people are always
39:17irritated by that.
39:19Especially if it's too girly
39:21or too mean.
39:23It's the third item.
39:25Forbidden relationship.
39:27What's the other one?
39:29Drugs.
39:31Forbidden relationship.
39:33I want to be first.
39:35Unlikely.
39:37Forbidden.
39:39Don't say unlikely, forbidden.
39:41You're exciting.
39:43It will depend.
39:45For me, it will depend
39:47if we're going to name names.
39:49Boring?
39:51Boring.
39:53So if you're going to write forbidden relationship
39:55and headline it, you need to name names.
39:57But the good thing about blind items is
39:59you'll be more intrigued.
40:01Top three interviews
40:03that you want to do based on
40:05recent issues.
40:07What's the first question
40:09for those who are concerned?
40:11Closer to home.
40:13What's your first question to Janice?
40:15Of course, all of them.
40:17What happened?
40:19Do I need to answer?
40:21I'll answer.
40:23In the bus.
40:25She's in the S5, right?
40:27She's in the S5.
40:29That's nice.
40:31Joanna Alma.
40:33Who would you ask first?
40:35Who would you ask first?
40:37Who would you ask first?
40:39Who would you ask first?
40:41Wow.
40:45Janice, John, Dolphy.
40:47On opposite sides of the table.
40:49That's it.
40:51That's Janice, that's Alma, that's Joey.
40:53What's your question to them?
40:55First question.
40:57Okay, fine.
40:59Too bad.
41:01What would John do
41:03to make you forgive him?
41:05Me?
41:07I'm concerned about Paps
41:09and Martin.
41:11Paps is like a son to me.
41:13I think both of them.
41:15Can't you go back?
41:17No, I'm still hoping.
41:19Natalie Wood
41:21and...
41:23Nora Honor.
41:25Nora Honor.
41:27I'll ask her,
41:29who do you love more?
41:31Killing or John Rendes?
41:33Who do you love more?
41:37I'll ask Julie.
41:39I'll ask Jelly.
41:41Jelly, when will you become friends
41:43with a non-singer actress?
41:45Why?
41:47Because we need to be friends.
41:49We need to be friends.
41:51We can talk, but...
41:53When will you talk?
41:55When will you talk?
41:57Why are you talking?
41:59Next question, when?
42:01Maybe when we meet,
42:03and there's a chance, why not?
42:05Let's not get too close.
42:07I don't want to
42:09give names, but I'll ask
42:11the ones with questionable gender.
42:13Hey!
42:17Rikki's blind item,
42:19the five in Cebu.
42:21I want to know that.
42:23They'll have lunch here.
42:25I'll ask them,
42:27if it's true.
42:29I've had that experience.
42:31I asked a girl,
42:33if it's true that
42:35you really like girls.
42:37She told me,
42:39but now she doesn't.
42:41It's Karol.
42:43That's okay.
42:45The more open you are, it's okay.
42:47Especially if it's sexual preference.
42:49That's who you are.
42:51Number one, sexual preference.
42:53Because it affects the attitude
42:55of the person concerned.
42:57There's a lot of load off them.
42:59Am I right?
43:03Thank you, too.
43:05There's a lot more to say.
43:07There's a lot more to ask.
43:09There's a lot more to talk about.
43:11We're running out of time.
43:13Thank you for sharing
43:15the information.
43:17I hope next time, you'll be more open.
43:21We'll give you the blinds.
43:23We'll give them to you.
43:25We don't have blind items anymore.
43:29Thank you so much again.
43:31You're the only one who knows.
43:33No.
43:35On that note,
43:37we'll be back.
43:51We are sisters.
44:22That's natural.
44:24How about you?
44:26When do you get hurt?
44:28Not anymore.
44:30I'm used to pain.
44:32You're used to pain.
44:34I don't get hurt.
44:36Not anymore.
44:38I feel like
44:40that's part of their job.
44:42If they write, it's fine.
44:44If you complain, it's like...
44:46What if there's no intrigue?
44:48Or no writers?
44:50We won't enjoy it.
44:52We won't talk about it.
44:54Obviously, we need them.
44:56That's right.
44:58As long as
45:00it's fun.
45:02Or stories.
45:04Because when we talk,
45:06it's just stories.
45:08We'll see each other again.
45:10We'll talk about other people.
45:12I feel like crying.
45:14Tomorrow.
45:16Tomorrow, here at SIS.
45:18SIS would like to thank
45:20Bambi Fuentes,
45:22Mossimo, F&H,
45:24Chloe for our eyewear,
45:26Optical Works,
45:28Adidas, Janeline Shoes,
45:30Wade Shoes,
45:32Bayo, Under the Sea Pet Shop,
45:34Salon de Manila,
45:36La Germania,
45:38680 Home Appliances,
45:40Girostar,
45:42Mano Mano,
45:44Play and Display,
45:46Balloon Furniture Enterprise,
45:48The Barnyard,
45:50Grand Flora,
45:52Our Home,
45:54Wayless Center and Spa,
45:56Balloon Creations,
45:58Color My Hair,
46:00and Union Square.
46:02Who's the artist that's too hard to handle?
46:04There are a lot of artists.
46:06But I can mention Gaby Concepcion.
46:08Before,
46:10I wanted to interview her.
46:12She's already there.
46:14I told my father,
46:16Can I interview your son?
46:18He said,
46:20You need to make an appointment first.
46:22She's already there.
46:24Why do I need to interview her?
46:26She's already there.
46:28What's your question?
46:30Can't we really get back together?
46:32Okay, fine.
46:34Fine.
46:36What will Jan do
46:38for you to call her?