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PCC conducts market inquiry on proposed BancNet-PCHC merger 

STOCK PHOTO | Image by Pongsawat Pasom from Unsplash

COMPETITION WATCHDOG Philippine Competition Commission (PCC) is conducting a market inquiry on interbank electronic fund transfer services, as it reviews the proposed merger of BancNet, Inc. and Philippine Clearing House Corp. (PCHC).   

“The review entails assessing the impact on competition of the merger, the merged entity’s ability and incentive to increase fees, lower the quality of its services, and reduce innovation, and other possible effects of the transaction (including the effect on quality and reliability of services by InstaPay and PESONet),” the PCC said in a statement.

The competition watchdog said it is important to get feedback from consumers and bank clients who use these interbank fund transfer services as it reviews the BancNet-PCHC merger.

Consumers and bank clients are invited to answer the survey on the PCC website (https://www.phcc.gov.ph) until Aug. 11.

BancNet and PCHC are the clearing switch operators for InstaPay and PESONet.

PESONet is an electronic fund transfer service operated by the PCHC. It is considered as a viable alternative for checks and recurring payments.

Meanwhile, InstaPay is a real-time, low-value payment substitute for cash transactions that is operated by BancNet.

As of June, transactions made via InstaPay and PESONet had risen by 30.6% to P5.93 trillion from P4.54 trillion a year earlier.

Transactions done through the two clearing houses increased by 35.3% to 398 million from 294 million a year ago.

PESONet transactions in the first half were valued at P3.66 trillion, up by 24.4% from P2.94 trillion last year, while the volume of transactions increased by 10.1% to 44.89 million from 40.76 million the prior year. 

In the same period, InstaPay transactions were valued at P2.26 trillion, increasing by 41.2% from P1.6 trillion last year, while the volume of transactions jumped by 39.3% to 352.9 million from 253.2 million a year earlier. — RMDO

PLDT net income jumps 22% to P9B

BW FILE PHOTO

PLDT Inc. saw a 22.4% increase in its attributable net income to P9.44 billion in the second quarter from P7.71 billion in the same period last year after booking higher revenues and lower operational expenses.

“Despite all the adversities that we have faced in the past, as any business does, I think we are showing a very solid first-half [results],” said Alfredo S. Panlilio, president and chief executive officer of PLDT, at the company’s quarterly briefing on Thursday.

From April to June, the company recorded P51.68 billion in revenues, a 1.4% increase from P50.96 billion in the same period last year.

The company’s total expenses for the second quarter reached P38.64 billion, 30.3% lower than the P55.4 billion incurred in 2022.

“The higher income was basically because of the P900 million rise in revenues combined with the P800 million reduction in operational expenses,” said Danny Y. Yu, senior vice-president and group controller of PLDT, referring to the company’s first-half showing.

In the first half, the company booked P18.45 billion in attributable net income, a 9.9% jump from P16.79 billion in the same period last year.

Its top line rose to P104.04 billion in the first semester, a 3.2% increase from P100.79 billion in 2022.

In its financial highlights, the company said that its service revenues net of interconnection costs was P94.5 billion, 0.9% higher than the P93.7 billion recorded in the first half of last year.

Cash operational expenses, subsidies, and provisions were P42.4 billion in the first six months, a 1.9% decline from P43.2 billion in 2022.

BUSINESS SEGMENTS
In the first half, the individual segment of PLDT registered P40.2 billion in revenues, a 0.2% decline from P40.3 billion last year.

Home segment had the largest revenue growth at 3.1% to P30.1 billion in the first six months from P29.2 billion in the same period in 2022.

Revenues from enterprise business were P23.2 billion from January to June, a 2.7% increase from P22.6 billion last year.

For this year, the company previously gave a service revenue growth guidance of “mid-single digit growth,”  however, it was revised to “low-single digit growth” on Thursday.

“We’ve seen some softness in the first semester due to the effects of inflation especially in wireless but I think we are seeing some progress if you look at our quarterly mobile growth from first to the second quarter,” Mr. Panlilio said,

“We’re hoping that the second half will be much stronger than the first half. We’re just being conservative on our projection, but obviously, we’re still aiming for the mid,” he added.

WIRELESS UNIT
After leading the subscriber identity module (SIM) registration based on the percentage of registered SIMs to its subscribers, PLDT wireless unit Smart Communications, Inc. is “aspiring” to regain leadership in the mobile market, after losing its dominant position in 2016, Mr. Panlilio said.

“That’s always been the plan — to regain leadership. It’s very hard to do that because we have very strong competition too,” he said.

As of July 30, or the last day of the grace period allotted for SIM reactivation, the National Telecommunications Commission recorded a total of 113.97 million registrants, which represents 67.83% of the 168.02 million total subscribers.

Out of the total registrants, Smart registered 52.5 million subscribers representing 79.18% of its 66.3 million total subscribers, Globe Telecom, Inc. recorded 53.73 million registrants or 61.94% of its 86.75 million subscribers, and DITO Telecommunity Corp. booked 7.74 million registered SIMs or 51.72% of its total 14.96 million subscriber’s base.

“That’s a 1.2 million difference from the previous 20 million,” Mr. Panlilio said, referring to the market share difference after the SIM card registration run.

“We’re trying to increase average revenue per user and bring value-adding offers making sure we are able to address their requirements. Our job is how we can grab market share eventually from them,” he said.

At the stock market on Thursday, PLDT rose 0.38% or P5 to P1,310 per share.

Hastings Holdings, Inc., a unit of PLDT Beneficial Trust Fund subsidiary MediaQuest Holdings, Inc., has a majority stake in BusinessWorld through the Philippine Star Group, which it controls. — Justine Irish D. Tabile

ACEN expansion lifts income by 24% to P2 billion

AYALA-LED ACEN Corp. reported an attributable net income of P2.21 billion in the second quarter, up 24.2% from a year ago, boosted by its renewables expansion.

“Our growth continues to be robust midway through 2023. We’ve made considerable progress with the continued ramp-up of our projects, helping provide much-needed supply to the Philippines and across the region,” Eric T. Francia, president and chief executive officer of ACEN, told the stock exchange on Thursday.

For the April-to-June period, ACEN said its consolidated revenues surged to P11.33 billion, 32.2% higher than the P8.57 billion in the same period last year.

“We continue to expand our funding sources and optimize ACEN’s capital structure, while keeping track of our leverage ratios, as we aggressively pursue new investments in line with our growth aspirations,” said Maria Corazon G. Dizon, chief finance officer and compliance officer.

In the first semester, ACEN’s net income attributable to the parent company reached P4.23 billion, up by 94% compared with P2.18 billion in the corresponding period in 2022.

The energy company said its profit rise signifies recovery from the headwinds it experienced in 2022.

“The company’s strong performance was accompanied by a rise in overhead, as ACEN ramped up manpower in support of the acceleration of its renewables expansion,” it said.

Consolidated revenues for the January to June period also expanded posting a 28.2% increase to P20.47 billion from P15.97 billion a year ago

The energy company of the Ayala group attributed its revenue rise to the increase in net generation, which it said was driven by a “stronger wind regime throughout the period and higher operating capacity with testing and commissioning of new projects.”

The boost in net generation allowed the company to reach a net selling merchant position along with strong prices at the Wholesale Electricity Spot Market (WESM), ACEN said.

For the January-to-June period, ACEN’s attributable EBITDA or earnings before interest, taxes, depreciation, and amortization from nonconsolidated operating associates and joint ventures went up by 20% to P9.4 billion.

ACEN said its Philippine operations contributed P4.1 billion to EBITDA, 48% higher than a year ago, while its international EBITDA expanded 17% to P5.5 billion due to “stronger wind resources” with the ongoing commissioning of its 521-megawatt direct current (MWdc) New England solar farm project in Australia.

ACEN said its combined attributable renewable energy output posted double-digit growth to 2,052 gigawatt-hours (GWh) in the first six months of the year.

In the Philippines, ACEN’s renewable energy generation registered a 30% increase to 568 GWh, which it attributed to the commissioning of its 160-megawatt Pagudpud wind farm in Ilocos Norte and the 44-MWdc second phase of its Arayat-Mexico solar farm in Pampanga.

Meanwhile, the company’s international portfolio generated 1,483 GWh, up by 17% from a year ago, fueled by robust wind resources in Vietnam and improved operations in Indonesia.

ACEN has around 4,200 MW of attributable capacity spread across the Philippines, Vietnam, Indonesia, India, and Australia. The energy company is targeting to expand its renewable energy portfolio to 20 GW by 2030.

“We continue to be at the forefront of the global energy transition as we actively establish new partnerships and grow existing relationships in order to deliver reliable and sustainable power to the markets we serve. We are confident that these opportunities will allow us to move ever closer to our ACEN 2030 aspirations and beyond,” said Jonathan P. Back, the company’s chief strategy officer.

At the local bourse on Thursday, shares in the company gained 29 centavos or 5.79% to close at P5.30 apiece. — Ashley Erika O. Jose

9 Works Theatrical counts the many reasons to see tick, tick… Boom!

THE CAST of Jonathan Larson’s tick, tick... Boom! (clockwise from the foreground, right): Khalil Ramos, Jef Flores, Kayla Rivera, Vien King, Reb Atadero, and Tanya Manalang.

By Giselle P. Kasilag

THERE are many reasons to watch Jonathan Larson’s tick, tick… Boom!, and just as many reasons to watch it multiple times. Set in 1990s New York, this semi-autobiographical musical tells the story of an aspiring composer, Jon, who is wondering if he should continue chasing after his dreams or cut his losses and turn to more traditional and stable career options.

Anyone of any field who has experienced doubt about pursuing their passion must watch what should be described as necessary theater. It delves into the existential crisis of every human being with a dream must navigate.

Director Robbie Guevarra, however, is adding more reasons to see 9 Works Theatrical’s upcoming performance of the award-winning musical at least eight times. He has put together a stellar cast of six for a show, with three characters. Jef Flores and Khalil Ramos will take on the lead role of Jon. Tanya Manalang and Kayla Rivera are alternating as Susan. Vien King and Reb Atadero are performing as Michael. But this is not a Cast A alternating with Cast B scenario. There is no set trio per show. Instead, the cast will be switched up and will be able to perform with all the other actors except for the one they are sharing the role with.

“There will be eight combinations,” explained Mr. Guevarra. “We have 11 shows at the moment. Three of those combinations will repeat.” The primary reason for this unusual setup was the COVID-19 pandemic. Having two sets of casts would ensure that the shows need not be canceled if someone gets sick. But having the actors able to perform with any combination of the cast is an added layer of security that the show can go on for as long as one actor playing each character is healthy.

“It’s so much fun because it trains me not to go on autopilot,” said Ms. Manalang. “It’s always a different energy every time. It’s a different person so physically pa lang (gesturing at the height difference between the two actors), there are some things I do easily with Khal but with Jef, I have to be creative about it and be comfortable with it. I like it that it keeps me thinking on my toes and that’s just how life is. You don’t plan things ahead. It makes it more real in that sense.”

Indeed, the pandemic and the lockdowns informed many of the decisions related to the staging of tick, tick… Boom!, foremost of which was the choice to bring it back in the first place.

Managing director Santi Santamaria was adamant about starting small after the pandemic. Being material that they were familiar with and having only three characters made it an easy choice. But Mr. Guevarra also felt that the script itself was timely.

“When we decided to do this again, I was asking myself, aside from the pragmatic reason that we wanted to start small, I looked for what can this show contribute to society. There’s always a purpose to our shows. It was a way of showing how we live our lives because it’s not very foreign. Even though this is set in New York where the pressure is bigger and where they’re literally small fish in a huge ocean — here it’s a pond and you have big fish. They’re big fish already in the pond and that’s great, but we still all have our struggles. And I just wanted to show the world that this is what we go through. There are people out there who still think theater is a hobby,” he shared.

This challenge could not have been more evident during the global lockdowns. With people stuck in their homes, many turned to the arts to survive the mental toll of the pandemic. And yet most artists are unable to live financially secure lives solely on their art. Thus, the struggle between artistic and commercial pursuits which is as the heart of tick, tick… Boom! presents itself in a most timely fashion.

“Does it always have to be at odds? Not necessarily,” explained Mr. Atadero. “But in a country like ours, the question is do you feed your stomach, or do you feed your soul? Of course, if you have to function as a person, you have to feed your stomach. That’s why we do a lot of corporate gigs, we do a lot of singing engagements. We do these things in order to be able to sustain [ourselves] while feeding our souls. Pagod ka nga lang (You get tired), but I remember this quote from one of my mentors before: Lahat tayo napapagod. Choice mo kung mapapagod ka nang masaya o malungkot (We all get tired. It’s your choice if you get tired while being happy or if youget tired while being sad).”

Indeed, at times, the script reads like the story of their own lives. All the cast members at some point in their journey found themselves in the same position as their characters.

Mr. Flores, like Jon, is a musician and a composer and has identified strongly with the challenges that his character faces.

“There comes a point where when you’re a kid you want to be a pop star. But pop stars are very young. And then when you’re older, you’re just a washed-up pop star. And so I’m getting to the washed-up age without ever actually hitting my pop star status. So that’s how I relate to the role. As a musician, I can vibe with a lot of things being said. So I bring a lot of myself into the role, for sure,” he admitted.

Mr. Ramos, who alternates with Mr. Flores, cited the pressure as the aspect of Jon’s character that he relates to the most.

“It’s the anxiety that the artist faces in this crazy, crazy industry,” he disclosed. “I’ve been in show business for 12 years now and it’s vastly changed over the past three or four years and I’m sure you guys know how much it has changed after the pandemic. We, artists, were forced to do other things outside of our comfort zone. We started to become content creators to try and adapt to the changing scene. And that’s what I’m going through as an artist. All my projects were canceled. I didn’t know where to find work. We had to choose different paths but in my head I would always think, ‘I don’t want to sell out!’ It’s always been a battle for me. This year, I’m very thankful that we can do these things again after the restrictions were eased. But I am faced with the same anxieties that John faced. When this is all back to normal with all the new artists, who am I now? I’ve been here for 12 years. What else can I bring to the table?”

Susan, a dancer, is on the edge of throwing in the towel and moving away from her dream and beginning a quiet life to build a family. Ms. Rivera confessed to having moved away for a time just to be in that quiet and stable environment that her character, Susan, longs for.

“I went back to school. I was working in a car dealership as a receptionist in Canada. So, I took that time to veer away from the creative track. And that’s really like what Susan is wanting [to do]. She teaches dance and she’s a dancer herself, and she had these big dreams. But she comes to a point where she realizes that ‘I want a family. I’m okay living away from the city and having a more simple way of living.’ So that’s how I relate to Susan. And at this point in my life as well, even though I’m performing and I also do radio, but at the same time at this point in my life I feel like I’m also getting there. I’m 30 so that’s not too far away as well in terms of having a family,” she shared.

Michael, the pragmatist, is no stranger to Mr. King. He shares the challenges that his character faces on a daily basis.

“The thing I can relate to my character [over] is the struggle of being an artist,” he said. “It’s really hard like, for me, I have lots of responsibilities to my family. And this is my passion and it’s really hard for me to stay in this industry. At one point in my life, I really tried looking for a corporate job. So I think those [are] layers that I can really put [on] the table — that experience at that point in my life — [for] my role because I am just happy right now that I’m still here doing what I love to do and giving security to my family as well.”

Clearly, tick, tick… Boom! has resonated with the cast on so many levels. And this is precisely why they are confident that the audience will be able to relate to one or all of the characters, depending on where they are in their life journey.

“This is supposed to be set in 1990 but it’s still relevant today” declared Mr. Atadero. “The technology is different but the story is still a very human story of how far you’re willing to go, to stretch yourself out, to try and reach for something that could be an impossible dream.”

tick, tick…BOOM! will have performances every weekend of August at 3 and 7:30 p.m., on Saturdays and Sundays, at the Carlos P. Romulo Auditorium, RCBC Plaza in Makati. Tickets are now available via ticket2me.net.

San Miguel unit posts flat first-half net income

SAN MIGUEL Food and Beverage, Inc. (SMFB) reported a consolidated net income of P18.8 billion in the first semester, which the listed manufacturer described as “steady” amid a challenging market environment.

No comparative figure was given by the company but it previously reported the same profit figure a year ago.

In a media release on Thursday, it said revenues in the first half were hit by the rising cost of raw materials, an increase in excise taxes, and elevated logistics costs.

“As uncertainties and risks to the economic environment remain, we will continue to take the necessary actions to mitigate the impacts on each of our businesses, including leveraging on each of our strengths to improve overall performance,” Ramon S. Ang, president and chief executive officer of SMFB said.

“We will continue to invest in building our brands and strengthening our portfolio in order to position SMFB for long-term sustainable growth,” Mr. Ang added.

Its consolidated revenues during the first semester rose by 7% to P184.6 billion due to the combination of volume growth and an efficient pricing strategy.

The company’s beer business, San Miguel Brewery, Inc. recorded a 26% increase in its consolidated net income in the first half to P13.5 billion on the back of strong sales.

Its consolidated sales during the period rose by 14% to P74.1 billion because of improving demand from domestic and international markets.

Revenues from domestic operations went up by 13% to P66 billion, driven by a 9% increase in volumes.

The company said that volume growth was due to the recovery of on-premise channels, resumption of tourism activities, relevant brand campaigns, intensified off-take generating programs, and other initiatives.

In international markets, its revenues increased by 16% after a strong export demand, as well as its Hong Kong, and Thailand markets.

Additionally, spirits unit Ginebra San Miguel, Inc. (GSMI) booked a net income of P4.1 billion, 64% higher than the prior year boosted by volume growth resulting from “strategic marketing campaigns.”

Volumes during the first half inched up by 1% year on year to 22.2 million cases.

“Through well thought-out strategies and campaigns, GSMI has continued to stay on top of its market, and has become a reliable performer and contributor to total San Miguel Group performance. With the initiatives it has launched, we’re looking to further build on its momentum and continue performing well for the rest of the year,” Mr. Ang said in a separate statement.

During the six-month period, the unit’s revenues climbed by 10% to P25.4 billion due to better selling prices.

The company said that its campaign, “Iba and Ngiti Ngayon sa One Ginebra Nation” and a consumer promo in March, sustained brand equity and spurred consumption, “cushioning the effects of a price increase implemented for all GSMI products.”

It added that on-the-ground events also boosted awareness and brought its brands to consumers, coupled with penetration drives and sampling activities in resorts and popular on-premise outlets.

“This was further supported by four pocket launches and 50 bar activations in major cities,” the company said.

Meanwhile, San Miguel Foods, Inc. saw revenues at P85.1 billion as “it continuously provided cost-conscious consumers what they want amid headwinds from higher raw material costs.”

On Thursday, SMFB shares went up by 0.1% or five centavos to close at P50.05 apiece while those of GSMI shares slipped by 0.25% or P0.40 to P158.60 each. — Adrian H. Halili

Local artists and artisans the focus of this weekend’s MaArte Fair

GET your wallets ready for this weekend: the MaArte Fair is back at the Peninsula Manila.

The Museum Foundation of the Philippines, Inc. (MFPI) is holding MaArte at the Pen from Aug. 4 to 6. During the fair, one can have a pick of local and sustainable goods and a host of new items, from gourmet chocolates, home and personal care products, handmade clothes, handcrafted jewelry, and everything else in between.

The Peninsula Manila’s Rigodon Ballroom and 5th and 7th floors will be the setting for this year’s fair. Brands to look out for include Godel chocolate, La Herminia pina weaving, Riotaso clothing, Oscar Mejia fragrances, Prizmic and Brill furniture, life goods brand Shepard, and model Tweetie de Leon-Gonzales’ jewelry brand — but then there will be around 120 exhibitors to choose from.

“We are so blessed to receive such a huge support from local artists and artisans,” said Danny Jacinto, Museum Foundation of the Philippines, Inc.’s President in a statement. “Over the years, MaArte Fair has made a name for itself as a destination where collectors, connoisseurs, and fans of local culture can get their hands on rare and beautiful pieces of jewelry, apparel, accessories, and scents. Thankful as we are for this, we want everyone to know that MaArte Fair has so much more to offer. From exquisite delicacies to pottery, leather and — very skillfully made — furniture, this year’s three-day event will give attendees a better idea of just how big and great the local artist and artisan community is, and how their love for their craft translates to the quality of their work.”

One can have a drink at The Mantuary, located at the hotel’s Balagtas Function Room. The courtyard will also serve as host to a mini exhibition of plants and flowers as well as Philippine-made motorcycles.

Those looking forward to this year’s MaArTea Talks can head over to the Salon de Ning — check out MaArte Fair’s Instagram account for schedules.

“At the end of the day, we would like to remind everyone that MaArte Fair is a fundraiser, and every purchase you make not only helps the artist you’re buying from, but the community as a whole — because a portion of the profit goes into helping us fund our initiatives that are geared towards preservation of our identity as a nation,” said Mr. Jacinto. 

Through funds raised from the MaArte Fair, the Museum Foundation has helped provide study grants to deserving individuals, fund shows and workshops that promote the Philippines’ native art and culture, and support projects of the National Museum and museums across the country. Most notably, the organization funded the restoration of Juan Luna’s painting La Bulaqueña, as well as major renovations done at the National Museum of Fine Arts and the National Museum of Natural History.

The MaArte Fair at The Pen will be held from Aug. 4 to 6. Admission is free. For more information, follow @maartefair on Instagram.

AboitizPower’s renewable energy unit joins Singapore firm’s wind project 

BRADY BELLINI-UNSPLASH

ABOITIZ POWER Corp. (AboitizPower) said its renewable energy arm Aboitiz Renewables, Inc. (ARI) had entered a partnership with Vena Energy to invest in the latter’s 102-megawatt (MW) wind power project in Rizal and Laguna.

“We are thrilled to partner with Vena Energy, given our shared ambition of growing the Philippine renewable energy generation portfolio in the coming years,” James Arnold D. Villaroman, ARI president and chief executive officer, said in a media release on Thursday.

The wind power project is likely to get financial close by 2024 and commence operations by 2025, AboitizPower said.

Emmanuel V. Rubio, president and chief executive officer of AboitizPower, said the joint venture agreement between the company’s unit and Singapore-based Vena Energy will accelerate its wind energy assets.

“This underscores our aspiration to be a significant contributor to a well-managed and just energy transition that will fuel the economic progress of the country. We continue to serve the critical needs of the Philippine energy system. We are confident we are able to deliver this project for our country’s renewable energy requirements,” Mr. Rubio said.

“Through ARI, AboitizPower is taking decisive steps towards our long-term objective of growing our renewable energy capacity and striking a 50:50 balance between our renewable and thermal portfolios by 2030,” Mr. Villaroman said.

Vena Energy is a renewable energy company that owns, develops, constructs, operates, manages, and commercializes a renewable energy portfolio.

“We are confident that by combining our experience and on-the-ground capabilities, this project will make a significant impact in accelerating the energy transition in the Philippines,” said Samrinder Nehria, head of Vena Energy Philippines.

Earlier this year, Vena Energy expressed its plans to grow its renewable energy projects in the Philippines with a combined capacity of 500 MW in the next three years.

Currently, Vena Energy has around 330 MW of operating renewable energy projects in the Philippines.

AboitizPower aims to have a portfolio mix with 50:50 renewable energy and thermal capacities by 2030. Based on its website, AboitizPower has around 3,962.25 MW of attributable net sellable capacity. The company placed its renewable attributable net sellable capacity at 928.42 MW. It is targeting to build 3,700 MW of renewable energy capacity by 2030. — Ashley Erika O. Jose

Nominations for 71st FAMAS awards announced

THE FILIPINO Academy of Movie Arts and Sciences (FAMAS) announced the nominees for the 71st FAMAS Awards on Aug. 2 through its official Facebook page.

Family Matters will enter awards night with 12 nominations including Best Actor (for Noel Trinidad) and Actress (Liza Lorena), plus Best Director (Nuel Naval) and Best Picture. Also in the running for Best Picture are Blue Room (which got 10 nominations), Leonor Will Never Die (nine nominations), and Deleter (eight nominations).

FAMAS is known as the oldest existing award-giving body in the Philippines and one of the oldest in Asia. The organization, which is composed of writers and movie columnists, started in 1953.

This year, the winners of the 13 categories will be declared at the Manila Hotel on Aug. 13.

Below is the complete list of nominees:

Best Picture: Cineko Productions’ Family Matters; Heaven’s Best’s Blue Room; Music Box Films’ Leonor Will Never Die; AQ Prime’s La Traidora; and Viva Films’ Deleter

Best Director: Nuel Naval for Family Matters; Mikhail Red for Deleter; Ma-an Asuncion-Dagñalan for Blue Room; Alejandro Ramos for La Traidora; and Martika Escobar for Leonor Will Never Die

Best Actor: Paulo Avelino for Ngayon Kaya; John Arcilla for Reroute; Diego Loyzaga for Greed; Ian Veneracion for Nanahimik ang Gabi; and Noel Trinidad for Family Matters

Best Actress: Liza Lorena for Family Matters; Nadine Lustre for Greed; Heaven Peralejo for Nanahimik ang Gabi; Janine Gutierrez for Ngayon Kaya; and Sheila Francisco for Leonor Will Never Die

Best Supporting Actor: Soliman Cruz for Blue Room; Nonie Buencamino for Family Matters; Mon Confiado for Nanahimik ang Gabi; Sid Lucero for Reroute; and Rocky Salumbides for Leonor Will Never Die

Best Supporting Actress: OJ Arci for La Traidora; Nikki Valdez for Family Matters; Louise delos Reyes for Deleter; Mylene Dizon for Family Matters; and Nour Hooshmand for Blue Room

Best Screenplay: Mel Mendoza del Rosario for Family Matters; Martika Escobar for Leonor Will Never Die; Abet Raz and Alejandro Ramos for La Traidora; Ma-an Asuncion-Dagñalan for Blue Room; and Nikolas Red and Mikhail Red for Deleter

Best Production Design: Eero Yves Francisco for Leonor Will Never Die; Maolen Fadul for Blue Room; James Rosendal for Greed; Elfren Vibar for Family Matters; and Law Fajardo for Reroute

Best Cinematography: Carlos Mauricio for Leonor Will Never Die; Ian Alexander Guevara for Deleter; Joshua Reyes for Reroute; Noel Teehankee for Family Matters; and Neil Daza for Blue Room

Best Editing: Lawrence Ang for Leonor Will Never Die; Nikolas Red for Deleter; Beng Bandong for Family Matters; Vanessa de Leon for Blue Room; and Law Fajardo for Reroute

Best Musical Score: Len Calvo for Ngayon Kaya; Alyanna Cabral and Pan de Coco for Leonor Will Never Die; Cesar Francis Concio for Family Matters; Myka Magsaysay-Sigua and Paul Sigua for Deleter; and Jazz Nicolas and Mikey Amistroso for Blue Room

Best Sound: Armand de Guzman and Aian Caro for Deleter; Andrea Teresa Idioma and Emilio Bien Sparks for Nanahimik ang Gabi; Corinne de San Jose for Reroute; and Jannina Mikaela Minglanilla and Michael Keanu Cruz for Blue Room

Best Short Film: Ang Mga Abo by Gabby Ramos; Golden Bells by Kurt Soberano; Dosena by Kyla Romero; Pasan by Marvin Cabas and John Paul Dabuet; and Isa sa Isang Dosena by Leia Reyna Pasumbal — Brontë H. Lacsamana

SEC proposes revised fee plan for registrants

THE Securities and Exchange Commission (SEC) is planning on implementing a revised structure for its regulatory fees and charges for registered firms and entities.

“There is a need to restructure the SEC fees and charges at a level commensurate with the cost of regulating the corporate sector and capital market for continuous improvement of the Commission’s performance, sustainability of operations,” the regulator said in a draft circular.

The SEC added that the move is in line with the fulfillment of its legal mandate pursuant to the passage of the Revised Corporation Code of the Philippines (RCC). The RCC provides the authority of the regulator to collect, retain, and use fees, fines, and other charges.

It said under Section 179 of the RCC, the commission has the power and authority to formulate and enforce standards, guidelines, policies, rules, and regulations to carry out the provisions of the code.

The commission also has the authority to exercise such other “powers provided by law or those which may be necessary or incidental to carry out the powers expressly granted to it.”

It added that the draft is pursuant to the guiding principles set in a joint circular by the Department of Finance, Department of Budget and Management, and National Economic and Development Authority.

“The commission, imposes fees and charges constituting delivery of services to its stakeholders which entails costs, and equity requires that persons, natural or juridical, receiving or benefiting from rendered services share the cost of providing such services,” the SEC added.

Under the proposal, registration, licensing, accreditation, and other related transactions are imposed a new schedule of fees for registered entities.

In a separate release, the SEC said that it had secured the conviction of eight officers of Phil86 Gurunanak Lending and Trading Corp. for the falsification of its registration documents.

The SEC said that the Pasay City Regional Trial Court Branch 112 fined each involved individual P10,000 for the violation of Section 12, Paragraph 3(a) of Republic Act No. 9474, or the Lending Company Regulation Act.

The regulation states that any officer, employee or agent of a lending company who knowingly and willingly makes any false or misleading statement with respect to any material fact in any application, report, or document required under the law, will be penalized.

The regulator found that Phil86 submitted a certificate of bank deposit amounting to P1 million, but upon verification, no certificate was issued.

“This marks the 10th conviction scored by the SEC for violation of the LCRA, with a total of 86 individuals already convicted,” the commission said. — Adrian H. Halili

Striking Hollywood writers to hold first talks with studios in three months

AHMET YALÇINKAYA-UNSPLASH

Hollywood’s striking writers and major studios have agreed to hold talks on Friday for the first time since their strike began over higher pay demands in May, the Writers Guild of America (WGA) said on Tuesday.

The Alliance of Motion Picture and Television Producers (AMPTP), reached out to the WGA and requested a meeting, the WGA negotiating committee told its members in a statement that was shared with Reuters.

“We’ll be back in communication with you sometime after the meeting with further information,” the committee told its members in its note.

The AMPTP negotiates on behalf of Walt Disney, Netflix, Warner Bros. Discovery and other studios.

An AMPTP spokesperson told Reuters that the alliance was committed to finding a mutually beneficial deal, without giving further details.

The strike by about 11,500 writers has led to late-night shows cancelling new episodes, disrupted most production for the fall TV season, and halted work on big-budget movies.

Hollywood actors joined the writers on picket lines in July as they also demanded higher streaming-era pay and curbs on the use of artificial intelligence.

The entertainment website Deadline reported on Tuesday that the WGA and the studios were on the verge of making a breakthrough in talks. — Reuters

When even Swiss banks fail

CREDIT SUISSE

(Part 2)

If there’s any takeaway from the series of financial crises in the last 25 years, it is not that strong regulation produces strong banks. Strong regulation by itself will be useless unless we have straight banking regulators who will enforce the Basel accords among the banks following their own strong corporate governance. Market discipline also remains a necessary pillar for overall financial stability.

Credit Suisse is not exactly an innocent bystander who happened to be in the wrong place at the wrong time. True, the collapse of Silicon Valley Bank and Signature Bank in close succession sent jitters through the financial markets, regulators and investors alike. It’s not puzzling but Credit Suisse was a natural market concern because, one, it experienced an earlier funding problem that required it to solicit investment from the Middle East and Scandinavia; and, two, it had a series of serious mismanagement problems under its belt. Credit Suisse became synonymous with “risky.”

Thus, in October 2022, when a journalist tweeted that a major investment bank was “on the brink,” there was no other bank that fit the bill except Credit Suisse. Immediately, the investment bank bled from deposit withdrawal of as much as SFr 100 billion, pushing share prices down. In need of quick liquidity, Credit Suisse tried but failed to convince its biggest shareholder, Saudi Arabia’s Saudi National Bank (SNB), to top up its initial $1.5-billion investment made in 2022 for a 10% stake. Instead of helping calm the markets, its chairman, Ammar Al Khudairi, issued a pointed denial of SNB’s potential support: “absolutely not, for many reasons outside the simplest reason, which is regulatory and statutory.”

This quip spread rapidly through social media and the capital markets, and it was enough to cause an exodus of deposits and a collapse in its share prices. Investors began to panic. Credit Suisse’s credit default swap (CDS) spread literally spiked, so Switzerland’s central bank, the Swiss National Bank, had to come in and infuse it with additional liquidity.

Although SNB had already clarified last year that it had no plans of increasing its exposure to Credit Suisse, CNBC later reported that the Chairman’s remark literally amounted to shooting itself in the foot because as the biggest shareholder, it was also the biggest loser when Credit Suisse’s share prices suddenly plummeted. Other shareholders include the Qatar Investment Authority and Norway’s sovereign wealth fund, Norges Bank Investment Management.

The Swiss National Bank at first thought that SFr 50 billion in financial assistance as a “liquidity backstop” could do the trick. Against collateral, Credit Suisse could draw from the facility any time as necessary. The central bank hoped against hope that such a demonstration of liquidity could reassure investors that their money was safe, and that speculation was not warranted.

Through these episodes, some quarters were in a quandary as to why the Swiss National Bank, the Swiss Financial Market Supervisory Authority (FINMA), and the Swiss Federal Department of Finance opted to merge Credit Suisse with UBS, the largest bank in Switzerland. The UK Economic and Social Research Council’s Economic Observatory argued in April 2023 that four options were actually available for Credit Suisse.

First is to declare insolvency and permit Credit Suisse to close through the operation of banking law. But this is a long and winding process which is not appropriate for big, interconnected banks like Credit Suisse. There could be more negative consequences of global proportion.

Second is through bank resolution. This would involve the regulators’ direct intervention by bailing in creditors, restructuring the bank over the weekend in a bid to minimize disruption in retail banking and other financial services. This could have been speedier, and less disruptive. Whether this could have preserved the bank’s 167-year legacy is an open question given its basic weaknesses. In the first place, it should have in place a restructuring program in case it needed resolution but it was reported that the program was half complete when the shock hit Zurich.

Third is to nationalize Credit Suisse. This was ruled out because a similar rescue program was done in favor of UBS itself. More and bigger use of public money was less acceptable to Switzerland’s civil society.

Finally, merge Credit Suisse with UBS. What is strange is that as early as March 15 before the bank was formally folded in with UBS with the liquidity backstop, the merger was already mandated, allowing Credit Suisse to continue its regular operation with restructuring. Its Additional Tier 1 (AT1) Capital, that which is derived from the issuance of Tier 1 Capital Notes, aggregating SFr 16 billion will be written down to zero. In effect, the capital position of UBS will not weaken from the merger, but instead will be strengthened.

It took over Credit Suisse for $3.2 billion even as last year’s valuation put it at around $22.8 billion or at the time of the takeover, about $8.4 billion. Shareholders of Credit Suisse were paid only one single UBS share for every 22.48 shares they held. UBS was the clear winner.

In addition, UBS was also granted access to additional SFr 100 billion from the central bank. With government guarantee for losses of up to SFr 9 billion after UBS’s guarantee of the first SFr 5 billion, the solution is not quite a commercial solution. Public money was still involved and possibly, at risk.

Hindsight makes the case against Credit Suisse an obvious one.

London’s The Guardian in February last year ran an interesting article about what it called “Credit Suisse scandals.” There was a string of controversies involving the second largest Swiss bank.

This is bad corporate governance, plain and simple: from as early as 1986, the bank was already involved with some dictatorships’ deposit of ill-gotten wealth and on to destroying evidence of some companies in Japan trying to conceal their losses from their shareholders and the public.

In the subsequent years, Credit Suisse was involved in accepting deposits linked to government corruption, helping money launderers, inflating the price of sub-prime bonds during the Global Financial Crisis, and helping some parties evade taxes. More cases were filed against the bank for fraud, offering jobs to families of its potential clients, corporate espionage and drug trafficking.

And of course, Credit Suisse’s biggest scandal was its loss of $5.5 billion due to its risky exposure to the US hedge fund Archegos Capital Management as well as UK’s finance firm Greensill Capital. They collapsed in 2021 as an obvious testament to the bank’s failure in basic risk management. After the fact, Credit Suisse promised to put risk management “at the heart” of its decision-making.

Thus, there is a deeper, more fundamental problem in Credit Suisse. No less than FINMA chair Marlene Amstad could have summed it up better. The bank suffers from a “cultural problem that translated into a lack of accountability.” Cultural it is, because the slide into ignominy did not start with the banking stress in the US this year, it actually started long before, gaining momentum in the aftermath of the Global Financial Crisis. Credit Suisse was actively involved in the proliferation of the sub-prime business.

Credit Suisse is no less than a cautionary tale when strong regulations are treated shabbily. The GFC made it imperative to toughen the regulation of large, interconnected banks like Credit Suisse. But the bank was rather half-hearted in its compliance. Higher capital buffers bought some time for Credit Suisse in October 2022 but not enough to permit the Swiss regulators to package a less disorderly outcome.

Funding costs for the banks may have to increase due to the bail-in of Credit Suisse’s AT1 bonds. This instrument is meant to enhance the bank’s loss-absorbing capacity when written down to zero, as the regulators permitted it. This was not expected by investors who thought a write down would not occur “before shareholders were completely wiped out.” This means AT1 bond holders may suffer losses before equity holders even as the coupons paid on the bonds exceeded the bank’s representation to their clients. With the decision of the regulators to merge, rather than resolve the Credit Suisse problems, it now becomes necessary for other regulators to reflect on the role and use of AT1 instruments in establishing the capital position of the banks.

This could have long-term impact on fund-raising cost by the banks.

There is no dispute that Basel III accords on capital, leverage and liquidity are financial-crisis preventing measures. But it is incumbent upon the regulators to choose the best option on how to mitigate brewing challenges to bank’s financial condition, and enforce the strategy right away to its logical end. But the story of Credit Suisse also compels us to think about further exploring resolution strategies that are better able to help stabilize a bank’s liquidity position.

Credit Suisse failed in many respects in regulatory compliance and upholding good corporate governance as shown by the string of scandals it was involved in. As risks continue to increase banks’ vulnerabilities, it’s not smart to be less diligent in assessing risks related to funding costs, interest rate sensitivity and credit risks. Even in the Philippines, the slow but definitive uptrend in indebtedness, hidden leverage and liquidity mismatches in the non-bank sector should always raise some red flags from both the Bangko Sentral ng Pilipinas and the market players themselves.

Lack of vigilance especially on the banks’ capital positions, risk management and governance demystified the much-vaunted Swiss banking reputation. When even Swiss banks fail, nothing else should surprise us anymore in the emerging markets.

 

Diwa C. Guinigundo is the former deputy governor for the Monetary and Economics Sector, the Bangko Sentral ng Pilipinas (BSP). He served the BSP for 41 years. In 2001-2003, he was alternate executive director at the International Monetary Fund in Washington, DC. He is the senior pastor of the Fullness of Christ International Ministries in Mandaluyong.

Now Corp., Cagayan Economic Zone Authority enter into telco partnership

LISTED COMPANY Now Corp. has signed a memorandum of understanding with Cagayan Economic Zone Authority (CEZA) to boost the telecommunications infrastructure in the province.

In a regulatory filing on Thursday, the company said the tie-up “aims to advance the Philippines’ telecommunications and digital world-class communications critical infrastructure which includes the provisioning of unified connectivity, software systems and services that would operate in the province of Cagayan.”

The partnership involves the deployment of fixed wired, fixed wireless, terrestrial, satellite, and other delivery systems to CEZA.

Now said the tie-up would help in ensuring reliable and quality broadband and other information and communications technology services to CEZA locators.

It said CEZA’s “strategic positioning and critical infrastructure underscore its profound significance.”

“CEZA’s vicinity to two Philippine-American military bases, integral to the Enhanced Defense Cooperation Agreement (EDCA) between the United States and the Philippines, amplifies its global security influence,” Now said.

“Furthermore, its proximity to Taiwan, positions [it] as a potential extension for Taiwan’s industrial zones, underscoring its commercial and strategic reach,” it added.

On Thursday, shares in Now climbed three centavos or 2.46% to P1.25 apiece. — Justine Irish D. Tabile