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Sept. inflation likely topped 5% — BSP

PHILIPPINE STAR/ MICHAEL VARCAS

INFLATION probably exceeded the Philippine central bank’s target in September due to rising fuel, utility and food prices, Bangko Sentral ng Pilipinas (BSP) Governor Benjamin E. Diokno said on Thursday.

The consumer price index likely quickened to 4.8-5.6%, beyond the 2-4% goal of the BSP this year, he told an online news briefing. Prices rose by 2.4% a year earlier.

Inflation hit 4.9% in August as food prices rose sharply after recent typhoons caused supply woes. This brought eight-month inflation to 4.4%.

Central bank Deputy Governor Francisco G. Dakila, Jr. last week said the index could hit 5% in September before easing to within the BSP target in November.

“Inflation will be driven by the upward adjustments in domestic oil prices, Manila Electric Co. (Meralco) electricity rates, suggested retail prices of basic necessities and prime commodities, and prices of selected fruits and vegetables as well as rice,” the central bank said in a separate statement on Thursday.

Gasoline prices have increased by P15.10 as of Sept. 28, by P12.95 for diesel and by P10.65 for kerosene, according to data from the Energy department.

Meralco raised power rates for September by P0.1055 to P9.1091 per kilowatt-hour from a month earlier, citing higher generation charges.

The Trade department in late August allowed increases of as much as P2.25 in the prices of some food items.

Last week, the central bank raised its inflation forecast for this year to 4.4% from 4.1%. Officials said an African Swine Fever outbreak and typhoons could cause supply issues in the coming next months.

Inflation estimates for 2022 and 2023 were also raised to 3.3% and 3.2% from 3.1% for both.

Despite higher inflation expectations, the BSP kept the key policy rate last week at a record low of 2% to support economic recovery. It said elevated inflation caused by low supply is best addressed by nonmonetary measures.

Mr. Diokno has vowed to keep an accommodative monetary policy stance for as long as necessary to boost economic output.

“When domestic developments warrant a withdrawal of policy support as economic recovery gains traction, the BSP will ensure a smooth transition in winding down its time and state-bound measures,” Mr. Diokno said.

“At the same time, the BSP will continue to coordinate closely with fiscal authorities to ensure enough policy support remains for economic recovery to be sustained,” he added.

The Monetary Board will hold its next policy review on Nov. 18. — Luz Wendy T. Noble

PSA: Work quality improved amid rising joblessness

PHILIPPINE STAR/ MICHAEL VARCAS

MORE FILIPINOS went jobless in August even as people forced to work in low-paying or low-skill jobs declined, according to the local statistics agency.

The unemployment rate quickened to 8.1% — the worst in four months — from 6.9% in July, data from the Philippine Statistics Authority (PSA) released on Thursday showed. There were 3.882 million unemployed Filipinos in August, up from 3.073 million a month earlier.

The agency blamed increased joblessness to lockdowns spurred by a fresh surge in coronavirus infections that month.

Philippine labor force situation (as of August 2021)

On the other hand, the quality of available jobs improved as the underemployment rate — the ratio of those already working but still looking for more work or longer job hours — slowed to 14.7% from 20.9% in July. Underemployed Filipinos fell to 6.482 million from 8.692 million a month earlier.

Workers increased to 48.116 million in August from 44.74 million in July, bringing the labor force participation rate to 63.6% of the working age population. The rate was 59.8% in July.

The employment rate fell to 91.9% in August from 93.1% a month earlier. Employed workers, however, rose to 44.234 million from 41.667 million.

Job net gains of 2.6 million were surprising given the hard lockdowns in certain areas that month, said Geoffrey M. Ducanes, an economist from the Ateneo de Manila University.

“From July to August, according to the PSA data, about 3.4 million people were added to the labor force,” he said in an e-mail. “This still means that most of those who joined the labor force in August were able to find employment.”

He also noted that while underemployment declined, people who worked for fewer than 40 hours rose by 3.4 million.

“The reason why the underemployment rate went down is that fewer people expressed a desire to work more hours or to shift to a job with more hours,” Mr. Ducanes said. “This is likely because they did not think any such job was obtainable given the lockdown and poor economic conditions since the second quarter last year.”

“In other words, it is not because job quality improved,” he added.

Services and industry made up 56% and 18.9% of total employment in August, down from 57.9% and 20% in July. The agriculture sector’s job share rose to 25.1% from 22.1%.

Among subsectors, agriculture and forestry had the largest net increase in employment on a monthly basis with about 1.78 million, followed by wholesale and retail trade with 992,480 and manufacturing with 169,200.

Education had the largest drop (237,801), followed by administrative and support service activities (183,330) and professional, scientific and technical activities (110,173).

The labor market improved “as the government and the people learn to better manage the risks brought about by the COVID-19 pandemic, despite the heightened quarantine level and the spread of the Delta variant,” Socioeconomic Planning Secretary Karl Kendrick T. Chua, Finance Secretary Carlos G. Dominguez III and Budget officer-in-charge Tina Rose Marie L. Canda said in a joint statement.

“While the unemployment rate slightly increased, net job creation was significant and the underemployment rate decreased substantially,” they said.

While August joblessness worsened as more Filipinos re-entered the labor force, jobs also increased by 2.6 million — 1.7 million more than net gains before the pandemic hit, they added.

‘OVERALL QUALITY’
Mr. Ducanes said the quality of jobs had actually declined despite gains in underemployment.

He noted that three-quarters of new jobs were in agriculture — the least productive sector. On the other hand, the share of managerial jobs fell to 7.5% of total employment in August from 8.4% a month earlier.

The share of professionals also fell to 4.6% from 5.6%, while that of technicians and associate professionals went down to 3.7% from 4.7%.  “Most of the increase in jobs were in elementary occupations (29.8% from 27.2%) and agricultural occupations (12.9% from 11.8%),” Mr. Ducanes said.

By worker class, the share of wage and salary jobs in August declined to 61.6% from 67.1% in July, while that of employer jobs fell to 2.3% from 3%.

On the other hand, the share of own-account workers rose to 28.6% from 26% while unpaid family work accounted for 7.4% of the total, up from 3.9% in July. “So there were more jobs, but the overall quality of the jobs declined.”

Mr. Ducanes said the uncertainty surrounding the Delta coronavirus variant and the state of the global economy make it hard to predict where the country’s labor market is heading.

The economist added that while granular lockdowns could ease disruptions in the job market by reducing the uncertainty among business owners, this would not be enough.

The government started enforcing targeted lockdowns in Metro Manila to minimize the effects on the economy.

This could improve local job conditions said Ruben Carlo O. Asuncion, chief economist at UnionBank of the Philippines, Inc.

“It may not immediately improve to pre-pandemic points, but the granular lockdowns and higher vaccination rates will play a huge role in a better labor market outlook in September and the rest of the year,” he said in an e-mail.

Labor market figures might improve slightly September, said Nicholas Antonio T. Mapa, a senior economist at ING Bank N.V. Manila.

“We could see unemployment dip while underemployment will likely rise with mobility curbs and the overall downbeat economic outlook capping labor hours and wages,” he said in a statement.

“As the recession drags on for yet another month, we can expect the previous guidance from the National Economic and Development Authority to hold, with unemployment to stay between 7-9% over the next two years,” he said.

“Business closures due to the protracted downturn and rising borrowing costs will likely limit the ability of the economy to provide enough job opportunities in the near term,” he added.

Government economic managers expect the economy to go back to pre-pandemic growth levels by the end of 2022 or early 2023. – Bernadette Therese M. Gadon and Beatrice M. Laforga

Small enterprises face funding woes

MORE micro-, small- and medium-sized enterprises (MSME) need more funding to return to full operations, indicating worsening financial challenges, according to a report by the Asian Institute of Management (AIM).

About a third of them needed P100,000 to P500,000 to “retain and sustain full operations,” it said, citing a survey of 700 businesses in April. In its September 2020 survey, only 17% of companies needed those amounts.

While 14% of the companies surveyed in April needed P500,000 to P1 million, only a tenth said the same seven months earlier.

“As MSMEs have had to endure months of limited operations and weaker sales, it seems as if their financial challenges have worsened, at least based on the amount that they need to resume operations,” John Paul C. Flaminiano, associate director at AIM Policy Center, told a webinar on Thursday.

However, some of these businesses also recovered during the period, with 11% saying their company had had adequate cash flow by April. None said the same in September last year.

By April, 42% needed less than P100,000 compared with 69% in the initial survey.

The respondents consisted of owners or managers of operational businesses in Metro Manila and the Calabarzon Region, which consists of the provinces of Cavite, Laguna, Batangas, Rizal and Quezon.

Mr. Flaminiano said the survey results did not capture the conditions of shuttered businesses.

Business operations have somewhat improved. About 66% said their business had been fully open and operating at pre-pandemic levels by April, compared with about 62% in the first survey.

MSMEs that run partially increased to 32% from 22%, while those that shut operations fell to 1.77% from 15.36%.

For those that have limited operations or had temporarily closed, the biggest concern in the second survey was fewer customers. Those that cited limited public transport for employees as the reason for their limited business dropped to 5% from 20%.

As they respond to constraints, the ratio of companies that emphasized cost reduction in all business activities rose to 54.66% from 53.18%.

Respondents that said their businesses needed access to government financial aid or direct subsidies went up to 74.3% from 62.3%.

“It’s fairly consistent with the result earlier that financial challenges that firms face may have worsened over time,” Mr. Flaminiano said.

Those that sought lower or deferred taxes for their recovery jumped to 55.8% from 35%. Mr. Flaminiano clear policies are needed to promote business continuity plans among small businesses.

“Incentivizing (business continuity plan) use might also save the government some trouble later on of having to bail out MSMEs,” he said. — Jenina P. Ibañez

Philippines eyes $500-million disaster loan from World Bank

THE PHILIPPINE government has tapped the World Bank for a $500-million loan to boost the country’s resilience against natural disasters and help it contain a coronavirus pandemic.

A World Bank document showed the proposed loan program will be its fourth for the government’s disaster risk management initiatives that allows a so-called deferred drawdown option.

Under the plan, funds are only released when a disaster strikes or a national calamity is declared to help with rehabilitation efforts, Finance Undersecretary Mark Dennis Y.C. Joven said in a text message on Thursday.

The multilateral bank’s board is expected to act on the proposal on Nov. 16.

“The development objective is to strengthen the government of the Philippines’ institutional and financial capacity to manage risks from climate change, natural disasters and disease outbreaks,” it said.

The program is also expected to help with the state’s poverty reduction efforts. About a million poor Filipinos are affected by natural calamities each year, according to World Bank estimates.

“Many of them reside in disaster-prone provinces on the eastern edge of the country and are also working in the agriculture and fishery sectors, which are highly vulnerable to climate change and natural disasters,” it said. “The COVID-19 pandemic has worsened the situation.”

The loan will support programs that institutionalize disaster recovery plans for local communities to fast-track rehabilitation, improve disaster risk management information drive and include climate change impacts on investment planning.

This will ensure that local governments have rehabilitation plans in place when they tap the disaster fund to hasten recovery efforts and ease the impact of natural disasters on communities, especially poor households.

“Improved availability, access and use of baseline data are also expected to help the affected communities to be better prepared and resilient from these shocks,” it said.

While the government has “established a good track record of delivering results,” the World Bank said there are risks to the program. A prolonged coronavirus pandemic could delay economic rebound and worsen fiscal space further, it pointed out.

The lender also warned of substantial political and governance risks despite efforts to roll out reforms to improve the country’s disaster resilience in the past decade.

“The national and local elections in May 2022 may slow down the pace of implementation of policy reforms proposed under this [loan program],” it said.

The World Bank said the country remained highly vulnerable to natural disasters, making it the ninth most-exposed nation in the world to extreme typhoons.

It said 60% of the country’s total land area and 74% of Filipinos are exposed to risks from natural hazards such as typhoons, earthquakes, floods, tsunamis, volcanic eruptions and landslides, which have been worsened by climate change.

Mr. Joven said the government had taken out three similar credit lines from the World Bank, the last one in April 2020 worth $500 million.

The first two loans for disaster resilience were issued in September 2011 and in December 2015 worth $500 million each. — Beatrice M. Laforga

Red, Mendoza compete in the 34th Tokyo Int’l Film Fest

Gensan Punch

Four Filipino films to premiere in the festival in different categories

FILIPINO auteurs Brillante Mendoza and Mikhail Red will be competing in this year’s hybrid version of the Tokyo International Film Festival (TIFF) running from Oct. 30 to Nov. 8.

Mikhail Red’s Arisaka, an action thriller set in Bataan about a policewoman running from assailants after a witness under police escort is attacked, will be having its World Premiere at the festival. The film stars Mon Confiado and Maja Salvador.

This isn’t Mr. Red’s first TIFF rodeo as his police procedural-cum-coming-of-age thriller Birdshot won Best Picture in the Asian Future Category at the 2016 TIFF.

Arisaka, named after a World War II Japanese bolt-action rifle, will see its lead character retracing the steps of the Bataan Death March where 60,000 American and Filipino prisoners of war were forced to march 106 kilometers to their deaths during the Second World War.

“It’s a Western based on a famous massacre that happened in the Philippines,” Mr. Red previously told Variety. The film was greenlit in 2019 and was completed despite the country’s COVID-19 pandemic restrictions and typhoons.

Meanwhile, Brillante Mendoza brings two films to the TIFF, Payback (Resbak) and Gensan Punch, with Payback competing in the main Competition section. It will be having its world premiere at the festival.

Payback is set in the backdrop of gang wars in the Philippines. It follows the story of a young bike thief who, being chased by police, asks the boss of his crime ring for help but gets the cold shoulder. The betrayal then spurs the thief to plan vengeance against his boss. The film stars Vince Rillon, Nash Aguas, Jay Manalo.

Arisaka and Payback will be competing against 13 other films from all around the world in the main competition section. The films will vie for five awards — Tokyo Grand Prix, Special Jury Prize, Best Director, Best Actress, Best Actor, and Best Artistic Contribution. The winners will be announced at the closing ceremony on Nov. 8.

ASIAN FUTURES SECTION AND GALA SELECTION FILMS
Gensan Punch, Mr. Mendoza’s second film at the festival, tells the true story of Japanese boxer Nao Tsuchiyama, a disabled athlete who refuses to let his artificial leg hinder his dream of becoming a professional boxer. The film stars Japanese actors Shogen and Minami Kaho and Filipino actor Ronnie Lazaro. The film will be shown in the Gala Selection.

The Gala Selection premieres the latest films ahead of their Japanese release. Ten films will be shown in the section and include “much-talked-about films in international film festivals around the world, the latest films from internationally renowned auteurs, and entertainment films that were massive hits in their home countries,” according to the TIFF website.

Rounding up the Philippine contingent for this year’s TIFF is Daniel R. Palacio’s The Brokers which will be competing against 10 films at the Asia Future section. It follows a real estate agent who clashes with local residents over land development. This is Mr. Palacio’s second full-length feature and stars JC De Vera, Maxine Eigenmann, and Joel Torre.

The Brokers is one of the films given a post-production grant by the Film Development Council of the Philippines which aims to enhance post-production services so that they meet international standards.

The Asia Future section is a competitive section that features up-and-coming Asian directors who have directed no more than three feature-length films.

The Tokyo International Film Festival, known as one of the premier film festivals in the region, runs from Oct. 30 to Nov. 8 via a hybrid online and on-ground format and will be holding physical screenings at theaters in the Hibiya-Yurakucho-Ginza area of Tokyo. For more information about the festival, visit https://2021.tiff-jp.net/.

SEC flags Apollo Drugstore’s co-franchising plan

THE Securities and Exchange Commission (SEC) is warning investors against Apollo Drugstore and Diagnostic Center, Inc.’s unlicensed co-franchising program.

In an advisory published on its website, the regulator said Apollo Drugstore is “enticing the public to invest their money in the said entity with the promise of high monetary rewards or profits.”

“Apollo Drugstore claims to be engaged in a drugstore business,” the SEC said.

The entity offers a “co-franchising program,” which is available for as low as P100,000 up to P5 million. Apollo Drugstore apparently guarantees a passive income of up to P12.8 million for five years.

While Apollo Drugstore is registered as a corporation under company registration number CS202009100, the regulator said Apollo Drugstore is not authorized to offer, sell, or partake in distributing investments or securities to the public.

“Such activities require a secondary license from the commission and the securities or investment product should likewise be registered with the SEC before they can be offered or sold to the public under Sections 8 and 12 of the Securities Regulation Code (SRC),” the SEC said.

BusinessWorld contacted Apollo Drugstore via the phone number available on its Facebook page on Thursday. A representative from Apollo Drugstore said it had no comment regarding the matter and ended the call abruptly.

Apollo Drugstore also has yet to respond to BusinessWorld’s request for a statement via e-mail.

The SEC warns: “Those who act as salesmen, brokers, dealers, or agents of Apollo Drugstore in selling or convincing people to invest in its investment schemes including solicitations or recruitment through the Internet may likewise be prosecuted and held criminally liable under Section 28 of the SRC and penalized with a maximum fine of P5 million or [a] maximum penalty of 21 years imprisonment or both pursuant to Section 73 of the SRC.” — Keren Concepcion G. Valmonte

The legend begins

Pedro Penduko (1954) — IMDB.COM/

Movie Review
Pedro Penduko
Directed by Gerardo “Gerry” de Leon

LEGENDARY komiks writer-artist Francisco Coching’s most famous work first saw light of day in Liwayway Magazine; its first of many incarnations on the big screen was this, Gerardo “Gerry” de Leon’s homespun folksy take done the same year (if web sources can be trusted).

Mr. De Leon is one of the few great filmmakers who dabbled in comics (others include — off the top of my head — Robert Altman, Mario Bava, Lino Brocka, Ishmael Bernal, Lamberto Avellana); the previous year he had also adapted Mars Ravelo’s Dyesebel, and while I generally agree with Martin Scorsese’s jab at Marvel Cinematic Universe amusement park rides, I do think some comic-book adaptations are cinema — you just have to decide which.

Mr. De Leon doing comedy can be jarring to watch; his better-known films are dramas (crime, period, melodrama) that move at a stately sometimes turgid pace, the feeling of monumental progress emphasized by his angled shots — the camera positioned so one figure looms over one corner of the screen while the other is dwarfed at the opposite end; the lenses poised a foot or more below the eyeline so everyone is granted larger-than-life stature. Comedy has this tendency to cut large figures down to size, so you wonder how Mr. De Leon would handle the potentially contrary genre.

Surprisingly well, as it turns out. Early scenes between Pedro (Efren Reyes) and the hunchbacked Terio (Lopito) have the loose-limbed feel of improvised dialogue; Tito Arevalo’s jaunty music helps establish a lighthearted tone. Mr. Reyes gives his Pedro the languid movements of a water buffalo; he strikes one as someone who can sprint when motivated (as by a collection of suman — glutinous rice cakes — hanging from an arm) but generally can’t be bothered to do anything, much less bathe. “Aren’t you embarrassed to be around women?” his disapproving mother asks. “What if they say your body is fit for planting taro?”

Women are drawn close despite Pedro’s sketchy personal hygiene — take Amparo (the fragile Edna Luna), a housemaid who admires Pedro but is shy to flirt with him because, 1.) she’s just not that kind of girl, and, 2.) she has a pronounced limp. Pedro doesn’t know she exists because he only has eyes for the newly arrived Marina, daughter of Kapitan (Captain) Julian (Ramon D’Salva); Marina is a bit of a shrew, but her tone softens around Pedro, who she likes despite (Because?) of his body odor.

Rounding out the daisy chain of longing is Terio, who’s in love with Amparo; as he reasons out, his crooked back wouldn’t turn off women so much if the women themselves had some kind of disability (hence his preference).

Terio loves Amparo loves Pedro loves Marina; for a comedy (Or because it’s a comedy?) no one is happy with the status quo. Marina at first glance seems the most open-minded; she invites Pedro to her dinners and dance parties. But she also insists on her status as upper-class diva, sometimes cutting Amparo’s yearning for Pedro, and her family (as with all rich families) harbors a hidden sin.

Amparo is all yearning; when she and Pedro lean against a haystack they exchange confessions, Pedro totally unaware she’s talking about him. Amparo admits to loving someone without expecting to be reciprocated. “What kind of love is that?!” Pedro asks. “You can’t explain love,” Amparo insists. “Love is love.” She shyly asks what he thinks of her. “I don’t have to worry around you,” he says thoughtlessly. “I don’t have to lie. Or dress up. Or even bathe. We’ve known each other since we were kids, do we have to pretend otherwise?” In those brief lines Pedro almost justifies his unclean self, that cleanliness or the lack of is a silly prejudice and a sign of insincerity and we shouldn’t hold ourselves prisoners to social convention. It’s such a clever argument I’m almost seduced.

Amparo isn’t; she hints that Pedro is taking too much for granted. Pedro, puzzled, asks what she means, gets no answer. In the film’s single most striking shot Amparo’s slim outline walks away, Pedro standing at the opposing end gazing thoughtfully at her, a lovely visual grace note to end a lovely scene.

It’s in these moments and not in the low comedy or singing (which sound dubbed) or action sequences to follow that I think the film’s true charm resides. Attractive performers lounging in hay, or leaning against a table or wall and confiding to each other — baring their souls in effect, risking dignity to offer the objects of their desire a clue (It’s me, can’t you see that?!).

Even better than Amparo doing a dance around the oblivious Pedro is Terio trying to prevaricate his way around Amparo — when Amparo confides to Terio that she wishes she could dance Terio tartly responds: “Don’t talk to me. Someday your limp might heal; when will my back straighten out?” Later he tells Amparo, “Don’t waste your tears on someone who doesn’t even know you exist. Lots of men are in love with you.” When Amparo presses him, Terio does the unexpected and lays his cards down, in my book the single bravest gesture in the film. Amparo looks at him with large lustrous eyes and I recognize that expression, the same look of recognition and faint disgust the formerly blind girl gave the Tramp at the end of City Lights. “Too bad Terio,” Amparo murmurs, “If only your feelings came out of Pedro’s heart…” and (again) walks away. Even in a folk tale where the impossible is often made possible, some things when all is said and done, are still not possible; the comic relief, no matter how funny or goodhearted or charming, does not get the girl when the reasonably handsome man is the star.

About an hour in the main plot kicks into gear: enter Tulisan Tirong (Ruben Rustia), a dark figure out of Kapitan Julian’s past. Where before the film has been gently needling the brittle conventions of Philippine society, now blades have been unsheathed; a man is shot, a maiden kidnapped, and Pedro must climb atop his trusty water buffalo, don the anting-anting — a vest with magical bulletproof runes written all over — his grandfather gave him, and ride to the rescue. The rest of the film, around 50 minutes long, isn’t unnecessary — it’s an escalation of tensions that have been simmering for the length of the first half — but it’s more familiar De Leon fare, if you’ve seen 48 Oras (48 Hours) or Sawa sa Lumang Simboryo (The Python in the Old Dome) or The Moises Padilla Story — somewhat leftist politics played out as action drama. Is Tirong in love with Amparo? He already has a mistress in Loretta — call her a comrade with benefits — but his fixation on Edna Luna’s character is inexplicable, and not a little unsettling.

Ride in the cavalry — to rescue or repress? Tirong is a surprisingly sympathetic villain, the constabulary surprisingly villainous — or surprising if you’re unfamiliar with De Leon’s filmography. Tirong might have stepped out of the pages of Jose Rizal’s Noli Me Tangere, an Elias figure bent on righting long-suffered wrongs; Pedro doesn’t counter him so much as right his own wrongs, basically the injustice he had done to Amparo.

Maybe the most startling moment comes when Pedro, staring down the barrel of a rifle, tears open his grandfather’s anting-anting and risks certain death — startling because everything we know or remember about the Pedro Penduko mythos is heavy on magic and fantasy, and the most fantastic moment in this film is Pedro’s encounter with a crocodile (an encounter Mr. De Leon restages to spectacular effect in his 1961 Noli Me Tangere); otherwise Mr. De Leon seems to be stripping away at the magic elements and saying “I don’t need that to tell an interesting story. Good writing, good acting, good filmmaking is all I really need.” He might be right, at that.

Netflix hit Squid Game spurs search for next Korean stock star

NETFLIX

FROM boy band BTS to the addictive “Baby Shark” songs and now survival drama Squid Game, Korean entertainment has become hugely popular with consumers and stock investors alike, prompting some chatter about where the next hits will come from.

Squid Game, the country’s latest sensation topping Netflix, Inc. charts around the world, has also sparked some big share-price gains. Bucket Studio Co., which holds a stake in the agency representing the show’s lead actor, has more than doubled this month. ShowBox Corp., whose predecessor had invested in Siren Pictures, the show’s privately owned production firm, has climbed 55%.

Global streaming services are stepping up their investment in Korean content, with Netflix boosting its planned spending on the country’s movies and TV shows to $500 million this year. Still, like winning stocks, hit content can be hard to foretell.

“Any company can produce a hit,” said Lee Kihoon, an analyst at Hana Financial Investment Co. who has buy ratings on Studio Dragon Corp., CJ ENM Co. and Jcontentree Corp. “We cannot tell who will produce the next Squid Game because anyone can make it,” he said.

Still, Studio Dragon is a “must-buy” for investors who want to make bets in the Korean entertainment space given its sizable $2.2-billion market valuation in a field with many small players, Mr. Lee said. The producer of Hometown Cha-Cha-Cha, another currently high-rated Netflix show, Studio Dragon is a subsidiary of Korean movie giant CJ ENM.

In contrast, Oh Taewan, an analyst at Korea Investment & Securities Co., likes smaller names that don’t have long-term partnerships with Netflix, giving them more flexibility. One he believes may have growth potential is Astory Co., the firm behind the Netflix period zombie thriller series Kingdom.

OSCAR WINNER
For analyst Douglas Kim, shares of Pan Entertainment Co. and Barunson Entertainment & Arts Corp. could outperform on growing demand for Korean content. Barunson, the producer of Oscar-winning movie Parasite, jumped more than 30% in Feb. 2020, the month the film won the award, though it has since wiped out all of that gain.

“Over the next 2-3 years, there is a strong probability that other Korean dramas and movies on the Netflix or Disney OTT platforms could become very popular as well,” Kim wrote in a recent note on Smartkarma. — Bloomberg

AC Energy takes full control over Batangas power plant

AC Energy Corp. now fully owns South Luzon Thermal Energy Corp. (SLTEC) after it acquired the 20% ownership interest of Axia Power Holdings Philippines Corp., a unit of Japan-based Marubeni Corp.

In a regulatory filing, AC Energy said it completed the acquisition of Axia’s stake on Thursday. SLTEC operates the 270-megawatt (MW) coal-run power plant in Calaca, Batangas.

“With this acquisition, the Company now owns 100% of SLTEC,” the Ayala-led firm said.

The company and the Marubeni unit had jointly run SLTEC’s coal plant, which has two units each with a capacity of 135 MW.

In 2019, AC Energy Philippines, Inc. (the former name of AC Energy) received authority from its parent firm AC Energy, Inc. to purchase Axia’s ownership stake.

At present, AC Energy has a net attributable capacity of 1,200 MW in the Philippines, with coal projects accounting for 21%.

In a separate regulatory filing on Thursday, the listed power firm said it will no longer proceed with the revision of its power administration and management agreements with its wholly owned subsidiaries.

Its executive committee earlier approved to amend the company’s agreements with CIP II Power Corp. (CIP II), Bulacan Power Generation Corp., and One Subic Power Generation Corp.

The revisions include updating the fixed capacity fees billable to the parent firm and the inclusion of variable capacity fee billable by CIP II and Bulacan Power.

CIP II and Bulacan Power respectively own and operate a 21-MW diesel plant in Bacnotan, La Union and a 52-MW diesel plant in Norzagaray, Bulacan. Meanwhile, One Subic leases a 116-MW diesel plant at the Subic Bay Freeport.

AC Energy, the listed energy platform of Ayala Corp., has around 2,600 MW of attributable capacity across the Philippines, Vietnam, Indonesia, India, and Australia.

The firm aspires to be the largest listed renewables platform in Southeast Asia as it hopes to build 5,000 MW of renewables capacity by 2025.

AC Energy shares at the local bourse shed 0.18% or two centavos to finish at P11.28 apiece on Thursday. — Angelica Y. Yang

Never released John Lennon recording sells for $58,300 at Danish auction

SINGER John Lennon — FACEBOOK.COM/JOHNLENNON

COPENHAGEN —  A cassette tape recording of an interview with John Lennon and Yoko Ono, including a never-released song, made while they visited Denmark in 1970 sold for 370,000 Danish crowns ($58,300) at an auction in Copenhagen on Tuesday.

The tape, featuring the unreleased song “Radio Peace,” was recorded on Jan. 5, 1970 by four 16-year-old Danish boys who succeeded in getting an interview with the couple for a school magazine.

Bids for the cassette tape, which was put up for sale along with photographs from the meeting by the former school boys, started at 100,000 crowns. The lot was valued between 200,000 and 300,000 crowns ($31,500-$47,000) before the auction.

It was not immediately known who bought the recording.

During the 33-minute recording, Mr. Lennon speaks about the couple’s peace campaign, his frustration with the Beatles’ image and the length of his hair. The recording also features Mr. Lennon and Ms. Ono humming along to Christmas songs while dancing around a Christmas tree, Mr. Lennon playing the guitar and the couple singing “Give Peace a Chance” and “Radio Peace.”

The up-tempo song, which repeats the words “this is Radio Peace,” refers to a radio station of the same name that Mr. Lennon and Ms. Ono hoped to establish in Amsterdam, the auction house said. — Reuters

AboitizPower seeks regulatory approval for fixed-rate bonds

ABOITIZ Power Corp. said on Thursday that it had asked with the Securities and Exchange Commission (SEC) to approve the listed energy firm’s issuance of up to P12-billion worth of fixed-rate bonds.

The issuance forms the second tranche of its P30-billion securities under its shelf registration program.

In its disclosure, AboitizPower said the second tranche is expected to be issued in the fourth quarter in one or two series, and is intended to be listed with the local debt market.

“The proceeds of the bonds will be used to refinance the 2020 Series E Bonds maturing in 2022, partially fund the equity contributions for the construction of the 74-MW (megawatt) solar power plant in Pangasinan province, general corporate purposes, and other future renewable projects,” the company said.

It has appointed BDO Capital & Investment Corp., China Bank Capital Corp., First Metro Investment Corp., and Security Bank Capital Investment Corp. as the joint issue managers, joint lead underwriters, and joint bookrunners of the issuance. It has also assigned BDO Unibank, Inc.–Trust and Investments Group to be the trustee.

Last week, the company’s board of directors gave the green light for the issuance of the second tranche of its P30-billion bond issuance.

AboitizPower hopes to ramp up its renewables portfolio as it is looking at spending P190 billion to develop 3,700 megawatts of new renewable energy projects by 2030. The investment will scale up the firm’s “Cleanergy” portfolio which it hopes will comprise a larger share of 50% of its power generation mix in the next decade.

Cleanergy is AboitizPower’s brand of clean and renewable power.

The company is the listed holding firm for the Aboitiz group’s investments in power generation and distribution, retail electricity and other related services.

AboitizPower shares at the local bourse improved 4.03% or P1.20 to finish at P31 apiece on Thursday. — Angelica Y. Yang

Britney Spears ‘on cloud nine’ after father suspended from conservatorship

BRITNEY Spears performing during the Apple Music Festival at the Roundhouse, London on Sept. 27, 2016 — DREW DE F FAWKES/ EN.WIKIPEDIA.ORG/

LOS ANGELES — The conservatorship that has controlled the life of Britney Spears for 13 years neared a possible end on Wednesday after a judge suspended her father, and the pop super-star said later that she was “on cloud 9 right now.”

At a contentious three-hour hearing, Los Angeles Superior Court Judge Brenda Penny removed Jamie Spears from oversight of his daughter’s $60-million estate and set a November date to discuss whether to terminate the entire arrangement.

In court, Ms. Penny removed Jamie Spears from his role after the singer’s attorney said she did not want him involved for even one more day. “The current situation is not tenable. It reflects a toxic environment which requires the suspension of Jamie Spears, effective today,” Ms. Penny said.

The judge said she would hold a hearing on Nov. 12 to discuss a petition to terminate the conservatorship that controls Britney Spears’ business and personal affairs.

Britney Spears, now 39, has been struggling for years to get free of the legal arrangement. She did not take part in Wednesday’s hearing.

Jamie Spears will be replaced by an accountant, John Zabel, on a temporary basis, Ms. Penny said. — Reuters