Marketing Featured Southeast Asia

Netflix PH’s campaign for Money Heist Korea depicts the heist–quite literally

Manila, Philippines – To promote the online series ‘Money Heist: Korea – Joint Economic Era’, streaming platform Netflix in the Philippines has launched an outdoor campaign that depicts the show’s heist in a literal sense.

Mall-goers at the SM Megamall in the city of Mandaluyong in Metro Manila, as well as in TriNoMa, were surprised to see an outdoor installation where an armoured truck, seemingly stalled due to colliding with a street light post, is brimming with a lot of items and goods, including play money, boxes of Korean goods, among others.

‘Money Heist: Korea – Joint Economic Era’ is a South Korean television series which is based on the popular Spanish heist crime drama series ‘Money Heist’. The series depicts a hostage crisis situation set in a unified Korean Peninsula.

The campaign is made in collaboration with local creative agency GIGIL, who has long been known for making local campaigns for Netflix, with titles such as ‘All Of Us Are Dead’, ‘Trese’, and ‘Red Notice’.

Photo courtesy of SM Megamalls

Speaking to MARKETECH APAC, Netflix said in order to select what type of outdoor campaign they will execute, they always consider the uniqueness a series brings to its viewers.

“Things that get noticed get talked about, and things that get talked about are searched for–and in Netflix’s case, watched. This has been the underlying principle behind our campaigns for the brand. Conversation enables conversion,” Netflix said.

For this particular case, Netflix banked on Filipinos’ love for Korean-related products, and spun the campaign based on the series’ premise.

“Money Heist Korea is a spin-off of an already existing franchise (La Casa de Papel), so we did some research on what makes it different from the original. The answer was right under our noses–it’s Korean. While it has a similar plot, there are a lot of Korean nuances that give it its own distinct flavour. We deliberately leaned into its Koreanness, because not only did it make the Joint Economic Area special, it also made it fit well with Filipinos–after all, we are fans of Korea’s products, content, and culture. If it’s Korean, then it’s probably worth giving attention to.”

When asked as to why they think outdoor campaigns still matter, Netflix told MARKETECH APAC that one of the best ways to create a digitally-led campaign is to engage with the audience in real-life, then bring the experience to their devices.

“There’s a different kind of magic when you experience something first-hand, and getting to experience this for yourself (which you once just saw on-screen) compels you to share it, and convince others to experience it for themselves, too,” they concluded.

Marketing Featured Southeast Asia

This Thai ad for a skincare brand openly ‘admits’ to not able to understand teenagers

Bangkok, Thailand – In spite of hours of research and profile-building, advertising and brand marketers aren’t always able to get it right. This is the message the latest ad for skincare brand Clean & Clear brings to its Thai audience, delivered in a quirky and straightforward way.

Conceptualised alongside BBDO Bangkok, the ad starts by featuring all the things advertisers expect teens to like: slang, rap music, vibrant streetwear, and skateboards. Then the twist appears, revealing that the ad doesn’t appeal to and get teens at all, but the product does. 

Prior to the campaign release on June the 15th, BBDO Bangkok also released content further highlighting the topic that it doesn’t understand teenagers. From a social post that claims to get you, an Instagram filter that you just want to mock, to a new esports skin that you don’t know what to make of.

Speaking on the campaign release, Thasorn Boonyanate, chief creative officer at BBDO Bangkok, said, “Let’s not pretend that we understand this new generation of kids and admit that we don’t, by making an ad that doesn’t understand them at all. Thai teenagers love brands that speak sincerely to them, who aren’t afraid to make fun of themselves.”

Marketing Featured Southeast Asia

SG’s Land Transport Authority taps MullenLowe SG for latest public transport campaign 

Singapore – The country’s Land Transport Authority (LTA) has tapped MullenLowe Singapore to conceptualise the latest iteration of its ‘Graciousness on Public Transport’ campaign.

The campaign, which was first launched in 2014 by the government body, is led by iconic characters Stand-Up Stacey, Move-In Martin, Give-Way Glenda, Bag-Down Benny and Hush-Hush Hannah of the Thoughtful Bunch. 

The annual campaign reminds and nudges commuters to take action to spread graciousness for a more pleasant everyday journey across the country’s MRT network.

Commenting on the campaign, Agnes Lim, director of marketing communications at LTA, said, “The annual Graciousness on Public Transport Campaign started in 2009 to promote acts of thoughtful behaviour on public transport, such as giving up seats, queueing in an orderly manner, and moving in for a more pleasant commute. These characters are just like the everyday commuter, trying to do the right thing to make the travel experience on public transport more pleasant.”

Meanwhile, Paul Soon, CEO at MullenLowe Singapore, commented, “It is always exciting to have the opportunity to work on Singapore icons like the Thoughtful Bunch, who through the years have developed a close affinity and relationship with all who live and commute in Singapore. We intend to continue to build on what has already been so successfully nurtured by Agnes and her team by extending the emotions that all Singaporeans should feel when they take the steps to be thoughtful.”

This latest campaign will launch in the third quarter of the year, and will run for 6 months island-wide, across out-of-home, digital and social communications.

Marketing Featured APAC

Day 4 of Cannes Lions 2022: Here are the agency, brand winners for APAC

Cannes, France – It’s the fourth day of the Cannes Lions 2022 festival, and for this day, the awards show will focus on the categories ‘Creative B2B Lions’, ‘Direct Lions’, ‘Media Lions’, ‘Creative Data Lions’, ‘PR Lions’, and ‘Social & Influencer Lions’.

Dentsu Creative India has won its third Grand Prix today under the category ‘Social & Influencer Lions’ for the campaign ‘The Unfiltered History Tour’ with VICE. It also won a Silver Lion in the same category for social purpose, and a bronze for the PR category.

Speaking on the new wins, Amit Wadhwa, CEO for India at Dentsu Creative, said, “Today, we add yet another Grand Prix, 1 Silver and 1 Bronze to our wins. And yet again, kudos to each and every one of our present and ex-teammates for the dedication, brilliance, and excellence that they have put in and into this journey to get us here. This belongs to them.”

Meanwhile, Ajay Gahlaut, group chief creative officer for India at Dentsu Creative, commented, “Here we are almost towards the end of this Grand Festival, and we win a THIRD Grand Prix today along with a Silver and Bronze. We are definitely writing history here. I am extremely proud of how we have fared so far. And there’s still a day to go. We’re not done yet.”

The campaign ‘Robyn’s Undies’ by Yellow and Heyyou Auckland won a Bronze Lion in the Creative B2B category.

On the ‘Direct’ category, APAC winners include:

  • ‘Shah Rukh Khan-My-Ad’ by Cadbury Celebration, Ogilvy Mumbai (Gold Lion, Bronze Lion)
  • ‘The Nominate Me Selfie’ by Political Shakti, The Times of India, FCB India Delhi (Gold Lion)
  • Beyond Binary Code’ by Spark, Colenso BBDO Auckland (Silver Lion)
  • ‘Rejected Ales’ by Matilda Bay, Howatson+Company (Silver Lion)
  • ‘Samsung iTest’ by Samsung, DDB New Zealand Auckland (2 Bronze Lions)
  • ‘Chatpat’ by SOS Children’s Villages India, FCB India Delhi (Bronze Lion)

Meanwhile, winners for the ‘Media’ category include:

  • ‘Samsung iTest’ by Samsung, DDB New Zealand Auckland (Gold Lion)
  • ‘Chatpat’ by SOS Children’s Villages India, FCB India Delhi (Gold Lion, Silver Lion)
  • ‘AAMI Rest Towns’ by AAMI, Ogilvy Australia Melbourne, OMD Sydney (Gold Lion)
  • ‘The Ad Break Championship-GTI Hijack’ by Volkswagen, DDB Sydney, PHD Sydney (Gold Lion)
  • ‘Perk Disclaimers’ by Cadbury Perk, Ogilvy Mumbai, Wavemaker India Mumbai (Silver Lion)
  • ‘The Nominate Me Selfie’ by Political Shakti, The Times of India, FCB India Delhi (Silver Lion)
  • ‘Quest for Dyslexia’ by Samsung, Cheil Worldwide Beijing (Bronze Lion)
  • ‘Versus’ by SK-II, Mediacom Singapore (Bronze Lion)
  • ‘Adidas Neo Gymnastics x Just Dance’ by Adidas, TBWA\Bolt Shanghai (Bronze Lion)
  • ‘See Equal #ShareTheLoad (Integrated) by P&G, BBDO India Mumbai, Mediacom India Mumbai (Bronze Lion)

For the ‘Creative Data’ category, the APAC winners are:

  • ‘Shah Rukh Khan-My-Ad’ by Cadbury Celebration, Ogilvy Mumbai (Gold Lion)
  • ‘AAMI Rest Towns’ by AAMI, Ogilvy Australia Melbourne, OMD Sydney (Bronze Lion)

Aside from Dentsu Creative India, The APAC winners for the ‘PR’ category include:

  • ‘One House to Save Many’ by Suncorp Group, Leo Burnett Sydney (Bronze Lion)
  • ‘Unbox Me’ by Unaids, FCB India Delhi, Cumulus Gurgaon (Bronze Lion)
  • ‘David’s Unusables’ by Motor Neurone Disease Association NZ, Special Auckland (Bronze Lion)
  • ‘Greeting Milk’ by Maeil Dairies, Innored Seoul (2 Bronze Lions)

Lastly, winners in the ‘Social & Influencer’ category, aside from Dentsu Creative India, include:

  • BMW: Nothing But Sheer Joy’ by BMW, TBWA\Juice China Beijing (Gold Lion)
  • ‘Chatpat’ by SOS Children’s Villages India, FCB India Delhi (Gold Lion, Silver Lion, Bronze Lion)
  • ‘Aquafresh Fortune Telling’ by GSK Consumer Healthcare Japan, Grey Tokyo (Silver Lion)
  • ‘Samsung iTest’ by Samsung, DDB New Zealand Auckland (Bronze Lion)
  • ‘Unbox Me’ by Unaids, FCB India Delhi, Cumulus Gurgaon (Bronze Lion)
Marketing Featured Global

Mastercard unveils first-ever music album as part of sonic brand journey

Cannes, France – Global financial services company Mastercard has unveiled its first-ever music album titled ‘Priceless’ at the Cannes Lions 2022 Festival as part of the brand’s ongoing sonic brand journey. The music album features 10 songs by 10 artists from around the globe, and incorporates the recognisable melody of Mastercard’s brand sound.

To produce the music album, Mastercard has partnered with music producer Timbaland and its music creator platform Beatclub. As part of the Beatclub collaboration, Mastercard will purchase and provide one-year memberships to the Beatclub platform to hundreds of up-and-coming creators from disenfranchised communities. 

Raja Rajamannar, chief marketing and communications officer and president of healthcare business at Mastercard, said, “Our first-ever music album featuring the inspiring, original work of 10 rising artists takes our innovative sonic branding approach to an even higher, unmatched level. From Algeria to Australia and Slovenia to Sweden, each of the artists integrated our melody into their songs and created something that we are all truly proud of! We hope others will enjoy these songs as much as we do.”

Mastercard also collaborated closely with executive producer Niclas Molinder to find artists who span a variety of cultures, languages and genres – a core element of the album’s identity. Each artist was tasked with incorporating the brand’s melody into their song, demonstrating how audio branding can be used innovatively.

Meanwhile, Timbaland commented, “This partnership was a natural fit given Mastercard and Beatclub’s mutual goal of supporting artists and the industry. Together we’re elevating emerging artists through the power of music and mentorship. Providing platforms, tools, and connections for creators to pursue their passions opens doors for countless artists to break into an industry that is often impenetrable.”

The full music album is available for streaming on Spotify.

Marketing Featured Southeast Asia

McDonald’s new visual campaign an ode to parent-child bonding

Manila, Philippines – Global fast-food chain McDonald’s has released a new campaign that pays tribute to the great lengths parents will do to strengthen their bond with their children.

The campaign, called ‘Happy Moments’ is conceptualised by creative agencies Leo Burnett Dubai and Leo Burnett Manila. The pictures were photographed by Ale Burset, who is based in Madrid.

Oliver Rabatan, AVP for marketing and channels lead at McDonald’s Philippines, said, “For over 40 years, McDonald’s Happy Meal has been an ally to generations of parents seeking to share happy moments with their children. As a brand, celebrating our role as the home of happy family moments is a theme we keep returning to. Our latest instalment pays special tribute to devoted dads in the lead up to Father’s Day.”

Meanwhile, Raoul Panes, chief creative officer at Leo Burnett Manila, commented, “Thanks to our Power of One model, this has been an amazing collaboration across borders. With Ale’s candid, unpolished treatment, we have created a campaign that feels uniquely understated for this market. Together with McDonald’s Philippines, we look forward to celebrating life’s moments of happiness for many years to come.”

Lastly, Kalpesh Patankar, chief creative officer at Leo Burnett Dubai, added, “There often lies something extraordinary in the most simple, everyday moments. We wanted to capture the charming joyfulness of life’s most cherished moments by simply showing a parent and child on their way back home from McDonald’s. Real streets and authentic photography become the backdrop for truly happy moments captured in the most understated way, as though through the lens of a passer-by.”

The campaign is now running in print and point-of-sale during the lead-up to Father’s Day on 19 June. 

Marketing Featured Global

New Balance’s global campaign highlights the joy of each one’s craft daily

Massachusetts, USA – Global athletic wear brand New Balance has released its new global campaign called ‘We Got Now’ which focuses on highlighting the joys of each one’s craft in everyday moments.

Conceptualised and produced alongside VMLY&R, the campaign features NBA Champion Kawhi Leonard, singer-songwriter IU, English football players Raheem Sterling and Bukayo Saka and New Balance’s newest ambassador, Grammy-nominated artist Jack Harlow. It features a series of three vignettes, one highlighting Harlow and Leonard, the second showcasing Sterling and Saka, and the last focusing on IU, which symbolises the faces that are shaping the ‘now’ in the worlds of sport and culture.

“New Balance is a firm believer in the power of now, and ‘We Got Now’ is a rallying cry for a global generation to fearlessly redefine themselves in pursuit of their passions. Now is the time to energise culture and create positive action, without waiting for permission. Through its relationships with athletes and ambassadors who aren’t afraid to change the game, challenge the system, and encourage others to do the same, New Balance strives to empower everyone to live life on their own terms, always in the now,” the company said in a press statement.

Meanwhile, Chris Davis, CMO and senior vice president of merchandising at New Balance, commented, “Through the continuation of our ‘We Got Now’ campaign, New Balance is challenging our ambassadors, athletes, and fans to come together in fun and meaningful ways. When we allow ourselves the freedom to play in settings authentic to ourselves, there’s a liberating energy that comes from moving our bodies, showing off our skills, and doing something – whatever it may be – that we truly love.”

The campaign goes live globally on and on New Balance’s social media channels, as well as media placements throughout 2022.

Marketing Featured Global

Toys”R”Us latest marketing campaign takes mascot Geoffrey on a world tour

New York, USA – Toys”R”Us has unveiled plans for Geoffrey’s World Tour, the brand’s first 360-degree global marketing campaign set to launch in June. The new campaign will follow beloved Toys”R”Us mascot Geoffrey the GiraffeTM as he embarks on a world tour beginning at the Toys”R”Us global flagship in the U.S.A., followed by planned visits and activations in London, Madrid, Saudi Arabia, South Africa, Dubai, and markets across greater China, Japan and Southeast Asia.

Each stop on Geoffrey’s World Tour will be hosted by a local Toys”R”Us child ambassador and feature in-store, e-commerce and social media activations, including a sweepstakes to win a shopping spree for consumers. The campaign will culminate with the launch of a global YouTube series that captures each of Geoffrey’s visits from the child ambassador perspectives. In the series, Geoffrey will be shown with the ambassadors in their city as they share kid-friendly fun facts about their communities, and experience at the Toys”R”Us store event.

Kim Miller, global chief marketing officer at Toys”R”Us, said Toys”R”Us transcends cultures through a love of toys and play that they embrace as a brand worldwide.

“As Geoffrey visits many of our key global markets, our cherished mascot will be welcomed by generations of adults who affectionately remember him from childhood and their children who are eager to show off the cities they live in and their local Toys”R”Us Stores. It’s the magic you remember delivered in a dynamic, modern way,” Miller said.

Jo Hall, chief commercial officer, Toys”R”Us Asia, shared, “Since opening our first store in Singapore nearly 40 years ago, Toys”R”Us Asia is proud to be a trusted partner to families, supporting the healthy growth and development of children in 10 markets across the region today.”

“Geoffrey the Giraffe has always played a leading role in bringing the excitement of our brand to life for parents and children alike, so we’re thrilled to be hosting Geoffrey here in Asia as part of his magical World Tour, helping to spread the joy of play and fueling the imagination of children everywhere,” Hall adds.

Geoffrey’s World Tour campaign will serve as the cornerstone in a series of several global brand initiatives including the formation of the Toys”R”Us Kids World Council which will launch in 2023 and cement a child’s point-of-view into all brand positioning and content around products, celebrations, advocacy and more.

Marketing Featured South Asia

PharmEasy unveils latest campaign starring Bollywood icon Aamir Khan

New Delhi, India — PharmEasy, a consumer healthcare super app in India, has launched its latest campaign starring Bollywood superstar Aamir Khan, entitled #GharBaitheBaitheTakeItEasy. 

The campaign, which was done in collaboration with creative agency FCB in India, brings Khan into a set of quirky, disruptive and ‘mad-humour’ genre TVCs. Khan plays the triple role of the PharmEasy delivery person who pops up in the oddest places and in a quirky manner to tell customers about all the offerings from the PharmEasy brand and how all that people need to do is ‘Take It Easy’, PharmEasy’s ethos.

Gaurav Verma, CMO at API Holdings, the brand’s parent company, said, “Collaborating with someone as versatile as Aamir Khan fills us with immense joy. We are absolutely thrilled to have him on board as the face of the brand PharmEasy. He truly knows how to engage with the audience. With this association, we aim to reach more people while making affordable healthcare accessible to everyone. We are looking forward to a great collaboration with him this year and widening our reach through offerings and such campaigns.”

Bollywood superstar Khan commented on the collaboration, saying, “It is indeed a pleasure to work together with the PharmEasy brand, to help provide economical healthcare at each person’s doorstep. I feel that in today’s times, PharmEasy is providing an essential service, in a sector that is itself a fundamental requirement for all of us, and I look forward to this association.”

Meanwhile, Surjo Dutt, CCO of FCB India, shared that PharmEasy has a very distinct voice and tonality crafted over many years of commitment to disruption through humour. Dutt added that the company’s challenge was to stay true to this commitment and create a campaign that would take forward this legacy.

“The idea was to use Aamir Khan in a funny, unexpected, and effective way to create a campaign that is attempting to bring in many new users to the PharmEasy fold. Hence the triple role and the over-the-top style storytelling was thrown into the blender along with simple and clear benefits that the brand brings into the Indian consumer’s life! When madness and simplicity are thrown into a blender, magic emerges,” Dutt said.

FCB said the campaign aims to help towards building the PharmEasy brand and creating consumer awareness for healthcare in India, making it a household name for everything healthcare

Main Feature Marketing Southeast Asia

READ: A timeline of Netflix PH’s ramped-up campaign for occult series ‘Trese’

Manila, Philippines – A well-known occult classic in modern Filipino literature, and dark fantasy and crime horror comic series ‘Trese’ received more hype when streaming platform Netflix announced it as part of a new original series stemming from Asia on 8 November, 2018. Originally penned by Budjette Tan and illustrated by Kajo Baldisimo, the series debuted last 11 June, with six episodes officially released on the streaming platform.

The anime-influenced TV series follows the story of Alexandra Trese, a healer-warrior who plays the role of a mitigator between the real world and the supernatural one. She is often summoned by the police to solve paranormal cases within Manila, the capital of the Philippines. Throughout the series, Trese faces various entities and challenges within the paranormal world, all of which are based on Philippine paranormal folklore.

On the days leading to the debut, the Philippine arm of Netflix worked constantly on a slew of campaigns to promote the series, all embodying the paranormal theme that awaits for newly-found fans and viewers to enjoy.

‘Vandalized’ by the supernatural?

On 6 June, Netflix Philippines posted several photos on their social media pages, begging the question ‘What kind of monster would do this?’, to which the pictures depicted the promotional banners and billboards for ‘Trese’ to be seemingly destroyed and vandalized with phrases such as “Siyudad namin ito! Layas!” (This is our city! Get out!). Even the digital out-of-home advertising (DOOH) for ‘Trese’ also ‘glitched’, bearing the aforementioned phrases. 

Soon, netizens took notice of the pictures, and noted various instances across the country, from Metro Manila, Batangas, Cebu, and Davao.

Said ‘vandalism’ act is one of the marketing ploys created by local-based independent creative agency GIGIL, who played upon the story’s lore of monsters who are constantly taking over key cities in the fictional background of the storyline.

“Our billboards all over the country started getting vandalized, apparently protesting Trese’s arrival. Social media, and the actual media, went into a frenzy. We turned Trese into a huge national moment, and ultimately giving this for Pinoy – by Pinoy – about Pinoy title the recognition it deserves, all in time for Independence Day weekend,” said Stef Pajarito, country marketing manager at Netflix Philippines, on his LinkedIn post.

The following day, 7 June, Netflix Philippines ‘unveiled’ the culprits of the ‘vandalism’ by sharing videos which are purportedly ‘shared’ by organic social media accounts. The videos ranged from a ‘tiyanak’ (a Filipino mythological vampire creature that takes the form of a child or toddler) or a ‘manananggal’ (a Filipino vampirical creature taking the form of a winged creature, in which the upper torso is only present). Turns out, said ‘videos’ were also produced by GIGIL for Netflix Philippines.

A ‘not-so-live’ concert experience

The primary soundtrack of ‘Trese’ titled ‘Paagi’ was composed by well-known Filipino indie pop band Up Dharma Down or more known as UDD, and popular for tracks such as ‘Tadhana’, ‘Oo’, and ‘Hiwaga’. And in tribute to the upcoming debut of the first episode of ‘Trese’, Netflix Philippines and GIGIL collaborated in launching a virtual concert experience, which was streamed exactly thirteen minutes before the debut.

Due to the existing protocols in the country regarding large-scale gatherings, the virtual concert campaign was launched with the premise that audience members upload their videos on the website The twist on this campaign is that the submitted videos are recorded using the Instagram filter provided by the QR code on site, which transforms the videos into ‘ghost-like’ edits, an allude to the paranormal nature of the ‘Trese’ series.

The ABS-CBN, BusinessWorld, and The Philippine Star campaign tribute

One of the well-known fictional organizations in the ‘Trese’ franchise is the media network ABC-ZNN, which is a play on the real counterpart, Philippine media conglomerate ABS-CBN.

On 11 June, Netflix Philippines launched another marketing stunt campaign that seemingly plays on the incident that ‘Trese has taken over ABS-CBN’. In the pictures, the facade of the ABS-CBN Broadcasting Center was draped with the logo of the ABC-ZNN, covering the metallic logo of ABS-CBN which is prominent in the building.

The same was also done with the facade of ABS-CBN’s ELJ Communications Center in Quezon City, which also shone the words ‘TRESE’ spelled by the window lights, as another tribute for the debut episode of ‘Trese’.

Other media outlets also showed their support for ‘Trese’, with broadsheet dailies BusinessWorld and Philippine Star publishing a front-page report narrating an incident of a ‘dead white lady’ or a well-known paranormal entity in Philippine horror who are commonly wandering souls, on Balete Drive, a well-known street in the Philippines to which the tale of the ‘white lady’ is more popular. Said fictional newspaper story alludes to the first episode of ‘Trese’ where one of the main characters, a policeman by the name of Captain Guerrero, discovers the incident, and the first scene where Trese is first introduced to crack on the case.

‘The biggest campaign we’ve ever done’

Speaking about the execution of the project, GIGIL Senior Art Director, JR Bumanglag, stated that they knew from the very end of their briefing with the client that they wanted ‘something to pop out’, yet the challenge remains: how do you bring an animated series to ‘life’?

“We realized that, as ‘Trese’ is coming, everyone is excited. It’s a [series] that every Filipino can be proud of, there are places on the show that people [will recognize]. But as everyone was excited, Trese’s enemies on the show weren’t. So how do we give them that voice and how do we [make people feel like] the monsters were real? So we used the billboards as the venue to express that idea,” Bumanglag stated.

Meanwhile, Nova Novido, account manager at GIGIL, expressed the large scale of the project, noting it is the agency’s biggest project to date.

“I’m pretty sure that our team is very ‘gigil’ and we wouldn’t stop here. But there will be future campaigns that will hopefully be as grand or even grander as Trese. But at the moment [the Trese campaign] is one of the biggest things we’ve done [so far] and we’re really proud of it. The attention that this has caught in public, [and I’m proud] that our team was able to produce it for such a well-loved comic series and Netflix,” Novido stated.

In its first week, Trese made it to Top 1 position in Netflix Philippines, and Top 10 in 19 other countries on Netflix. The show practically took over Philippine social media, as it has been trending online and receiving overwhelming praises from fans. On Twitter alone, it was the Top Trending Topic for a week.