More news about how the COVID-19 pandemic in the Philippines is being handled by the public and the government.
The Sandiganbayan has greenlit the graft trial of former officials of the Procurement Service of the Department of Budget and Management and several executives of Pharmally Pharmaceutical Corp. in connection with the overpriced contract of P54 million for the procurement of surgical masks during the COVID pandemic.
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| https://www.philstar.com/nation/2025/09/25/2475202/sandigan-oks-graft-trial-ps-dbm-pharmally-execs |
The Sandiganbayan has ruled to proceed with the graft trial of former officials of the Procurement Service of the Department of Budget and Management (PS-DBM) and several executives of Pharmally Pharmaceutical Corp. in connection with the overpriced contract of P54 million for the procurement of surgical masks during the COVID pandemic.
In a resolution promulgated on Sept. 8, the anti-graft court’s Fifth Division denied the motions to quash the case filed by former PS-DBM procurement group director and erstwhile overall deputy ombudsman Warren Lex Liong, former accounting unit head Allan Raul Catalan, former Procurement Division officer-in-charge chief Dickson Panti and procurement management officer III Gerelyn Vergara.
The court also junked similar motions filed by Pharmally director Linconn Ong as well as treasurer and corporate secretary Mohit Dargani.
The Fifth Division said the issue on whether or not the PS-DBM officials and Pharmally executives conspired with one another “is an evidentiary matter best threshed out during a full-blown trial.”
Also named as defendants were former PS-DBM executive director Christopher Lloyd Lao and former supervising administrative officer Arnold James Dupla as well as Pharmally president Twinkle Dargani, directors Huang Tzu Yen and Justine Garado, financial manager Lin Weixiong and employee Krizzle Grace Mago.
The Sandiganbayan set the arraignment on Oct. 2.
The case stemmed from the awarding of a P54-million deal to Pharmally for the supply of 2.– 4 million surgical masks as part of the government’s pandemic response in 2020.
Well, that's nice. Thankfully the court has given permission for justice to be served. Of course, that does not mean justice will be served but at least there is a chance.
AstraZeneca has opened a new headquarters in Manila.
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| https://scandasia.com/astrazeneca-opens-new-headquarters-in-manila/ |
AstraZeneca Philippines has inaugurated its new headquarters in Bonifacio Global City in Manila as the Swedish-British healthcare company marks 50 years of operations in the country. The company currently employs around 400 people in Manila.
AstraZeneca is a global biopharmaceutical company headquartered in Cambridge, United Kingdom, with Swedish roots through its 1999 merger with Astra AB. The company focuses on the discovery and development of prescription medicines, particularly in oncology, cardiovascular, renal, metabolism, and respiratory diseases, and operates in over 100 countries.
During the pandemic, AstraZeneca played a significant role in the Philippines’ COVID-19 response with its vaccines. The Swedish embassy, who were in attendance, estimates in a Facebook post that the vaccine roll-out contributed to an estimated 50,000 lives saved. Looking ahead, the company plans to deliver over 7 billion pesos in investments between 2026 and 2028 to strengthen a multi-stakeholder health ecosystem in the country.
The inauguration was attended by Ambassador of Sweden to the Philippines, Anna Ferry, alongside Deputy Head of Mission of the United Kingdom, Mike Welch, Taguig City Mayor Lani Cayetano, and Lotis Ramin, Country President of AstraZeneca Philippines.
Will this help save lives?
Here's another Filipino success story that began during the pandemic. A lady took in a stray dog and launched a pet lifestyle empire.
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| https://lifestyleasia-onemega.com/people/leadership/ollie-and-beyond-izzy-concepcions-vision-for-pet-retail-in-the-philippines/ |
When Izzy Concepcion welcomed a golden retriever named Ollie into her life during the pandemic, she didn’t know she was setting off a chain of events that would change her career path—and redefine how many Filipinos think about their pets. What started as one small purchase for a beloved pup gradually unfolded into a brand built around design, quality, and the simple joy pets bring to everyday life.
Ollie, formerly known as Ollie Bowls, has become a touchstone in the Philippines for high-quality, customizable pet products. When its first flagship store opened in Bonifacio Global City just this August, one thing was clear: what began as a custom pet bowl brand has become something much bigger—a full-fledged pet lifestyle brand rooted in authenticity, creativity, and love.
For many, the pandemic was a period of pause; but for Izzy, it was also a period of possibility. While finishing her studies and helping with Smeg Philippines—her family’s business—she decided it was finally time to have a dog of her own. Golden retrievers had always been a fixture in the Concepcion household, but Ollie was the first she could truly call her own. In the small routines of feeding and play, Izzy began to notice the gaps in everyday pet essentials.
“Ollie was constantly pushing his bowl across the floor,” Izzy recalls with a laugh. “It made me realize that even something as simple as a dog bowl matters. Pets use it every single day. I wanted something that worked—it needed to be durable, stay in place, keep water cold in the tropics, and still feel special.”
When she couldn’t find a product that fit, she created her own: a double-wall stainless steel bowl with a silicone base that gripped the floor. More importantly, she made it customizable, offering names, engravings, and even illustrations. It became the first Ollie Bowl—and the foundation for her new venture.
She began selling the bowls online, reaching fellow pet parents who were also searching for something better. The response surprised her. People didn’t just buy the bowls; they loved them. They saw the attention to detail and the chance to celebrate their pets’ personalities, eagerly sharing the products all over social media. What began as a living-room side hustle quickly evolved into a community of devoted pet parents asking for more.
What makes Ollie different isn’t just its products, but the philosophy behind them. Izzy always believed pets deserve the same level of thought, care, and aesthetic sensibility that people give themselves.
She began expanding carefully, letting customer feedback and her own experience with Ollie guide the way. The Ollie Walkies line, for example, grew from her own frustration with uninspiring leashes. “I was never satisfied with the options available,” she says. “They didn’t feel special or stylish, so I created something functional and aesthetically pleasing.”
Toys came after Ollie ripped through every stuffed animal in sight, prompting her to bring in Australian brand FuzzYard for their durability. For tags, she discovered Italian maker MyFamily, bringing their craftsmanship and on-site engraving experience to the Philippine market.
Then came collaborations. Ollie Treats—a line of treats, chews, and supplements—launched in partnership with local brands like Treatos by Joey, Harley’s Home Kitchen, and Barkery on 10th. Bandanas were co-created with Club Thread, a Filipino and woman-founded label offering customizable styles that quickly became bestsellers.
Every product, big or small, reflects Izzy’s guiding principle: only the best for your pet. This not only means products that solve real problems—whether it’s bowls that stay cool in the heat or leashes that balance function with style—but also ones that bring joy. “It’s about those personal touches,” she says. “Even capturing the little dots on a dog’s nose in an engraving—those details matter because they mean something to pet parents.”
The online store had already built a loyal following, but Izzy wanted to take the experience further. On August 30, Ollie opened its first physical flagship in Bonifacio Global City, one of the most pet-friendly districts in the country.
“BGC just made sense,” Izzy explains. “Dogs are everywhere—in cafés, in parks, even at restaurants where they’re offered Ollie Bowls. It felt like the perfect home.”
The store is designed for both shopping and interaction. Customers can engrave tags on the spot, design bowls, and stitch patches onto bandanas. Izzy describes it as a “candy shop for pets”—a space where personalization is at the center, and where shopping becomes an experience rather than a transaction.
Izzy’s entrepreneurial instincts didn’t appear out of nowhere. Her parents, Karen and Ton Concepcion, founded Mondo Cucina Inc. in 2007, the exclusive distributor of SMEG in the Philippines. Growing up around a family business gave Izzy an early understanding of the excitement and discipline that comes with entrepreneurship.“Seeing how hard they worked, and how much love they poured into what they built, made me want to do the same,” she shares.
Her childhood ventures ranged from selling cupcakes to reselling Lip Smackers to friends and family—playful beginnings that taught her resourcefulness and sparked her curiosity about business. But the lesson that stuck the most was authenticity.
“For a long time I felt pressure to define my own path,” she reflects. “But I learned that branding only works when it’s rooted in something real. You can’t fake passion. People can tell.”
Today, Izzy balances her dual roles as full-time Business Development and Brand Marketing Lead at Smeg Philippines and founder of Ollie. It’s a lot to manage, but she credits her teams for making it possible. “I’m thankful for the people around me,” she says. “They keep me organized and make sure both businesses can thrive.”
What excites Izzy most is not just the products, but the people who buy them. Ollie’s customer base is made up of “hoomoms” and “hoodads” who see their pets as family. They share tips on social media, swap stories, and even encourage each other into “budol” purchases.
“What surprises me is how much they love customization,” Izzy says. “It’s never just about putting a name on a bowl. It’s about choosing the colors, the patches, the exact engraving of their pet’s face. They remind me that Ollie isn’t just about products—it’s about creating a community where people can express their love for their pets.”
For Izzy, the BGC flagship is only the beginning. She sees Ollie expanding into new product categories and cities, eyeing international collaborations in pet-friendly markets like Thailand and Malaysia.
“Collaboration has always been part of our DNA,” she says. “We want to celebrate pet culture not just here, but across Asia.”
Her vision is simple but ambitious: for Ollie to be the go-to specialty brand for pet parents—one that reflects function and personality while grounding itself in authenticity and joy.
It would be interesting to learn how she created her own double-wall stainless steel bowl with a silicone base that gripped the floor. How does one go from idea to manufacturing? Where did she get the capital? Does she have well-moneyed investors and backers?
The Philippine government has introduced the Public Health Emergency Benefits and Allowances to honor those who were at the forefront of the pandemic.
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| https://mramc.in/philippines-health-workers-emergency-allowance/ |
The Philippines has always valued the dedication and sacrifices of its healthcare and frontline workers. During the COVID-19 pandemic, these individuals were at the forefront, taking risks to protect and care for others.
To recognize their service, the government has introduced the Public Health Emergency Benefits and Allowances (PHEBA) program. Managed by the Social Security System (SSS) and funded by the Department of Budget and Management (DBM), this initiative provides financial support to eligible health and non-health workers.
For 2025, the DBM has allocated ₱6.767 billion to cover allowances under this program. These benefits are aimed at those who served during the public health emergency, ensuring that their hard work and risk exposure do not go unnoticed.
In this guide, we’ll explain the Philippines Health Workers Emergency Allowance 2025—who qualifies, how much you can expect, and what makes this allowance important.
The Health Emergency Allowance was created to provide monetary assistance to workers who faced health risks while serving during the COVID-19 crisis. Unlike regular sickness or hazard benefits, PHEBA is specifically tied to risk exposure during a declared public health emergency.
This program doesn’t just act as financial relief—it’s a way of acknowledging the invaluable contributions of those who served in hospitals, clinics, and even support roles in health institutions. It’s a government initiative to make sure that both health and non-health workers know their efforts matter.
To qualify for the Philippines Health Workers Emergency Allowance 2025, workers must meet the following criteria:
- Must be a resident of the Philippines.
- Must be a health or non-health worker who served during the public health emergency.
- Must have been on active duty during the COVID-19 pandemic.
- Should have suffered from exposure, illness, or injury linked to the emergency period.
Both public and private sector workers are covered. This ensures that not only government hospital staff but also private healthcare providers and support staff are included in the program.
The DBM released ₱6.767 billion to ensure that all qualified beneficiaries receive their allowances. The money comes from the Strengthening Assistance for Government Infrastructure and Social Programs fund. The Department of Health (DOH) has been tasked with managing the distribution, ensuring the benefits reach workers quickly and efficiently.
By securing a large budget, the government shows its commitment to honoring frontline workers’ sacrifices. While the amount may not fully make up for the hardships endured, it serves as a much-needed relief and recognition.
The Philippines Health Workers Emergency Allowance 2025 goes beyond financial support—it sends a strong message of gratitude. Health workers were not only battling a virus but also dealing with exhaustion, fear, and pressure. Having an allowance dedicated to their risk exposure gives them recognition for their extraordinary efforts.
The funds can help families cover daily expenses, medical costs, or other financial burdens left by the pandemic. For many, it’s also a reminder that their sacrifices have not been forgotten by the government or society at large.
More importantly, this program sets a precedent for future public health emergencies. It establishes that those on the frontlines deserve timely financial aid and protection when putting their lives on the line.
The Philippines Health Workers Emergency Allowance 2025 is more than just money—it’s a symbol of appreciation, recognition, and solidarity with the nation’s unsung heroes.
This program is no good unless the money is distributed.
During the pandemic the Philippines’ first-ever dance film festival was born. At first movies were screened over Zoom. Now the festival has slowly broken out into the real world.
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| https://lifestyleasia-onemega.com/arts-and-culture/how-one-dance-platform-broke-the-fifth-wall/ |
A few years ago, during the third edition of FIFTH WALL, an audience, including this author, gathered at Sine Pop theater to watch Happy Days Are Here Again (1974), a compilation film of production numbers from musicals of the Philippines’ golden age studios: Sampaguita Pictures, Premier Productions, and LVN Pictures. The film opened with “There’s No Business Like Show Business” as classic stars like Gloria Romero, Nida Blanca, and Eddie Gutierrez were hurled through the screen in black and white, transporting us to a nostalgic version of the ‘50s to ‘70s.
That was the first hybrid edition of FIFTH WALL, which was initially founded in 2020 as a pandemic-born virtual dance film festival. Since then, it has grown into a year-round cultural force determined to pull dance down from its pedestal and get audiences to recognize the joy of movement in everyday life. As FIFTH WALL enters its sixth year, moving past the “fifth” in its very name, it is set to break more barriers.
Lifestyle Asia talked to FIFTH WALL founder Madge Reyes about evolution, accessibility, and what happens when you outgrow your own revolutionary concept.
“With FIFTH WALL, each edition has been different from the other, and that’s kind of how it’s just going to go,” Madge explains. “It changes talaga, and that’s how we like it.”
“I’ve always wanted to mention this in an interview,” Madge shares. The story she’s been wanting to tell starts with “Little Madge,” first as a dance student at Halili Cruz School of Dance, then a scholar of STEPS Dance Studio, and then the Cultural Center of the Philippines (CCP) Dance School. She would commute from northern Quezon City to classes at the dance studios in Makati and then the CCP Complex. “During that time I’m in transit, I would put on my headphones, my iPod, listen to music, and choreograph a sequence. Not just a dance. It would be a music video in my head.”
“I think that became my practice, even before going into the studio to actually, physically dance,” she reflects. While today, when sitting in a car means “answering emails or whatnot” on our phones, back then, Madge remembers: “I had all this time to daydream.”
The same year she entered the University of the Philippines (UP) Diliman as a fine arts major, Madge also became a company member of Ballet Philippines (BP). While juggling student and professional life, soon becoming a soloist with BP, she found herself drawn to everything happening around performance, beyond just the performance itself. It was around the time the digital channel NOWNESS was founded, and Madge discovered experimental dance and fashion films that opened her eyes to possibilities beyond the stage.
Then came the pivot that would reshape everything: an injury during a performance. “That kind of really put a pause on my career, which afforded me time to finish my undergrad,” she shares, looking at the positive side to it after all these years. “It happened to be my last year in school, my thesis year, and my thesis was a dance film.”
After graduation, she took a break from dancing, diving into installations and experimental short films. In 2018, she received a grant from the Asian Cultural Council for a New York fellowship focusing on dance film practices. There, Madge studied not just the technical aspects but also “how work was presented” in a city where “anything basically goes.”
After half a year in New York, she returned to Manila, where she found herself grounded by lockdowns in the middle of a pandemic, a great contrast from the freedom of exploration she had been experiencing on the other side of the world.
“I was having a major reaction to the whole pandemic,” Madge shares, “and the situation of performing arts at the time.”
And then, FIFTH WALL was born.
The first two editions of FIFTH WALL started out as a dance film festival. “That was our introduction to the world.” The programming involved film screenings, talks, and workshops, all conducted online. “We even threw a party with UNKNWN, on Zoom,” Madge recalls with a laugh. There was a mix of curated international films, as well as a competition component.
While FIFTH WALL is known as the Philippines’ first-ever dance film festival, it is a practice that has existed for decades in different parts of the world. In fact, with the virtual format, the initial audience of FIFTH WALL was mostly international, as Madge and her team slowly built local appreciation for the medium of dance film.
“I really don’t know why people said yes to me,” Madge admits about those early submissions and collaborations, including the short dance films Elementos, co-produced with STEPS and Tarzeer Pictures, and Serpentine, in collaboration with Sassa Jimenez. “I think we were all in this collective bubble. Everyone was willing to take a chance. It was a good time to launch something as bold as this.”
The digital foundation was set. As the world emerged out of the pandemic, a new test arose: bringing movement back into a physical space, while still breaking ground.
For their first hybrid year, FIFTH WALL held its opening at the Samsung Performing Arts Theater with a screening of Happy Days Are Here Again (1974) and a live performance featuring STEPS Dance Project and the AMP Big Band. The festival was scattered across multiple venues, each serving a different purpose in the larger choreography. At Tarzeer Pictures and the Samsung Performing Arts Theater, there were photography exhibits that explored movement.
At the boutique movie house Sine Pop in Quezon City, a movie poster exhibit was mounted in collaboration with the gallery Archivo 1984, while legendary film curator Teddy Co conducted educational tours. Screenings were also held at the UP Fine Arts Gallery, alongside installations that played with textures and productions.
In their fourth edition, FIFTH WALL continued to work with international cultural institutions. They opened with a 3D screening of Pina, the Wim Wenders documentary about German dancer and choreographer Pina Bausch. The following edition saw FIFTH WALL taking over the historic home of Doña Sisang, the matriarch of LVN Pictures. They also expanded their offerings by bringing in the innovative British creative studio Alexander Whitley Dance Company, and performance artists from Berlin and Marseille.
These hybrid years proved that FIFTH WALL could inhabit space while maintaining its core mission. The next question became: what if the festival grew beyond its initial concept, its initial timeframe, altogether?
The transformation from annual festival to year-round cultural force began with what Madge calls simply “a crazy idea” at the annual Art Fair Philippines in 2023. They were invited by the event organizers to participate in their incubator series for non-galleries.
Every year the festival is different and continues to grow. And it all started during the pandemic over Zoom.
