A Filipino genre that will never die? Mark Reyes and Suzette Doctolero on ‘Fantaserye’ and ‘Telefantasya’

Screenwriter Suzette Doctolero, whose works include Encantadia, Amaya and the 2024 historical drama Pulang Araw, says that fantasy shows emerged as a response to the dominance of Latin American soap operas in the Philippine entertainment industry.  She posits that this genre offered a necessary shift in storytelling. By breaking away from formulaic narratives shaped by foreign influences, it was able to carve out space for homegrown tales.

“There were those who questioned their value. Back then, the local landscape was dominated by Latin soap operas filled with familiar tropes: rich house, poor house and the like,” says Doctolero. 

“Filipino networks like ABS-CBN and GMA were deeply influenced by these imported formats, which shaped much of early primetime programming. The rise of fantaserye felt like a threat to that formula, but for creatives who worked behind the scenes, it became their very bread and butter.” 

As a writer, Doctolero notes that fantasy concepts don’t always come with the promise of success. She recalls receiving harsh feedback during the early days of Encantadia, but says she stood her ground.

"Personally, I’ve been writing for a long time now, so I’m familiar with the techniques, the character traits and how to hook an audience, more or less. But that’s never a guarantee that a show will rate well or avoid flopping. That still depends on the audience. At the very least, though, as a writer, I have a sense of what might work and what probably won’t.

She highlights the importance of creating characters who, while rooted in fantasy, reflect emotions and struggles that resonate with real-world audiences.

“So with fantaserye, I made sure to build stories people could relate to. For example, in Encantadia, Pirena’s resentment over not being seen as fit to be queen—I knew someone, somewhere, would feel a connection to that,” she says. 

“I believe we have a responsibility, as creators, to teach or guide in some way. At least for me, it’s something I carry in my heart. That’s why most of the work I do tends to revolve around culture, history and fantasy—but always with values at the core. I think writers have a duty to offer clarity, to bring new ideas into the conversation.”

Doctolero, who has had her fair share of setbacks and the occasional remark from naysayers, reflects on what shaped her works.

“I think that’s what defines me: the introspection I went through. I revisited the values that mattered to me and built my themes around them. Take female empowerment, for example. In the early days of Encantadia, someone once said, ‘That’s not how Encantadia should be, diwatas don’t wield swords’. I received harsh criticism even before the work was completed. But I didn’t let it define me, or the stories I wanted to tell.”

See also: Netflix’s war drama ‘Pulang Araw’: Musings of cast Barbie Forteza, David Licauco, and more

Arguably, the main criticism of Filipino fictional shows is that they often fall short in depth when measured against series produced abroad. Reyes challenges this view, saying that such criticism is hardly surprising as it has always existed across other genres.

“I beg to disagree with the idea that the fantasy genre in our country lacks depth,” he says. “We have had stories that explore politics and social issues such as slavery and racism. For instance, Voltes V may be science fiction, but its central plot dealt with racial discrimination between horned and non-horned Boazanians.” 

Reyes adds that Encantadia was also able to cover real-life struggles including political conquest, abuse of power and betrayal within families. “All forms of entertainment are criticised in similar ways. That is nothing new. However, I believe Filipino creators are more than capable of tackling serious, complex topics, much like what we see in international productions,” he explains. 

See more: Meet Zig Dulay, the mind behind 'Maria Clara at Ibarra'

Reyes rallies behind Filipino viewers who are ready to move beyond conventional storytelling and embrace content that is more “cerebral” in nature, particularly now that online streaming platforms have broadened their viewing experience.

“Personally, I am keen to explore more layered narratives. There is this long-standing belief that the average viewer might not be ready for that kind of content. So, even if we want to go deeper, we are sometimes asked to stay within a certain boundary,” he explains. 

“But I truly think that Filipino audiences, especially now that they are exposed to streaming platforms like Netflix, are ready. The problem is, we are not always given the chance to prove it,” he stresses. 

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A committed artist must contend with budgetary realities, and Doctolero acknowledges that, though discussing finances is often taboo in Filipino culture, it is a major hurdle in creating good production. She recalls a time when she had to adjust a character’s storyline simply because the budget could not accommodate certain scenes or effects. 

“It was challenging, but in a good way because we had to come up with alternatives that matched the range of the writer’s imagination while still fitting within the production’s budget,” she says. 

“Sometimes, for example, the script would call for thousands of warriors clashing in battle, but in reality, we couldn’t afford to show such vast numbers due to the high costs involved. The audiences were quite forgiving, they were able to supply within themselves what the show lacks,” she explains. 

Doctolero reveals that she has long hoped to see the Filipino teleserye industry flourish with the backing of government support. “Take [South] Korea, for instance. It was the government that poured resources into its media industry. In the Philippines, however, this may not happen without government backing, because no businessman will invest purely for the sake of Filipino culture–it’s all business at the end of the day.”

Related: Filmmaker Zig Dulay is bringing Filipino soul to the global screen with depth and heart

Reyes also recognises funding as an essential element in the arts. For productions featuring grand visions like kingdoms or otherworldly realms, the availability of investment can make all the difference.

“These shows are really expensive, so sometimes we have to work within a set budget. That’s one of the main constraints that limits how much storytelling we can do,” he says. “Unlike [South] Korea, whose market is global, we haven’t reached the level yet where we can produce shows for a worldwide audience. Once that happens, and our market expands beyond the Philippines, then we’ll be able to allocate bigger budgets and work on more ambitious projects.” 

Reyes emphasises that, ultimately, what matters most is that the writers and creators of fictional series stay courageous and dedicated to developing fresh, meaningful stories that truly connect with the audience.

“Budget does hinder the storytelling of a fantasy series, but if the writing is strong enough, I don’t think large sets or CGI matter as much. Ultimately, it’s the quality of the writing that counts. We need to be braver and move beyond repeating the same storylines, despite the criticism we receive.”

As long as there is space for makers of the fantaserye genre, Doctolero says she will continue to embrace fresh challenges out of her deep passion for the craft. “I suppose I will keep writing as long as there are opportunities in the industry and on future platforms,” she says. 

The screenwriter adds that she has always been grateful for those who supported her ideas from the very beginning. “I don’t want to disappoint people who believe in me, so I keep going. Whenever I start new projects, I see it as a personal challenge to offer something I have not done before,” she says, adding that she refuses to ‘shortchange’ viewers nor leave them feeling they gained nothing from what they watched. 

“I believe in meaningful viewing, mga kuwentong may saysay [stories with sense], as what director Zig Dulay and I call them, while entertaining, they also nourish the minds of our audiences.” 

Read also: Filmmaker Corinna Vistan on ‘the secret ingredient’ to creating great stories

Reyes believes that the Filipino fantasy genre will continue to thrive. Its very ethos: the creation of another world that transports audiences away from their everyday lives through extraordinary settings, is a gift in itself. 

“Don’t lose hope, everyone in the industry wants to give Filipinos the best. There’s just so much challenge for us in terms of budget, economics and situation. We try to give you the best,” he says. 

As long as Filipinos continue to support this form of storytelling, Reyes believes producers will feel more confident in pursuing bolder projects. 

“When the audience shows up and the support is there, I don't think the producers will be afraid to do something expensive, because the most expensive genre to do is fantasy. So as long as we have their support and they give us a chance, then we will keep on doing what we're doing,” he says.

“This is something that I love to do,  it's my wheelhouse. So I think I will keep on doing something like this while I'm still able to direct and to create. As long as there are crazy people like me with crazy ideas, then the genre will live on.”

He asserts that now more than ever, Filipino audiences are capable of appreciating more sophisticated narratives and should not be underestimated. 

“We must go beyond the ‘Pinoy Masa Story Telling’ and not belittle the Filipino, that they won’t understand or appreciate more elevated storytelling and subject matters,” he concludes. 

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