Potato Corner is bringing more fun to snacking with the launch of Baby Poco, a collectible blind box plushie series that turns every purchase into an exciting surprise.
Each Baby Poco Blind Box contains one of five mega-dorable plushie designs — Happy Poco, Excited Poco, Angry Poco, Silly Poco, and Surprise Poco — each capturing a fun and expressive side of everyone’s favorite mascot. From cheerful and energetic to playful and quirky, every Baby Poco brings its own vibe, making it even more exciting for fans to collect them all.
But here’s the ultimate twist: hidden among the boxes is a rare Golden Poco. Only 100 Golden Pocos will be randomly distributed nationwide, and finding one gives lucky customers a chance to win 365 Days of FREE Large Fries from Potato Corner — one free Large Fries every day for a whole year!
Starting this April, customers can purchase the Baby Poco Blind Box at participating Potato Corner stores for only P149 each with purchase of Mega, Giga, or Tera Fries.
Whether you’re a collector, a fries lover, or just in it for the thrill of the surprise, the Baby Poco Blind Box brings a whole new level of fun to your snack run.
Which Baby Poco are you? Head to any Potato Corner store and start the hunt—unbox yours now and see if you score the Golden Poco!
For more information on the Baby Poco Blind Box with a Raffle, visit www.potatocorner.com or follow Potato Corner on its official social media channels.
Scene Change is doing really groundbreaking work in theater, creating productions in alternative theater spaces to keep the tone intimate and compact. This approach allows itself to work on plays where the spectacle and theatricality are found in the nuances that thrive in such close proximity. Last year’s 3 Upuan does exactly this and Guelan Varela-Luarca does it again, directing Ang Linangan, a translation of The Farm by New York-based playwright Davis Alianiello. The production transforms the Joselito and Olivia Campos Interactive Room at the third floor of Ateneo’s Areté into a space seating roughly 30 to 40 people. The stage is just one tiny corner of the room with only a table, two chairs arranged to resemble a car’s driver and passenger side, along with a backdrop of photos with red thread, resembling that of detective boards in a police movie or series. With the ceiling removed to expose the plumbing above, the design is simple yet filled with texture as we watch two actors, playing siblings, skirt around difficult subject matters.
Brian Sy and J-mee Katanyag play siblings Tyler and Sasha. The play begins in the middle of winter as Sasha picks up Tyler in her car. Tyler has been away for a long time in a place called “Linangan,” which we realise, as they converse, is a cult. Tyler appears to be the troubled sibling, lost and without direction, while Sasha is the older, more serious type who seemingly has her life together. Running for approximately 90 to 100 minutes in a single act without intermission, the majority of this is just the two siblings catching up. They are avoiding difficult subject matters (but they do get into it), and being exactly like brother and sister.
PHOTO CREDIT: MAY CELESTE
At its heart, the play is simply just two people talking, yet the dramatic situation of the play is so interesting that you are caught up in the story. Sy and Katanyag manage to fully embody the sibling relationship so fully that I was brought back to my own exchanges with my own siblings. The shorthand way by which we speak, having a history together so that certain talking points can go by so quickly. There’s a lot of love and fear on that stage, and the two leads deliver the emotional weight of this play’s story in such a satisfactory way.
PHOTO CREDIT: MAY CELESTE
They are completely alone in that car, vulnerable and isolated and it is so interesting to watch because what has happened to Tyler is not something we encounter all the time. Sasha serves as our entry point into the narrative: do we react the way she does? How kind should we be? How badly do we want to call our sibling “stupid” for doing something so silly? But you know you can’t because there’s a deep emptiness there if your sibling thought joining a cult would be the best way to fill it.
PHOTO CREDIT: MAY CELESTE
The play is never loud or grand and Varela-Luarca is excellent at amplifying the little things that make this play pop. First, the way he had directed his actors to mine the scene for all its worth emotionally and theatrically. During their conversation, while Sasha is driving, Tyler would get up and stretch and walk around the car, yet we know he is still in it, telling his story, but as the audience we know he is finally relaxing. He is finally feeling comfortable and safe being alone in this space with his sister. The table and the chair that approximates the front half of the car suddenly becomes the whole stage; Varela-Luarca understands that when two people are on a drive and it’s just them, it’s a whole entire world there with just the two of them. D Cortezano’s lighting design punctuates these shifts, marking transitions as the characters go into flashbacks or imagined moments, while the symbolic yet grounded stage design further anchors the characters’ reality.
PHOTO CREDIT: MAY CELESTE
Even the sound design, when the two actors mime putting on their seatbelts, the recorded clicking of the buckle is timed perfectly with the actor’s movements. The first fifteen minutes transports you from the Joselito and Olivia Campos Interactive Room and into Tyler and Sasha’s private world, and the rest of the time, you are just transfixed in that moment with them. The play is dense, heady, and complex yet it’s also funny, touching and moving. While Sy is always a reliable actor, Katanyag is a total powerhouse, delivering a bravura performance that is unforgettable. In her, I saw flashes of myself, my sister, in other moments, and in some snippets of dialogue, she is my two older brothers. She just captures it.
I’m glad someone is doing these plays that are left-of-center and are creating full Filipino translations of Western plays that don’t adapt the material; it just makes it accessible to a wider audience. There are moments when I forgot that these characters weren’t originally written as Filipino at all. The naturalism of the language confused me, but they could very much well have been our own. This is the universality of a great theatrical production.
I am so excited to see what else Scene Change has in store for us this year.
My Rating: 5 Stars
Ang Linangan was an unforgettable study of sibling bonds that set a high bar for Philippine theater this year. Although the run concluded this past March, its impact remains. Support local, “left-of-center” theater by keeping Scene Change on your radar for the rest of the 2026 season.
Lights, cameras, couture—The Devil Wears Prada 2 has officially stepped back into the spotlight, and its grand return is nothing short of spectacular. Kicking off its international tour in Mexico City, the highly anticipated sequel made a striking impression with an unforgettable celebration of film and fashion.
Mexico City Sets the Stage in Style
Meryl Streep and Anne Hathaway led the film’s global rollout at the iconic Museo Frida Kahlo, also known as Casa Azul. Surrounded by vibrant culture and history, the stars engaged in a lively Q&A session that thrilled fans and offered a glimpse into the story’s exciting next chapter.
The celebration continued at Museo Anahuacalli, where lucky attendees were treated to exclusive footage from the film. As the evening unfolded, a runway showcase took center stage, featuring archival creations from esteemed Mexican designers—an elegant nod to the film’s enduring influence on fashion.
It was a bold and stylish beginning, setting the tone for what’s to come.
From Mexico to the World
Following its successful kickoff, the global tour will travel to major cities including Tokyo, Seoul, and Shanghai. The journey will culminate in a world premiere in New York City, followed by a European debut in London—bringing the film’s signature glamour to audiences across the globe.
A Fashion Legacy Reimagined
Nearly twenty years after the original film became a cultural touchstone, the beloved characters return to the fast-paced world of fashion publishing. Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci reprise their iconic roles, stepping once again into the high-stakes environment of Runway Magazine.
Reuniting with director David Frankel and screenwriter Aline Brosh McKenna, the sequel blends sharp storytelling with the elegance and wit fans have long adored.
From the moment you take your seats at the IBG-KAL Theater in UP Diliman, you will be intrigued by the stage design for Ang Kaliitan ng Kasalukuyan. Aaron Misayah’s scene design features an impressively large white ramp that serves as a traverse stage, with the audience seated on opposite sides. One colleague described it as a skateboard ramp and my first impression was that of a water slide. Later, I’d realise that my first impression rang true but more on that later. At the very end of the stage are seats that were meant to resemble a waiting area in an airport. Some cast members are already seated, in costume, waiting, as the audience trickles in. Hanging above is a tiled platform that opens up to bring down certain set design elements like a door. The amount of stage elements were actually quite commendable except that as the play unfolds, there’s just too much that it starts to feel comical.
Dulaang UP Ang Kaliitan ng Kasalukuyan | Photo by Marga Cerbolles
Written and directed by Dulaang UP’s new artistic director, Palanca winner Arlo De Guzman, Ang Kaliitan ng Kasalukuyan explores the story about OFW experience. Lead by Sandino Martin (playing Bulan), an OFW working in Dubai and the son of two former OFWs. In the first act, Bulan returns home and is surrounded (maybe even suffocated) by the love of his family who hail him as a hero. They rely on him for his remittances to help the family build a home and a business. As Bulan interacts with family members and old friends in his hometown, he longs to be able to return for good. But in the second act, he returns to Dubai and struggles with the burden of responsibility. He does not want this life that was handed down to him by his parents, he wants to break free from the Filipino custom that the child must repay the sacrifice of the parents.
Dulaang UP Ang Kaliitan ng Kasalukuyan | Photo by Pia Suarez
There’s a whole lot of theater going on in Ang Kaliitan ng Kasalakuyan that both the play and performances are weighed down by all the stagecraft involved. The first act has a chorus, cast members all in white, narrating the story, providing the exposition before exiting and returning as other characters. This chorus does not return until the finale when they come back to moralize against Bulan’s own interrogation about his family obligations. There’s puppetry, a story told to Bulan as a child by his grandmother and the younger Bulan is portrayed as a puppet.
Dulaang UP Ang Kaliitan ng Kasalukuyan | Photo by Marga Cerbolles
Later, in act two, another puppet appears, a sort of like “Jiminy Cricket” character in Disney’s “Pinocchio,” who is about a foot and a half high and sits on Bulan’s shoulder and gives him someone to vent and rant to. As Bulan is picked up from the airport by his father, the cast members go on a ride on chairs meant to look like a car but a remote-control car precedes them. It’s a theatrical element that is used for only two minutes and does nothing really but distract us from the conversation Bulan has with his family. Later, a huge puppet made, the size of a truck maybe, with arms that grasps Bulan as a symbol of the Middle East’s hold over him. And the water slide design of the stage? At some point, water begins to flow, turning the stage into a little creek.
Also, it’s sort of a musical with three or four songs sung in the first act and then no more in the second act until the finale.
Aside from the remote-control car, all the theatrical devices are actually quite impressive if they were not mashed up together in one play that never really feels cohesive. A lot of the inner world of the characters are said out loud, giving nothing for the audience to stew on. The play, as written, feels so literal that the theatrical devices feel utilized to make the play seem more like a play than a weekend television movie. It’s because of how on-the-nose the writing is that I can’t really comment on the performances because there was no real subtext for the actors to really play out. The way the play was written, what you see and hear is exactly what you get. And these are OFW stories that are familiar to us; we have a lot of this already in film and television and in theater. The big theatrical devices made the play seem bigger but not necessarily weightier or meatier.
Dulaang UP Ang Kaliitan ng Kasalukuyan | Photo by Pia Suarez
And all throughout the second act, we are presented with Bulan’s struggle. How his identity has been stripped away by family obligations, trapped in a foreign land that discriminates against him, away from home. Yet, the final song is a big, epic song that talks about how OFWs will continue to sacrifice their own happiness for their loved ones, for their country. These two ideological principles never feel settled by the play, and I left the IBG-KAL Theater a little perplexed rather than inspired.
My Rating: 2 Stars
While its run concluded in March, follow Dulaang UP‘s official social media channels to stay updated on future productions and the continued evolution of Philippine university theater.
This Holy Week, Robinsons Movieworld brings back one of cinema’s most legendary masterpieces as The Ten Commandments returns to theaters for its 70th anniversary. For a limited time only, audiences can experience Cecil B. DeMille’s iconic biblical epic on the big screen—exactly how it was meant to be seen.
Originally released in 1956, the film remains a powerful cornerstone of cinematic storytelling, known for its grand scale, groundbreaking visual effects, and deeply moving narrative.
A Story of Faith, Courage, and Redemption
Set against the sweeping backdrop of ancient Egypt, The Ten Commandments tells the extraordinary story of Moses, chronicling his journey from prince to prophet. With compelling performances and unforgettable scenes, the film vividly portrays the liberation of the Israelites and the enduring strength of faith.
Profound and inspiring, its message of hope and redemption continues to resonate across generations—making it a meaningful tradition during the Holy Week season.
Limited Screenings Nationwide
Running from April 1 to 4, 2026, this exclusive theatrical event will be available in select Robinsons Movieworld cinemas nationwide, including:
Robinsons Antipolo (open on Good Friday)
Robinsons La Union (open on Good Friday)
Robinsons Gapan
Robinsons Starmills
Robinsons Tuguegarao
Robinsons Galleria South
Robinsons Santiago
Robinsons Naga
Robinsons Ilocos
Robinsons Pangasinan
With state-of-the-art facilities and a comfortable viewing environment, Robinsons Movieworld ensures a remarkable cinematic experience for every moviegoer.
A Meaningful Holy Week Experience
As Holy Week invites reflection and renewal, The Ten Commandments offers a deeply moving way to reconnect with timeless values. Whether revisiting a beloved classic or watching it for the first time, this limited screening promises a heartfelt and memorable experience.
Celebrate the season with a film that continues to inspire audiences around the world. Watch The Ten Commandments on the big screen and rediscover its enduring impact.
New Balance ignites the season with new colorways of the ABZORB 2000, dropping exclusively at Foot Locker. The launch is supported by a global campaign featuring global football sensation and New Balance athlete Endrick, spotlighting the sneaker’s cultural resonance, street style and progressive vis tech design.
Together, New Balance and Foot Locker continue to shape youth culture and sneaker trends across the globe. Shot on a street corner in Madrid with Endrick, the campaign captures the energy of a local hangout and moments of community connection. The ABZORB 2000 thrives in this space where different generations converge, and the streets comes alive with energy.
Endrick is one of global football’s brightest rising stars. At just 19, he made history as the youngest player to debut and score for Palmeiras as well as represent Brazil in nearly six decades. His explosive pace, fearless left-footed play and standout performances on the international stage have cemented his status as a future icon. Endrick’s relationship with New Balance is built on shared values – authenticity, individuality and community. His effortless style and global influence make him the perfect face for the ABZORB 2000 campaign where sport meets culture. With global football set to take center stage in 2026, the timing of this campaign marks a powerful moment for sport, style and youth culture. As he leads the next generation of athletes, Endrick brings real energy, originality and warmth, reflecting the bold spirit of New Balance and the spaces that inspire it.
Originally introduced in 1993, ABZORB cushioning revolutionized running technology and has since become a signature feature of several fan favorite lifestyle models. The ABZORB 2000 transforms this functional feature into a fresh visual design statement standing out amongst other New Balance silhouettes, delivering exceptional comfort while honoring New Balance’s running heritage through a modern lens. Celebrating progressive design and visible tech, the ABZORB 2000 features a minimalist upper, futuristic detailing, and a full-length sole unit combining ABZORB cushioning with ABZORB SBS pods, a nod to 2000s running classics.
The ABZORB 2000 will be available in Neptune Grey/Blue Oyster and in Timberwolf/Double Bubble launching exclusively at Foot Locker globally and online on Monday, February 16, for a suggested retail price of $170 USD. Complete the look with head-to-toe styling, pairing the ABZORB 2000 with the New Balance Color Blocked Woven Jacket (suggested retail price: $100 USD) and Color Blocked Woven Pant (suggested retail price: $80) in Blue Oyster.
Directed by Luisito Lagdameo Ignacio and written by Dennis C. Evangelista, Desperada is a film that feels more focused with melodrama than it is about fleshing out its characters and capturing striking images for impact rather than illumination. While the film tackles rather complex social issues, it often relies on transgressiveness to get a reaction rather than to subvert our biases.
The film opens in a cemetery, where Brenda (Robb Guinto) wanders naked through the darkness, confused and lost. She is found by a woman (played by Sue Prado) who runs a shelter and invites Brenda to stay until she recovers. There, she meets others on the fringes of society, each grappling with their own psychosis and disorders. While this setting offers ample opportunity to talk about how the system has failed the most vulnerable, yet the film chooses to zero in on their fleeting joys and breakdowns. Brenda soon becomes the object of another ward, Hesus (Mhack Morales) while later, Brenda sees a childhood friend and her ex-boyfriend, Lucio (Yasser Marta), who eventually joins them at the shelter. But Lucio is a chaotic force that tests Brenda’s resolve to heal. He’s an addict and is constantly thinking about sex and his presence breaks the relative harmony of the shelter.
Desperada
While there’s plenty of opportunity to get real character work done in this film, Desperada doesn’t do any of the hard work required to flesh out the wards’ dysfunctions or psychoses. Funnily enough, the three characters who enter the shelter – Brenda, Lucio, and a character played by Jorge Guda – arrive broken, screaming, or listless, only to become instantly lucid after a single bath. Hesus is quick to fall in love with Brenda and maintains this affection throughout the film though the movie never really gives us any indication what it is in Brenda that caught his attention.
Brenda’s journey is the only one among the wards that resembles an arc, yet it is so rushed that it lacks the necessary narrative beats to feel fully realized. At the beginning, we her brought into the shelter, plagued by panic attacks; we see Hesus shower her with affection, and then the arrival of Lucio. Her physical desires are manifested, only for her to pull away from Lucio’s destructive force. Eventually, she finds her mother, who has been literally caged like an animal in the slums. She resolves her past quickly with one interaction from her one-dimensionally evil father but yet she can’t seem to let Lucio go. And while all these narrative beats are shown, it’s the steps that happen in-between that would ground this story but all we get is the highlight reel.
Desperada
Aside from Brenda, it is the relationship between Sue Prado’s character and her lover (played by Mercedes Cabral) that really feels the most real. They are given moments to show their character’s good moments and weak moments. They get to have quiet moments to discuss the challenges they face running the shelter out of the kindness of their hearts, with Cabral’s character playing a former nun and Prado an orphan. Because most of their scenes unfod without explosive drama, we are able to truly see their humanity rather than just a mere spectacle of emotions.
At times, Robb Guinto and Mhack Morales have moments when they clearly articulate their character’s reality. Outside of the more seasoned Prado and Cabral, Guinto and Morales show a vulnerability, especially in their less dramatic scenes. In contrast, Yasser Marta and Jorge Guda are always performing at a constant “level 10,” almost at the level of camp. Guinto and Morales show better range and I feel that if the material was more nuanced, more fleshed-out, they would be able to give more in future roles.
Desperada
Despite the screenplay’s weaknesses, the film is rather gorgeous to look at. Cinematographer TM Malones delivers gorgeous shots, especially when playing with darkness. He has a few cemetery scenes, which includes Guinto’s striking opening naked scene, that are visually stunning and the way he lights all of Brenda’s mother caged in a shanty creates an emotional effect which elevates the material away from camp.
Ultimately, Desperada is meant more to be more shocking and entertaining than it is groundbreaking. This is evident with the amount of sex scenes that feel unnecessary, the reliance on coarse language, and the way it uses a queer character for comedy. Lucky that Guinto is an arresting protagonist and Prado and Cabral give the film a grounding element that shows the film has way more potential that it allowed itself to explore.
My Rating: 2 Stars
Today marks the last day of Sinag Maynila Festival. While Desperada remains a provocative addition to Luisito Lagdameo Ignacio’s filmography, it stands as a testament to the festival’s commitment to showcasing bold, local cinema that isn’t afraid to push boundaries. Check the official Sinag Maynila social media pages for today’s final screening schedules and theater locations.
Since opening its doors on March 13, 2026 at 52 Tras Street, Tanjong Pagar, Mary Grace Café’s first-ever international branch has drawn a steady, eager stream of guests as Filipinos in Singapore find a comforting taste of home and locals embrace the brand’s signature warmth and flavors for the first time.
The opening was met with an immediate and enthusiastic reception, reflecting its broad appeal across diverse communities. Filipinos expressed a surge of Pinoy pride, thrilled that a beloved brand they grew up with—or frequently visited in Manila—was now easily accessible. This palpable excitement was evident on opening day, with queues of guests lining up for take-away baked goods.
Beyond the diaspora, Singaporeans demonstrated a genuine curiosity, first observed during the brand’s successful web-based pop-ups in September 2025. International residents also showed significant interest, readily exploring the café.
This warm welcome underscores how Mary Grace’s “Goodness of Home,” built on cherished traditions and authentic flavors, has earned its place on the global stage. “I have always believed that what we serve is more than food. It is the feeling of being taken cared of, of being home,” said Mary Grace Dimacali, Founder, President, and CEO of Mary Grace Foods Inc. “When I started Mary Grace 30 years ago, I was simply trying to share what I knew best—good ingredients, heartfelt cooking, and a warm table for everyone. It fills my heart that we have brought this feeling to a whole new community in Singapore.”
Extending the “Goodness of Home” Beyond the Philippines
From the very beginning, Mary Grace Café was an extension of home—a place where the smell of freshly baked ensaymada meant comfort, where a warm cup of hot chocolate meant belonging, and where every corner table held a story worth telling.
The decision to plant Mary Grace’s first international location in Singapore was both strategic and sentimental. Singapore is home to a vibrant and thriving Filipino community—professionals, families, and creatives who have built their lives in the Lion City while carrying the Philippines close to their hearts. At the same time, Singapore’s cosmopolitan, food-forward culture and its appetite for authentic, quality-driven dining experiences made it the ideal first frontier for the brand.
The location at Tanjong Pagar—in the heart of one of Singapore’s most beloved heritage neighborhoods—reflects this intention: to be accessible, to be welcoming, and to earn a place not just among Filipinos abroad, but among Singaporeans and international guests discovering Filipino warmth.
“We wanted every detail in Singapore to feel like Mary Grace,” said Chiara Dimacali-Hugo, Executive Director of Mary Grace International. “My mother built this brand with her deep belief in what a home should feel like. It is our family’s privilege to carry that forward into Singapore, and to make sure that every single guest who walks through that door—whether they are a Tita who grew up eating our ensaymada in Manila, or a Singaporean who has never heard of us before—feels exactly the same thing: that they are welcome, that they are cared for, and that they are home.”
Unveiling the Limited-Edition Pandan Coconut Cake
In honor of the international expansion, Mary Grace Café introduced a limited-edition Pandan Coconut Cake, available exclusively at Mary Grace locations across the Philippines. Inspired by the flavors of Singapore, this specialty product is a fragrant pandan almond cake with toasted coconut white chocolate crunch, silky coconut crémeux, and light-as-a-cloud whipped pandan ganache—crafted together for a cake that’s light and indulgent at once.
What’s Next for Mary Grace Café
The Singapore opening marks a significant milestone, yet it is truly just the beginning. As Mary Grace embarks on its next decade, the priority for this first international outpost is to uphold the brand’s renowned quality and consistency, mirroring its esteemed reputation in the Philippines. The vision extends to cultivating a deep connection within Singapore, striving to expand the Mary Grace customer base and establish the café as a cherished “home” for everyone.
Future plans include thoughtfully expanding the menu with beloved Filipino favorites from Manila and introducing innovative Singapore-exclusive creations, with aspirations for additional café branches and kiosks across the island.
While the potential for broader international expansion remains a long-term aspiration, for now, nurturing the Singapore café to thrive amidst the dynamic F&B landscape is paramount, ensuring it continues to bring the “Goodness of Home” and its unique blend of Filipino warmth and quality to all who experience its charm.
Arriving with a striking emotional punch, The Flowers of Evil is set to premiere on Disney+ on April 9, bringing a chilling live-action adaptation of Shūzō Oshimi’s celebrated manga to global audiences. Dark, provocative, and deeply psychological, the series explores the fragile boundaries between curiosity, shame, and control.
With Keita Meguro (Red Blue) and Shuho Takase (Truck Girl) leading the adaptation, and directors Young Paul (WOWOW I, KILL) and Noboru Iguchi (Aku no Hana) at the helm, the series promises a visually compelling and emotionally charged experience.
When One Impulse Sparks a Downward Spiral
In a quiet town where routine defines everyday life, high school student Takao Kasuga turns to literature for escape. Inspired by the works of Baudelaire, he dreams of something more—particularly the attention of his admired classmate, Nanako Saeki.
But everything shifts in an instant.
Caught in an embarrassing and troubling act involving Saeki’s gym clothes, Takao becomes the target of Sawa Nakamura, a classmate who thrives on pushing boundaries. Rather than exposing him, she binds him to her through manipulation and blackmail, dragging him into a series of increasingly reckless decisions.
As guilt tightens its grip and fear begins to consume him, Takao finds himself trapped in a situation that feels impossible to escape—building toward a tense and explosive climax at a local town festival.
Performances That Capture Emotional Turmoil
Fuku Suzuki (Marumo no Okite) takes on the role of Takao Kasuga, portraying a teenager caught between innocence and inner conflict. Alongside him, Ano (Oshi no Ko) delivers a chilling performance as Nakamura, whose unsettling presence fuels the story’s tension.
Their on-screen dynamic brings depth and authenticity to a narrative that thrives on emotional extremes.
From Cult Manga to Captivating Live Action
Originally penned by Shūzō Oshimi, The Flowers of Evil earned widespread recognition for its fearless storytelling and raw portrayal of adolescence. This live-action version preserves the manga’s unsettling tone while reimagining it with a cinematic edge that heightens its emotional impact.
Produced by TV Tokyo and C&I Entertainment, the series highlights the growing influence of Japanese dramas on the global stage.
Expanding Disney+’s Japanese Content Library
With its latest addition, Disney+ continues to strengthen its lineup of compelling Japanese series. Viewers can also enjoy titles such as:
Gannibal – A suspense-filled mystery set in a secluded village
Land of Tanabata – A unique story blending humor and supernatural elements
My Family – A tense and emotional tale of a father’s desperate mission
Don’t Miss the Premiere
Intense, unsettling, and undeniably compelling, The Flowers of Evil is a series that lingers long after the credits roll.
Stream it starting April 9, exclusively on Disney+.
As a global style and music icon known for her understated elegance and trend-shaping influence, Rosé brings a distinct cultural weight to the revived PUMA H-Street. She turns every step into a statement, and with the PUMA H-Street, she does it effortlessly.
As the new face of the iconic silhouette, Rosé reimagines a track-born classic for today’s streets, transforming its late-90s racing roots into something fresh, fluid, and undeniably modern. Lightweight, low-profile, and built for movement, the H-Street becomes the foundation of her everyday style, seamlessly shifting from laid-back moments to bold, fashion-forward looks.
Taking the H-Street from archival design to a streetwear essential, Rosé showcases how the sneaker’s race-inspired construction becomes a canvas for versatility. Available in Poison Pink-PUMA Silver, Fizzy Green-PUMA Silver, and PUMA Black-PUMA Silver colorways, the H-Street stands out with its stripped-back build, sleek proportions, and barely-there feel, making it the perfect foundation for bold, playful, and effortlessly cool looks.
From Track Roots to a Modern-Day Streetwear Essential
PUMA’s H-Street redefined for modern streetwear
Rooted in late-90s innovation, the H-Street traces its lineage to PUMA’s Harambee racing spike, engineered for elite sprinting performance with a focus on speed and minimalism. Today, that same DNA translates into a sneaker that feels just as relevant on the streets.
Rosé brings this evolution to life, proving that the H-Street is more than an homage to PUMA’s legacy. It’s a fashion-forward silhouette that bridges past and present. Whether she’s heading out for a coffee run, dressing up for a casual meetup, or embracing playful suburban moments, the sneaker adapts effortlessly, turning everyday routines into style statements.
Lightweight and Versatile Design
Light on your feet, strong on style with PUMA’s H-Street
The original Harambee silhouette earned recognition for its sleek design and lightweight comfort—qualities that continue to define the modern H-Street. With the sneaker reimagined for today’s street style, it honors PUMA’s track heritage while evolving into a street-ready essential.
When worn, the H-Street feels almost effortless. Light, low, and close to the ground, as if the sneaker moves with you. Its breathable mesh upper gives a soft, flexible fit that adapts quickly to the foot, while the slim sole keeps every step grounded yet agile. There’s an immediate sense of ease the moment you put it on: no heaviness, no bulk, just a clean, streamlined feel that works for long walks, quick city commutes, or full-day wear without distraction.
For Rosé, this makes the sneaker ideal for fashion experimentation. Its signature T-shaped toe box, streamlined shape, and bold branding create a distinct profile that stands out across different looks. From daily commutes to social outings and even styled campaign moments, she demonstrates how a performance-rooted sneaker can double as a standout fashion piece without compromising comfort or mobility.
A Canvas for Personal Style
From speed to style, PUMA’s H-Street has it all
At the same time, the H-Street’s nostalgic elements, including its race-ready silhouette and classic branding, are elevated through modern materials and Rosé’s styling sensibility. She brings personality and narrative into every look, moving effortlessly between grounded, everyday outfits and more imaginative, fashion-forward moments.
From suburban backyards to creative, surreal settings, the sneaker proves its range: versatile, lightweight, and expressive. It’s designed for those who move through different worlds in a single day: style-conscious commuters, comfort-driven casual dressers, and fashion-forward individuals who treat everyday outfits as self-expression.
In Rosé’s hands, the H-Street becomes a reintroduction of heritage through a contemporary lens. It honors its past while stepping confidently into the future, showing how a track-born icon can thrive in today’s street style culture.
Discover the H-Street now starting at PHP 5,500 at PUMA.com, PUMA flagship stores, and select resellers. Visit PUMA Philippines’ official website at ph.puma.com and follow its official website and social media pages on Facebook, Instagram, and TikTok to get the latest updates.
