Television in the Philippines

The TV in the Philippines was introduced in 1953 by the DZAQ-TV Channel 3 (now DWWX-TV Channel 2) of the High Broadcasting System (now ABS-CBN), owned by James Lindenberg and Antonio Quirino. Before that, experiments in TV broadcasts were being conducted by FEATI University students. In 1958, it was followed by Channel 9 of the DZXL-TV of the Chronicle Broadcasting Network, owned by Eugenio Lopez Sr. and Fernando Lopez. ABS and CBN would soon merge to form the current ABS-CBN. During that decade, live music programs, plays and canned programs from other countries were among the basic programming items of the Philippines TV stations. With the introduction in 1953, the Philippines was the first country in Southeast Asia and the second in Asia (after Japan) to introduce the TV broadcast.

In the 1960s, when the medium began to be popular, ABS-CBN made numerous innovations during the decade, such as the first provincial TV station in Cebu in 1961, the first use of video in 1964, the first broadcast on TV in color. in 1966, and the inauguration of Asia’s most advanced broadcasting center at the time, the ABS-CBN Broadcast Center in 1968. At that time, broadcasters began to produce more and more local content such as comedies, dramas, games, variety shows and news programs. It was also during the decade that other television stations appeared, such as DZBB-TV Channel 7 of the Republic Broadcasting System (now the GMA Network) and the DZTM-TV Channel 5 of the Associated Broadcasting Corporation (now 5 Network).

When martial law was declared in 1972, all broadcasters broadcasting news criticizing Mark’s manager, including ABS-CBN, were forcibly shut down, except for Channel 9 of the Kanlaon Broadcasting System (now RPN) of DZKB -TV. IBC and GMA, which were both closed by martial law, would reopen the shoon later, however, while two new networks were formed, BBC (Banahaw Broadcasting Corporation) and GTV (Government Television) which assumed the frequencies of Channel 2 and Channel 4 of ABS -CBN. The decade was marked by more local content and canned programs, as well as newscasts that were censored of any criticism of the government, since all TV stations were being used as propaganda machines by the Marcos dictatorship. RPN and IBC dominated the TV audience for most of the period.

Television censorship continued until 1983, when the GMA covered the funeral procession of Marcos’s political opponent, Benigno Aquino Jr. Later on, the GMA was able to become the only station to challenge Marcos’s fierce control over the media when transmitted A series of events that led to the Popular Power Revolution in 1986, which deposed Marcos, broke his 14 years of iron in the media and restored freedom of the press. In the following years, the abduction of the RPN and IBC government, the closing of the BBC and the return of ABS-CBN (with only Channel 2), which would regain the lead of the audience within two years after its re-launch. Channel 4, on the other hand, became PTV after being released from the clutches of the dictatorship in 1986 by rebel soldiers and former employees of ABS-CBN when it was then known as MBS. Among the most popular genres at the time were comedies, musical shows and Philippine-language newsreels. In particular, the re-launch of ABS-CBN’s “Star Network” in 1987, which brought many new local shows, has increased the popularity of the original shows and the appeal of TV to the masses.

The 1990s saw the emergence of drama as a genre on television, with the Philippines soap operas (called by the teleseryes) beginning to dominate the prime-time public toward the late 1990s, ABC’s return, the rise of the cable with the launch of SkyCable, a UHF television upswing, and the industry’s expansion into foreign markets beginning with the launch of ABS-CBN’s The Filipino Channel (TFC). The two dominant stations then, ABS-CBN and GMA, also diversified into several other media platforms, such as music recording and film production, and undertook a large regional expansion that saw the opening of many TV stations in several major cities and rural cities of the country.

Towards the new millennium, as the rivalry between ABS-CBN and GMA intensified, it saw the rise of popularity of Filipino soap operas, the successful reintroduction of game shows, the emergence of reality shows, and the growing popularity of soap operas with fantasy elements called the fantaseryes. The weekly sitcom, after years of declining audience numbers, was also ruled out in prime time programming for two networks. It was also during the decade that TV broadcasters, starting with ABS-CBN, began to switch to digital and high-definition television. ABC was also relaunched as TV5 at the end of the decade.

Most programming changes were maintained in the decade of 2010, with the only major changes in that decade being the switch to high definition and DTT broadcasting. The rivalry between ABS-CBN and the GMA continued despite a frustrated attempt by TV5 to challenge the two networks and the setbacks that the GMA has been facing in recent years.

According to a 2017 report from Kantar Media, there are more than 18.9 million households in the country that have a TV set, with the largest market being Mega Manila (Metro Manila, Laguna, Cavite, Rizal and Bulacan), with 5.3 million homes, 28% of the entire TV audience (the rest is divided between houses in Luzon areas outside of Mega Manila, and in Visayas and Mindanao). While most TV households continue to be in urban areas, the same Kantar report showed an increase in the number of rural households with 6.4 million TV households (42% of all TV households) to 9.1 million (48%). of households), 41% higher, faster than the 9% increase in the number of urban households, from 9 million (58% of TV residences) to 9.9 million (52% of TV residences).

Among the 18.9 million households, about 63% use analog TV, while the remaining 37% use digital TV (cable and DTT). Although the vast majority of families in rural and urban areas outside Mega Manila still use analog, the strong increase in the penetration of digital TV in Mega Manila and houses caused the penetration of analog TV decreased in recent years.


The first years (1946-1959)
James Lindenberg, an American engineer named “father of Filipino television,” began assembling transmitters and established the Bolinao Electronics Corporation (BEC) on June 13, 1946. It was named after his wife’s hometown of Bolinao, Pangasinan. Three years later, he was the first to apply for a license in the Philippine Congress to establish a television station. After one year, on June 14, 1950, his application was granted. Due to the scarcity of raw materials and the strict control of imports since 1948, he was forced to branch out to radio broadcast instead.

Lindenberg’s attempt to set up a television station was not wasted. Judge Antonio Quirino, the brother of then-Philippine president Elpidio Quirino, was trying to get a congressional permit that would allow him to set up a television station. Congress, however, denied him such permission for fear that he could use it as a propaganda vehicle for his brother who was running for a second term in the 1953 presidential election. Hence he bought 70 percent participation of BE’s shares, which enabled it to indirectly control the franchise. He then changed the name of BEC to High Broadcasting System (ABS), after the names of its new owners, Aleli and Judge Antonio Quirino. James Lindenberg, was still a partial owner, and served as general manager of the station.

Before the TV station was formally launched, it faced several obstacles. The Central Bank, for example, refused to grant bank credit to Judge Quirino of the bank, saying that the venture was very risky. For this reason, Judge Quirino asked for help from his friend Marvin Gray, whose family is a friend of David Sarnoff, who was then president of Radio Corporation of America (RCA). Through Gray’s intervention, Judge Quirino was able to obtain assistance from RCA.

Prior to the first broadcast, Judge Quirino began importing 120 television sets through the 60,000 peso loan he received from the owner of Joe’s Electric, which in turn became the first to be granted the right to sell handsets in the country.

Finally, on October 23, 1953, Judge Quirino marked the first official broadcast in the Philippines through the launch of DZAQ-TV. With the help of RCA, four men underwent technical training in the United States. These were Arcadio Carandang, Romualdo Carballo, Harry Chaney, Jose Navarro.

he ABS studio was an improvised barn along Florentino Torres Street in Manila. With the transmitter purchased from RCA, the transmissions were received clearly not only in Manila, but also in the neighboring provinces. With the exception of the four engineers who were sent to the US to train, most of the ABS staff learned the TV operations at work. The station’s first transmitter was located in San Juan.

DZAQ-TV 3 began on a schedule of four hours a day, from six to ten o’clock at night. While ABS has managed to round about fifty-two advertisers for mainstream broadcasting, selling regular programming spots proved to be difficult because buying radio spots was more economical for advertisers. During this period, television sets cost less than a car, and TV reception depended on electricity, which was not always available.

The programs being broadcast at that time used to be borrowed from foreign embassy films, old imported cowboy movies, and royal coverage of a variety of events. When the station finished presenting any new features, the stage parts were transported to the television. In 1953, less than a month after the first broadcast, Father James Reuter, a Jesuit with radio and television training in the United States, produced the first play on Philippine television entitled Cyrano de Bergerac. The three-hour play was played live, and all the talents were students.

In the beginning, Filipino TV networks would buy the rights to view mediocre American TV shows and programs as it was cheaper than producing local shows. In order to attract advertisers as well as to encourage audience growth, the simultaneous broadcasting of programs on radio and television has resorted to promotional tricks. Many popular radio shows, including Tawag ng Tanghalan, Kuwentong Kutsero and Student Canteen, began their lives on TV this way.

In 1955, Radiowealth began manufacturing television sets. Other local clothing, such as Carlsound and Rehco, have also begun to set up assembly plants. In 1958, the high taxes previously imposed on canned-TV programs were removed, which made the US show less cost than live shows. In April of the same year, another TV network opened, and this was the Chronicle Broadcasting Network (CBN), established as media radio in 1956 by entrepreneurs Eugenio and Fernando López. In the same year, CBN brought the ABS of Judge Quirino and founded the two companies under the name Bolinao Electronics Corporation, which was in fact the old name of ABS.

With the establishment of the DZXL-TV Channel 9 on April 19, 1958, the Lopez brothers controlled the two television channels across the country. On November 14, 1969, the DZAQ-TV was transferred to channel 2, while sister station DZXL-TV transferred to channel 4.

In 1958, combined TV stations ABS and CBN moved to their new studios on Roxas Boulevard in Pasay City, while ABS Radio’s facilities moved to the Chronicle Building in Manila’s Intramuros District.

Popularity increase (1960-1972)
At the turn of the next decade, television sets have become the best selling handset in urban areas. Also within this period, other VHF TV stations were opened. These include the DZBB-TV (established on October 29, 1961 by Robert Stewart’s Republic Broadcasting System (RBS)), DZFM-TV (established in 1961 by the now-defunct Philippine government), DZTM-TV in 1962 by the Associated Broadcasting Corporation (ABC), owned by the Roces family, publisher of The Manila Times), DZKB-TV (created in 1969, managed by Roberto Benedicto of Radio Philippines Network), DWGT-TV (created in 1974, managed by Government Television (GTV) and DZTV-TV (created in 1960, managed by the Inter-Island Broadcasting Corporation (IBC), owned by Andres Soriano), DZRH-TV (established April 11, 1962,

Among the top rated shows in the 1960s were The Nida-Nestor Show, Buhay Artist and Pancho Loves Tita. Another local show that had a predominant top ranking is Tawag ng Tanghalan, the amateur singing contest offered by Lopito and Patsy.

Robert “Uncle Bob” Stewart was the first to sell “cooperative points”. Sponsors or small business owners can now purchase portions of a program in the form of 60-second commercials. “He approached companies with no resources to buy blocking time and sponsored entire shows and offered smaller, affordable packages within programs, so he pioneered the concept of segment and portion purchases that are so popular today.” final, Stewart even played as a commercial talent for free, and their live endorsements became gems of spontaneous entertainment on their own. ” Bob Stewart, the man behind RBS Channel 7 had a special place in the hearts of a generation of kids. “For children growing up in the 50s and 60s,

At first, people who were creating Philippine television had to settle for very few minimal budgets, small studios, weak signals and complicated cameras that technicians could not start operating. After all, the first TV production teams were transplanted on the radio.

“The mistakes were definitely the order of the day,” recalls Stewart. “We had two cameras, both second-hand, and since we had almost no TV experience, we often had no idea what it was on the air!” The only way to learn television was by trial and error. In fact, the best ABS camera operator began as a driver for Eugenio “Geny” Lopez Jr, who would soon drive ABS-CBN to great levels of success in the coming years.

Lack of finance was largely responsible for the poor quality of live television. There was not enough money to pay talent fees, buy equipment, and train studio personnel. Another reason why live shows slowly matured was the prevalence of unskilled producers.

In 1960, the Philippine Association of National Advertisers recognized television as one of the most effective and powerful mediums for advertising. In fact, it was only in the 1960s that television commercials came into use. The first television advertising contract in the country was signed for Tawag ng Tanghalan, manipulated by J. Walter Thompson for Procter and Gamble.

As the television industry matured, lines were more firmly drawn between advertisers and network owners. Programmers now had to prove to advertisers that the programs produced at the station were being watched. Thus, the game of classifications was born.

The programming of canned concerts, mainly Americans, was the usual practice. The popular shows were Combat, the war adventure with the heroism of the American soldiers against the evil personified by the Germans; Mission: impossible, more familiar to the contemporary audience is the film’s adaptation with Tom Cruise; action-adventure-crime series such as Mannix, 77 Sunset Strip and The Untouchables; dramas in a hospital setting such as Ben Casey and Dr. Kildare, forerunners of ER and Chicago Hope; and the basic westerns like Wild Wild West with Robert Conrad as the hero, a role that would be thrown wilder by black actor Will Smith in a film adaptation.

Local programs had to deal with this foreign programming – and with much success, it should be noted. The 1960s saw the emergence of te-levision talents, especially in musical programs. Freddie Cochran, the flamboyant host, directed the inventive “hour by hour” live promos for abs-cbn. Pretty girls showed up on the camera, sold the sponsors’ products, and followed through on the next show.

Soon, Cochran directed a full musical program as the Lucky Strike Show with socialite singer Nelda Lopez Navarro. In the early 1960s, Cochran took turns with Myths Villareal and Fritz Ynfante directing the Queen of Songs in Asia, Pilita Corrales in An Evening with Pilita. In the afternoons, a young Boots Anson-Roa hosted Dance-o-rama on Channel 5. The dance time with Chito practically saved Uncle Bob’s party season with Chito Feliciano and his friends as the initial version of DIs. dance). Oras ng Ligaya, a variety show, featured the comedy of soprano Sylvia la Torre and comedians from the radio movie Eddie San Jose and Oscar Obligacion.

In 1961, educational TV was first attempted by the National Science Development Board through a weekly physics, continental classroom course. In the same year, Fr. James Reuter produced his show three times a week, Education on TV on Channel 9. He presented Fr. Horacio de la Costa, SJ, lectures on the story and Fernando Zobel, discussing art.

The interest generated by public organizations, business firms and educational institutions developed the course of the TV College of the National Science Development Board, “Physics in the Atomic Age”, in 1961.

Three years later, in July 1964, the Ateneo Center for Educational Television (ETV) began operating. It was a closed circuit television project for elementary and middle school students from six host schools, including Ateneo University of Manila and Maryknoll College (now called Miriam College). The now defunct ETV Center had its own studio and first-rate equipment. It was so advanced that even commercial stations like the ABS-CBN occasionally lent cameras.

Channel 3 of the BEC staged the first television test in color transmissions in 1963 and began broadcasting in color in 1966.

On February 1, 1967, the corporate name of BEC was changed to ABS-CBN Broadcasting Corporation. In addition, during this year, Radiowealth pioneered the production of 19, 21 and 25-inch color TV models. In addition, it was favored by advertisers such as Procter and Gamble, Philippine Refining Company, Colgate-Palmolive, Del Rosario Brothers and Caltex.

During this point, ABS-CBN reigned as the leader of the TV audience in the country. But while the main TV station of ABS-CBN, DZAQ-TV (broadcast next in channel 3), was the channel more seen then, the other station of Manila TV, DZXL-TV Channel 9, was classified in the last palace in terms of audience ratings, even behind newcomers ABC 5 and RBS 7.

In 1966, Freddie Garcia (who would later become the president of ABS-CBN years later) decided to make Channel 9 suitable for high-end and sophisticated viewers with shows like “The Flying House”, complementing Channel 3, the station for the masses. As a result, Canal 9 sales tripled and became the second most watched channel in the late 1960s behind Channel 3. ABS-CBN also pioneered regional TV with DYCB-TV Channel 3 in Cebu, filming in 1964, and in 1968 the network opened the ABS-CBN Broadcasting Center, located at Bohol Avenue in Diliman, Quezon City, which was Asia’s most advanced broadcasting center.

In 1969, Filipinos witnessed live television coverage of the historic moon landing Apollo 11. It was the first live satellite broadcast in the country. Channels 5, 7 and 13 tied that project, while Channel 2 produced its own coverage. In the same year, RPN-9 featured the longest and most consistent rating of the series, John En Marsha. This sitcom was created by Ading Fernando, and starred Dolphy and White Nida.

In the late 1960s, news and public affairs programs were launched by Channels 2 and 5. The Big News on ABC Channel 5 and The World Tonight on ABS-CBN Channel 2 were the first news programs on Philippine television followed in the same period by Newswatch of Channel 9 of ABS-CBN, that with the transfer of ownership of the channel to KBS-9 in 1969 would continue for more years. In addition, ABS-CBN was also a pioneer in Philippine language news programming, with Channel 2 with Balita Ngayon and Channel 4 with Apat at Sulok ng Daigdig, with Orly Mercado as its first host.

In 1971, the Philippines, through Radiowealth, became the third country in the world to manufacture color TV sets. Until then, ABS-CBN channels 2 and 4 had cornered around 80% of the shared public and garnered numerous awards.

Attempts to establish a public TV station began in January 1962 with the Philippine Broadcasting Service. Under the management of pioneer presenter Francisco “Koko” Trinidad, the station broadcasts educational programs and talk shows with such luminaries as actress Tita Muñoz. However, the attempt was short-lived. After a year, the PBS signed permanently, not due to financial problems, but by its frequency. ABS-CBN was broadcasting on Channel 3 and argued that PBS, broadcasting on Channel 4, was interfering with the commercial station’s signal.

After Channel 9 was reassigned to KBS and Channels 3 and 9 of the ABS-CBN network were reconfigured to be broadcast on Channels 2 and 4, the Philippine Broadcasting Service lost its broadcast frequency and thereby the chance of a TV station public.

Television under martial law (1972-1986)
When the Philippines was placed under martial rule on September 21, 1972, Marcos ordered the acquisition of media companies. Government troops entered radio and television stations, and were placed under military control. All the media criticizing the Marcos administration were blocked and kidnapped. All TV stations were turned off except on Channel 9. Media criticism of the Marcos administration was banned in the era of martial law.

The DZXL-TV Channel 4 of ABS-CBN was confiscated by the Office of Press Secretary Francisco Tatad and by the National Media Production Center of Gregorio Cendaña and renamed as the Government TV Channel DWGT – Channel 4, the government channel. DZKB-TV Channel 9 and DZTV-TV Channel 13 were eventually controlled by then-ambassador Roberto Benedicto, and Bob Stewart’s DZBB-TV Channel 7 channel was subsequently authorized to operate with limited three-month permits. ABS-CBN was seized from the Lopez family, and Eugenio Lopez Jr., then president of ABS-CBN, was arrested. In the latter part of 1973, the GMA Network, which was then under production Philippine Productions, was sold to Philip Gozon, a lawyer for the Stewart family, because foreigners are not allowed to own business in the Philippines,

KBS 9 was the first to begin color broadcasting in 1969. When a fire destroyed the KBS television studios in Pasay City, Benedict’s people took control of the ABS-CBN studios on Bohol Avenue, Quezon City. As a network, ABS-CBN ceased operations for 14 years and its studios became the broadcasting sites for the new GTV-4 and KBS 9 channels. A year later, Salvador “Buddy” Tan, general manager of KBS, reopened Channel 2 as the Banahaw Broadcasting Corporation. The ABS-CBN regional stations ended up in the hands of RPN, IBC, GTV or BBC.

The two stations belonging to Roberto Benedicto, namely RPN Channel 9 and BBC Channel 2, served as propaganda vehicles for the government. In 1978 channels 2, 9 and 13 moved to the newly constructed Broadcast City in Diliman, Quezon City. In the same year Gregorio Cendaña was appointed Minister of Information. Channel 4 of DWGT-TV, in 1980, became known as the Maharlika Broadcasting System and became the last color to do so, and also occupied the studios of ABS-CBN.

The era was considered the golden age for RPN 9 and IBC 13, whose programs like NewsWatch, John en Marsha, Superstar, Champoy and Eat Bulaga !, were the major programs of the decade. Meanwhile, GMA, under the direction of Felipe Gozon, Menardo Jimenez, Gilberto Duavit Sr, Rod Reyes, and Freddie Garcia, began broadcasting in color, and moved from last place in the audience to third place, surpassing BBC-2, which then attacked women and MBS.

Initially, the Department of Public Information reviewed everything on the radio and on TV, setting out the rules and regulations. Through other government agencies, ownership policies, frequency allocation, station distribution, and program standards have been enacted. In 1973, the Kapisanan ng mga Brodkaster sa Pilipinas was established, and this agency allowed for self-regulation. A year later, a presidential decree created the Broadcast Media Council. The 1974 Miss Universe Pageant, the 1975 Muhammad Ali-Joe Frazier Heavy Fight, and the 1981 visit of Pope John Paul II, all featured in the Philippines, were shown around the world. In 1980, the BBC became City2 Television. RPN and City2 also made innovations in the use of computer graphics for network graphics.

The anime series also began to gain popularity on Filipino TV through Voltes V in the GMA and Daimos. The said series of anime was notoriously removed from the air by Marcos, claiming that it revolved around the overthrow of a tyrannical regime. The nationwide satellite broadcasts began in the early 1970s by the ABS-CBN through tests, also began at that time, with RPN, IBC, BBC and later GMA and MBS starting Manila program simulations to the provinces across the country 3 large island groups.

When Benigno “Ninoy” Aquino, Jr., a senator who strongly opposed Marcos’s administration, was assassinated on August 21, 1983, it was only a small item in the television news. The iron grip that Mark’s administration had on television began to slip, while the GMA broadcast the funeral, the only local station to do so. In 1984, Imee Marcos, daughter of Ferdinand Marcos, tried to take over the GMA. However, the acquisition was prevented by GMA executives. Stewart left the Philippines for good, since he was totally disappointed with Mark’s move.

The GMA was also instrumental in the years before the People Power Revolution in 1986. The network was the first to broadcast a television interview with Corazon Aquino in 1984, and then announced that it would run for the presidency if it received one million subscriptions. In February 1986, the network was also the first to denounce that Fidel Ramos and Juan Ponce Enrile separated from the Marcos administration. After more than a decade, the freedom of the press that the ABS-CBN exerted before martial law returned, this time continued by the GMA.

At the same time, Channel 4, which then transmitted a message from Marcos, in which he did not give up, was captured by rebels. The station was put on the line shortly after noon, with Orly Punzalan announcing on live television, “Channel 4 is on the air again to serve people.” This broadcast was considered the “return” of ABS-CBN in the air because this was the time when former network employees were inside the complex after 14 years of closure since Marcos took over during the 1972 Martial Law.

On February 25, 1986, at the height of the People Power Revolution, RPN, IBC and City2 were apprehended by reformist soldiers who deactivated the transmitter that was transmitting the inauguration of Marcos of the Palace of Malacañang. 14 years after Marcos took control of the media, his iron grip on the media finally collapsed. On that day, Mark and his family fled to Hawaii, ending their 21-year tyrannical regime.

Television after the revolution EDSA (1986-1989)
With the end of Marcos’s regime and the return of democracy, television has regained the right to freedom of expression and the chance to report without fear.

City2, RPN and IBC were abducted by the Philippine Commission on Good Government (PCGG) after the revolution. While RPN and IBC remained operational, City2 was abolished and its frequencies were given to ABS-CBN. Channel 4, however, remained with the government and became the PMTC, and ABS-CBN remained with Channel 2.

When the BBC closed, the IBC absorbed the majority of its displaced employees, doubling the network’s operating expenses. The cost of the programs has increased threefold. The shows produced online and the co-production ventures with some big film companies like Viva, Regal and Seiko were favored, in addition to their programs produced at the station. The cost of the programs, talent fees and TV rights has increased enormously. From a golden age, RPN and IBC began to sink slowly as the audience began to see a sharp drop.

The ABS-CBN returned on September 14, 1986, with its facilities were in ruins, low funds and lastly in the audience. It also had to share space with the PTV, even after returning to the Transmission Center on Bohol Avenue which was legitimate. Until then, despite having local programs, the stations still devoted much of their blocking period to canned programs.

Philippine language news broadcasts began to gain popularity in the meantime, first through the GMA Balita on Channel 7. In 1987, Freddie Garcia returned to ABS-CBN after a period of success in the GMA, which had already toppled the RPN for the first place at the hearing. The GMA has also won numerous awards and recognized its combination of balanced programming. It was home to a number of hits like That’s Entertainment, Anna Liza, GMA Balita, GMA Supershow, Penthouse Live, and Vilma!

It was during this year that ABS-CBN, which also signed a contract with Regal Films, where the film studio would produce 8 programs on the network, launched a relaunch as the “Star Network”, which had the network producing a series of programs such as TV Patrol (now the oldest Filipino-language journalist), Palibhasa Lalake, Chika Chika Chicks, Pops and Martin Twogether, Loveli-Ness, The Maricel Regal Drama Special and more. And unlike the networks, the station has shifted the target audience from high-level classes to the masses.

The IBC became E-13 that year, but the revival failed to save the public from further decline.

The GMA this year became the nation’s first television network to provide a new dimension to viewers, streaming the network programs in full stereo (called GMA StereoVision), opened the high-quality live studio, Broadway Centrum, driving its local programming, and inaugurated the 777-meter tower of the Tower of Power, located along Tandang Sora, Quezon City, the nation’s tallest artificial structure on November 7, 1988.

The restructuring of ABS-CBN’s daring programming proved to be a great success, and in 1988 ABS-CBN had moved from last place in 1986 to become the undisputed leader of the Filipino TV audience. This year also marked another milestone in the history of ABS-CBN in the form of the first national satellite broadcasts of the network. The following year, he published his first profit after his reopening.

TV Patrol’s success in ABS-CBN further publicized the use of Filipino as a language for news broadcasts, as well as police and showbiz reporting.

Despite the success of ABS-CBN as a public leader, the GMA, the vice-leader, continued with its winning and balanced programming strategy under the direction of then-President Menardo Jimenez.

The PTV, on the other hand, became the third place at the hearing in 1989. Until then, the RPN and the IBC were in last place at the hearing. RPN became New Vision 9 that year and the IBC became Islands TV 13 the following year, but both networks continued their decline in public and profits. Channel 9, however, made history again as the first to broadcast 24 hours non-stop.

The two networks also lost the programs produced by TAPE Inc. for ABS-CBN and canceled their most famous shows such as Superstar, John in Marsha, and Champoy. TAPE programs soon moved six years later to the GMA in 1995, after rejecting ABS-CBN’s offer to buy production rights from its programs.

Source from Wikipedia