Nearly three years into her tenure as chairman of the Movie and Television Review and Classification Board (MTRCB), Lala Sotto has quietly achieved something increasingly rare in government — disciplined stewardship. She has generated P670 million in agency savings while carrying out her mandate through a collaborative, family-centered approach.
“I’m very matipid (frugal). I’m very kuripot (thrifty),” she said laughingly. “The agency’s savings have already reached a very large amount and cannot be touched. We’ve already saved P670 million,” she added, emphasizing that the funds are preserved for continued monitoring, operational and capital expenses.
Chair Lala, as everyone calls her, made the remark while discussing the board’s performance during budget hearings, pointing to the culture of prudence that has empowered the MTRCB to support its operations largely from its own reserves.
For an agency often associated with regulation rather than financial restraint, the substantial figure signals a leadership style grounded not in excess but in prudence — a mindset that Chair Lala traces, in part, to her upbringing under her father, Senate President Vicente “Tito” Sotto III, before life itself reshaped her priorities.
“I used to be the most extravagant child. But later on, as I matured and then I became a mom, my priorities changed. So, I’m very conscientious and diligent with my work. I also think it has to be practiced — being frugal and prudent in all your decisions.”
That maternal instinct appears to extend beyond budgeting and into how she views the agency itself — not as a censoring body, but as a guide for Filipino families navigating an increasingly complex media environment.
“For 2026, we will be involving our stakeholders more. We want consumers and distributors to have a better understanding of the MTRCB and what we really are here for. We need to make them understand that the MTRCB is not here to police, but to help guide the Filipino families.”
Especially now, she stressed, vigilance must evolve alongside technology and shifting viewing habits.
“With the emergence of online streaming, over-the-top platforms, social media services and user-generated content platforms, I’m sorry to say, but it can be very dangerous for children. So that’s what ‘Responsableng Panonood’ (responsible viewing) is all about.”
Explaining exactly what they do, Chair Lala shared, “We equip and empower parents as we continue to go around the country — across provinces, municipalities and barangays — involving communities and supervising adults to teach them the safeguards, security measures and parental control features they can use to protect their children.”
That protective stance also shapes how she regulates. Because if this chairman has reshaped one persistent perception about the MTRCB, it is the notion that the board thrives on sanctions. Internally, she said, the approach has long leaned toward partnership.
“That is really how they see us. But we know inside that we are allies. Everybody is entitled to think what they want to, so we’re just doing our job — to engage in a conversation or a dialogue with the concerned group, person or stakeholders.”
Recent engagements reflect that philosophy. When concerns surfaced involving female cast members on a reality program, the board moved to ensure workplace protections were being observed.
“We were very much concerned because the girls expressed how offended they were. So we just wanted to ensure that with the production, they are observing the Safe Spaces Act. Because imagine, [the contestants] are stuck in one house for a certain period of time, so we just wanted to make sure the working environment is truly safe for them. Maayos naman, nagkaayos din.” (“It was resolved, and things were set right.”)
True to this approach, the broader industry, she happily noted, has shown encouraging responsiveness.
“All programs are very well behaved lately, and I’m so thankful. There is no perfect program, especially live shows, but they immediately apologize on air nowadays. That’s a very big factor for the MTRCB because some things are beyond the host’s control. And that’s the best the host can do — apologize. I admire them for that.”
Such cooperation, Chair Lala added, helps reinforce the board’s role as a regulator that prefers communication before confrontation.
“My board knows this — that when I feel we need to talk, it’s really for better communication and a better working relationship. We’re always here to guide everyone.”
Even as these partnerships strengthen, the challenges facing Philippine cinema remain difficult to ignore — a reality she acknowledged when the T-Zone asked for her reaction to concerns of industry leaders.
“Sad to say that it is a fact — 2026 was not a good year for Philippine cinema. But first, we need to accept that there is a problem, because we cannot address it if we do not admit it to ourselves. It’s not just in the Philippines — movie and television industries everywhere are facing this.”
Competition from streaming platforms and the continued rise in ticket prices are among the pressures reshaping audience behavior, she explained, underscoring the need for collective action rather than blame.
“It’s really a whole-of-nation approach. Stakeholders and the agencies concerned must work together. We cannot put the blame on anyone — there are many factors to consider.”
Against this backdrop, Chair Lala is intent on deepening engagement with both industry players and the viewing public — a direction she sees as essential to keeping the agency relevant.
“It’s important to really work together and encourage Filipino families to go back to the cinemas and enjoy the communal experience with their loved ones.”
Much of that effort happens quietly. The board regularly convenes meetings and workshops with producers and stakeholders to address concerns and strengthen communication — initiatives she said are no longer routinely publicized but remain part of the agency’s continuing work to guide rather than merely regulate.
Indeed, measured leadership rarely announces itself loudly. Nearly three years in, Sotto continues to press forward — guided by the same protective instinct that sees regulation not merely as oversight, but as a responsibility to the Filipino families navigating today’s complex media landscape.
