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I'm Caitlin, but you can call me Cait! I'm a BS Psychology student currently studying in Mapúa Malayan Colleges Mindanao. I was born and raised a Filipino, so I've indulged myself in a lot of Philippine Pop Culture throughout my life.

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I love watching Filipino movies because the storytelling—whether it’s comedy, drama, romance, or even horror—is more captivating within the Filipino context.

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⋆.˚✮ Part B: Four Sisters and A Wedding ✮˚.⋆

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⋆.˚✮ Part B: Four Sisters and A Wedding ✮˚.⋆

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Melodies hit different in the Filipino language. OPM is on my everyday playlist with Maki and BINI on repeat.

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I love Rupaul's Drag Race and I was super excited when they decided to bring the show to the Philippines! The art of drag should be showcased, especially Filipino drag. My favorite Filipino drag queen is Marina Summers.

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Everything is funnier in Tagalog/Bisaya. Filipino humor hits different and memes that I scroll through my screen everyday are hilarious!

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From Bretman Rock to Ivana Alawi, I enjoy watching Filipino vloggers and content creators who share tips and tricks or just excerpts of their lives that keep us entertained.

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"Four Sisters and A Wedding" is 2013 comedy-drama kapamilya blockbuster film directed by Cathy Garcia-Molina, and it happens to be my favorite Filipino movie of all-time. The plot revolves around the four Salazar sisters reuniting to stop their youngest brother's wedding. This leads to a series of comedic and dramatic events that explores the dynamics and complexities of a Filipino household. This film has become an iconic piece in contemporary Filipino cinema due to its portrayal of familial relationships, cultural values, and societal expectations. If you haven't seen it yet, the full movie is available to watch on Youtube for free!

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⋆.˚✮ Part C: Semiotic Sisters: Birth Order Theory ✮˚.⋆

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⋆.˚✮ Part C: Semiotic Sisters: Birth Order Theory ✮˚.⋆

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"Four Sisters and a Wedding" creates change in different aspects of Filipino society by using semiotics to convey deeper meanings through its characters, dialogue, and situations. Semiotics, the study of signs and symbols, helps us understand how the film uses specific cultural signs to communicate messages about family, identity, and societal norms. The four sisters represent different facets of contemporary Filipino womanhood, and can be analyzed through Adler's theory of birth order to understand how each sister's position within the family influences their personality and relationships, while also employing semiotics to uncover the cultural significance of these dynamics.

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Adler proposed that birth order can increase the probability of a person developing a certain set of experiences and characteristics:

The eldest, Teddie, receives a great deal of attention, specifically from their mother, and is dependable and hardworking. In the movie, she tries to hide the fact that she works as a maid in Spain, exhibiting her fear of disappointing her family under the pressure of being the oldest child.

Bobbie is the second child who struggles with the shared attention of her other siblings, particularly with her older sister Teddie. She strives to receive recognition from their mother and developed an ambitious, competitive attitude. Semiotic signs such as her physical distance from the family and her polished, sophisticated appearance highlight her need to differentiate herself and gain recognition.

Alex is the middle child and was deemed the "black sheep of the family." She often exudes a artistic and carefree personality. She doesn't feel as much pressure to succeed academically like her sisters, yet she struggles to find her place within the family hierarchy and society at large.

Gabby, before their brother was born, assumed the role as the youngest child and developed independence and creativity separated from her older sisters. While her sisters moved away from home, she stayed close with her mother in their family home. When she assumed a middle child role, she is portrayed as the peacemaker who often tries to mediate conflicts between her siblings and semiotic elements such as her nurturing behavior solidifies her position as the family's emotional glue.

By using Adler's birth order theory together with the study of semiotics, this analysis "Four Sisters and a Wedding" not only portrays individual character traits but also uses these traits to signify broader cultural and familial themes. The film's depiction of each sister's unique struggles and roles within the family allows viewers to reflect on their own familial positions and the cultural expectations that come with them. This dual analysis enriches our understanding of the film's impact on Philippine Pop Culture, highlighting the intricate ways in which personal and societal identities are constructed and conveyed through cinematic storytelling.