One piece I’m hoping this new Carrere-Jo Koy project nails is the behind-the-scenes pipeline. Casting is huge, but the real shift happens when Filipinos are in the writers’ room, editing bay, music supervision, and costume/production design-then you get Taglish that sounds right, OPM needle drops, specific Catholic/fiesta cues, and regional details (Cebuano/Ilocano, not just generic “Tagalog”). A big lesson from Easter Sunday: the more specific the stakes and family dynamics, the better it travels; it didn’t crush theatrically, but its afterlife proved audiences will lean in when the world feels lived-in. Marketing-wise, there’s low-hanging fruit: community screenings around Filipino American History Month, church groups, campus orgs, plus ad buys in Daly City/Carson/Jersey City where per-screen numbers can punch above weight. If they avoid leaning only on tita karaoke jokes and mix in diaspora realities-Navy/healthcare ties, remittances pressure, Hawaii vs. mainland identities-it can break stereotypes without getting preachy. If it hits four-quadrant emotions, it becomes a proof point that unlocks more mid-budget greenlights and gets more Filipino department heads into guild rosters. Bonus wish list: authenticity readers, a Filipino composer or OPM-heavy soundtrack, and a couple cameos from Filipino American chefs/musicians to widen the cultural lens.