Deconstructing gender stereotypes in Philippine media: A critical discourse analysis of representation and portrayal of women in selected television dramas

 Corresponding author: Rose A. Arceño Copyright © 2025 Author(s) retain the copyright of this article. This article is published under the terms of the Creative Commons Attribution Liscense 4.0. Deconstructing gender stereotypes in Philippine media: A critical discourse analysis of representation and portrayal of women in selected television dramas Rose A. Arceño 1, *, Joshelle Mae A. Arceño 2 and Mae Frances G. Sanico 1 1 Office of Research Services, Palompon Institute of Technology, Palompon, Leyte, Philippines. 2 Douglas Education Service District, Roseburg, OR 97470 USA. World Journal of Advanced Research and Reviews, 2025, 27(03), 1294-1309 Publication history: Received on 10 August 2025; revised on 14 September 2025; accepted on 18 September 2025 Article DOI: https://doi.org/10.30574/wjarr.2025.27.3.3223 Abstract This study critically examines the representation and portrayal of women in selected Philippine television dramas through a critical discourse analysis (CDA) framework. The findings reveal that gender stereotypes remain pervasive, with women frequently depicted in traditional roles such as caregivers or homemakers, limiting their agency and autonomy. Objectification of female characters is common, with a significant proportion portrayed through sexualized imagery or subordinated dialogue. Leadership roles and empowered portrayals are scarce, reflecting broader societal inequalities. However, instances of progressive representation, where women challenge traditional gender norms by assuming assertive or professional roles, have begun to emerge in newer narratives. These portrayals are instrumental in reshaping societal attitudes and fostering discussions on gender equality. Intersectional analysis highlights the lack of representation for women from diverse backgrounds, including ethnic minorities, LGBTQ+ (lesbian, gay, bisexual, transgender, queer, intersex, and asexual. The “+” represents all the other identities that are not included in the acronym, such as: pansexual, agender, non-binary, gender fluid, allies of the community, and genderqueer) communities, and women with disabilities, underscoring gaps in inclusivity. This study emphasizes the media's dual role in both perpetuating and challenging societal norms, advocating for intentional storytelling and inclusive practices by media practitioners. Recommendations include fostering subtle portrayals, encouraging diverse representation, and implementing policies to dismantle harmful stereotypes in Philippine media. Keywords: Critical Discourse Analysis; Gender Equality; Gender Stereotypes; Inclusive Storytelling; Intersectionality; Media; Women Portrayal 1. Introduction Media plays a powerful role in shaping cultural values, influencing public opinion, and reflecting societal norms. Mass media continues to be a powerful cultural force that shapes, disseminates, and reinforces gender norms and roles within society. In the Philippines, television dramas, remain a fundamental aspect of popular culture, significantly influencing societal perceptions of gender, power, and identity (Arquillan, Dulay, & Codilla, 2023). Prior scholarship has shown that media representations are not neutral, often reflecting and reinforcing social inequalities by perpetuating stereotypes and marginalizing the less dominant (Mendoza, 2019/2020). Despite advocacy and progress in some domains, overt and subtle forms of gender bias and stereotyping remain pervasive in Philippine media (Philstar, 2021; Investing in Women, 2018). These portrayals can influence public perceptions of women’s roles, both reflecting and shaping contemporary Filipino cultural norms (Lapiz, Marqueda et al., 2024). The study was conducted to analyze representations and portrayals of women in selected Philippine television dramas, identify how gender stereotypes are sustained, challenged, or transformed through Critical Discourse Analysis (CDA), World Journal of Advanced Research and Reviews, 2025, 27(03), 1294-1309 1295 examine the inclusivity of portrayals with special attention to intersectionality, and assess the reliability and consistency of the coding scheme through measurement of inter-coder agreement using Cohen’s Kappa. 2. Methodology 2.1. Research Design This study applies Critical Discourse Analysis (CDA), primarily drawing from Fairclough's (1995) three-dimensional framework which are textual analysis, examining scripts, dialogue, and visual elements for gendered representations; discursive practice, evaluating how production, dissemination, and reception processes influence meanings; and sociocultural practice, situating findings within broader Philippine socio-political and cultural context. 2.2. Sample Selection The data were sampled from twelve prime-time television dramas broadcast from 2012–2025 across major Philippine networks (ABS-CBN, GMA, TV5). The selection criteria is National audience reach, inclusion of major female characters with a variety in genre. 2.3. Data Sources The episodes were transcribed and coded for character roles (lead/support, professional/traditional, etc.); dialogue analysis (frequency of assertive/subordinate speech; visual representation (e.g., costume, camera focus); and Intersectional identifiers (e.g., ethnicity, disability, LGBTQ+ identity). 2.4. Analytical Process The coding was done manually and validated by intercoder agreement. The inter-coder reliability is ensured with the value of Cohen's Kappa ≥ 0.7. The steps were shown. The detailed presentation of Cohen's kappa is provided in the scenes taken from TV dramas shown in Table 1. Table 1 Detailed presentation of Cohen's kappa from Scenes and Description of TV Dramas Scenes & Description Coder Label 1 Coder Label 2 Scene 1: Self-Sacrificing Mother— a female character putting family needs above her own. Traditional submissive Traditional submissive Scene 2: Empowered Woman — a female character asserting independence or agency. Empowered woman Empowered woman Scene 3: People-Pleasing Woman Seeking Male Validation — a woman trying to reconcile or conform to male desires. Traditional submissive Empowered woman Scene 4: Assertive and Ambitious Female — a woman showing ambition beyond traditional roles. Empowered woman Empowered woman Scene 5: Dutiful Wife — prioritizing family obligations and supporting her husband's role. Traditional submissive Traditional submissive Scene 6: Vulnerable Dependent — a woman shown as emotionally or financially dependent on a male figure. Empowered woman Empowered woman Scene 7: Traditional Submissive Female — a character who accepts patriarchal norms with little resistance. Traditional submissive Traditional submissive Scene 8: Neutral/Other — a scene without strong gendered role portrayal, possibly background or minor. Empowered woman Empowered woman Scene 9: Resilient Female with Agency — a woman who takes control despite social constraints. Empowered woman Empowered woman World Journal of Advanced Research and Reviews, 2025, 27(03), 1294-1309 1296 Scene 10: Conflicted Female Role — a character caught between empowerment and societal expectations, showing tension or challenge in her role. Traditional submissive Traditional submissive Step 1 Construct Confusion Table (Agreement Table) Table 2 Agreement Table of Coders Coder 2: Traditional Coder 2: Empowered Row Total Coder 1: Traditional 4 1 5 Coder 1: Empowered 0 5 5 Column Total 4 6 10 Step 2: Calculate Observed Agreement Po • Agreements are the horizontal values: Traditional-Traditional = 4 Empowered-Empowered = 5 Total agreements = 4 + 5 = 9 Total items = 10 Po = 9/10 = 0.9 Step 3: Calculate Chance Agreement Pe • Calculate the proportion of each category by each coder: Coder 1 traditional: 5/10=0.5 Coder 1 empowered: 5/10=0.5 Coder 2 traditional: 4/10=0.4 Coder 2 empowered: 6/10=0.6 Chance agreement computation: Pe=(0.5×0.4)+(0.5×0.6)=0.2+0.3=0.5Pe=(0.5×0.4)+(0.5×0.6)=0.2+0.3=0.5 Step 4: Calculate Cohen's Kappa κ 2.5. Interpretation Guide A Cohen's kappa of 0.8 indicates strong or substantial agreement between the two coders, exceeding the 0.7 threshold for good reliability. This demonstrates that, despite some disagreements, the coding is applied consistently between coders with high reliability. Thereafter, themes and patterns were extracted using descriptive statistics for frequency and qualitative data for context. 2.6 Reliability and consistency of the coding scheme through measurement of inter-coder agreement using Cohen’s Kappa World Journal of Advanced Research and Reviews, 2025, 27(03), 1294-1309 1297 Figure 1 Inter-rater Gender Role Coding Inter-rater agreement on gender role coding in TV drama scenes showing agreements and disagreements between two coders with Cohen's Kappa = 0.8 From the data taken from Table 1 in methodology, out of 10 scenes, Coder 1 labeled 6 scenes as Traditional Submissive and 4 as Empowered Woman. Coder 2 labeled 5 scenes as Traditional Submissive and 5 as Empowered Woman. Agreements occurred in 5 Traditional Submissive scenes and 4 Empowered Woman scenes. There was 1 disagreement where coder labels differed. 2.7 Detailed Category-Level Coding Counts This visualization further breaks down the counts of coder labels, agreements, disagreements, and total scenes per gender role category. Detailed categorical coding and agreement counts between two coders in TV drama scenes, supporting Cohen's Kappa reliability measure of 0.8. It highlights consistent coding across categories and reaffirms overall coder alignment on labeling, contributing to a reliable coding process. This is shown in Figure 2. Figure 2 Gender Role Scene Coding Count 2.8 Proportion of Agreements vs. Disagreements The pie chart illustrates the overall proportion of agreement (9 scenes) and disagreement (1 scene) between the two coders. World Journal of Advanced Research and Reviews, 2025, 27(03), 1294-1309 1298 The proportion of agreements and disagreements between two coders in gender role coding of TV drama scenes, illustrates a high level of inter-rater reliability. This high level of agreement visually supports the validity of the coding scheme and inter-rater reliability. Figure 3 Coder Gender Role Agreement 2.9 Coder Agreement and Disagreement Breakdown The stacked bar chart summarizes the agreement counts for each gender role label category as well as the single disagreement. Stacked bar chart shows coder agreement and disagreement in gender role coding for TV drama scenes, with Cohen's Kappa indicating strong inter-rater reliability (0.8) This chart makes clear the balanced agreement across categories and the limited disagreement, consistent with a Cohen's Kappa of 0.8 indicating strong reliability. Figure 4 Scene Coding Agreement by Category The Cohen’s Kappa of 0.8 denotes “substantial” inter-rater reliability, meaning that coders largely agreed in their labeling beyond chance. The visualizations collectively demonstrate that the manual coding of gender role portrayals in selected TV drama scenes is consistent and reliable. The limited disagreement suggests some subtle differences in interpretation, which is typical in qualitative coding of complex portrayals like gender roles. The visualizations collectively demonstrate that the manual coding of gender role portrayals in these selected TV drama scenes achieved substantial agreement between two independent coders. The strong Cohen’s Kappa value (0.8) confirms the consistency and trustworthiness of the coding process, validating the qualitative content analysis of gender stereotypes portrayed as either traditional submissive roles or empowered women. World Journal of Advanced Research and Reviews, 2025, 27(03), 1294-1309 1299 3. Results and Discussion 3.1. Analysis on representations and portrayals of women in selected Philippine television dramas Women in Philippine television dramas are portrayed in diverse and complex ways that reflect both traditional gender roles and evolving societal attitudes. These dramas often illustrate the tension between stereotypical representations of women as submissive or domestic figures and narratives that highlight women's empowerment and agency. Analyzing these portrayals reveals the cultural details and social dynamics influencing gender roles in Philippine society, as well as the impact of media on public perceptions of women. To support this. Tables 3 and 4 are shown. Female characters often embody the classic roles of caregivers and homemakers, a representation deeply rooted in the country’s patriarchal and colonial history, yet many recent dramas also foreground women who assert independence, leadership, and resilience against societal constraints (Investing in Women, 2018; Agustin, Dulay, & Codilla, 2023). Analyzing these portrayals through critical discourse perspectives reveals how language, narrative structures, and media production practices both sustain and challenge traditional gender norms. The processes behind casting, scripting, and editing influence which stories get told and how female characters are framed—sometimes reinforcing male dominance and female subservience, while other times cultivating progressive and feminist narratives that resonate with growing public calls for gender equality and women’s empowerment (Agustin et al., 2023; Investing in Women, 2018). Furthermore, the socio-cultural context, including the prevailing gender biases and societal expectations, heavily shapes audience reception and interpretation of these portrayals, making television dramas both reflectors and influencers of public perceptions about women in Philippine society (Garcia, 2024; Alijo, 2023). The portrayals of women in Philippine television dramas are neither static nor monolithic but dynamically negotiated spaces where traditional values and contemporary gender discourse collide and intersect. This duality highlights the critical role media plays in both reinforcing and contesting gender stereotypes, thus shaping ongoing cultural conversations about women's roles, rights, and identities in the Philippines. Table 3 Analyzes of representations and portrayals of women in selected Philippine TV dramas. * Trait Portrayed Number of Portrayals (Sample: 173) Example Portrayal Assertive Leaders 15 Female mayors, business owners Breadwinners 53 Widows, eldest daughters Submissive Roles 68 Subservient employees, obedient daughters LGBTQ+ Inclusion 7 Minor supporting LGBTQ+ characters Objectified/Sexual 30 Sexualized roles with objectifying visual *Coded data from dialogues and visual analysis of character traits in Philippine TV dramas (Prieler & Centeno, 2013; Philstar 2021). Table 4 Multiple Portrayals in Varied Philippine TV Dramas Scenes & Description TV Drama Scene 1: Self-Sacrificing Mother— a female character putting family needs above her own. A Mother's Guilt Scene 2: Empowered Woman — a female character asserting independence or agency. The Greatest Love Scene 3: People-Pleasing Woman Seeking Male Validation — a woman trying to reconcile or conform to male desires. Someone to Watch Over Me Scene 4: Assertive and Ambitious Female — a woman showing ambition beyond traditional roles. My Ilongga Girl Scene 5: Dutiful Wife — prioritizing family obligations and supporting her husband's role. My Husband's Wife World Journal of Advanced Research and Reviews, 2025, 27(03), 1294-1309 1300 Scene 6: Vulnerable Dependent — a woman shown as emotionally or financially dependent on a male figure. Saving Grace Scene 7: Traditional Submissive Female — a character who accepts patriarchal norms with little resistance. Temptation of Wife Scene 8: Neutral/Other — a scene without strong gendered role portrayal, possibly background or minor. First Lady Scene 9: Resilient Female with Agency — a woman who takes control despite social constraints. Saving Grace Scene 10: Conflicted Female Role — a character caught between empowerment and societal expectations, showing tension or challenge in her role. Halik “Kiss” Scene 1. The “self-sacrificing mother role” of Sonya Alipio was dramatically portrayed in "A Mother's Guilt” (Hanggang Saan meaning ”To What Extent”) during its first several episodes which aired from November 27, 2017, to April 27, 2018, showcasing her crime committed for the sake of her son's survival and the emotional toll it takes. Specifically, the event of Sonya's sacrifice and subsequent guilt is central from the beginning of the show (Episodes 1– 10) as she navigates the consequences of her actions while balancing her family responsibilities. Scene 2. The portrayal of empowered woman asserting independence or agency is the Kapamilya teleserye (Family TV Series), "The Greatest Love" (2016). The character Gloria, played by Sylvia Sanchez, exemplifies empowerment through her journey of overcoming personal struggles, asserting agency in her relationships, and challenging societal expectations despite the challenges she faces with illness and family issues. Scene 3. A Philippine TV drama that depicts the scene of a "People-Pleasing Woman Seeking Male Validation"—a woman trying to reconcile or conform to male desires—is seen in various television drama but one noted example is found in dramas where female characters fall into the trope of naive or submissive women who prioritize male approval even at their own expense. This is a common storyline trope in Filipino TV dramas, with characters who compromise their own needs to gain acceptance from male partners or figures. While many shows include this archetype, one specific recent series that delves into relational struggles influenced by male validation dynamics is "Someone to Watch Over Me" (2016). This GMA Network series features complex relationship dynamics where female characters are influenced by male expectations and emotional dependence, sometimes showing people-pleasing traits to sustain relationships. The depiction of a people-pleasing woman seeking male validation is notably portrayed in "Someone to Watch Over Me" (2016) and more recently in "How to Spot a Red Flag" (2025), exploring the emotional complexities faced by women in male-centered relationships. This TV drama features the female portrayal through the character Cha, a spunky and freespirited barista who is the main protagonist. Cha is portrayed as a relatable and modern young woman engaging complex romantic relationships with two men, amidst themes of love, trust, and red flags in relationships. The series portrays her as strong and independent, dealing with challenges like being catfished and entangled in a love triangle. The drama highlights her personality as energetic, genuine, and resilient, reflecting a realistic and engaging portrayal of women in romantic dilemmas (IMDb. (2024). This portrayal is supported by the chemistry between the lead actors Belle Mariano (as Cha) and Donny Pangilinan, which adds to the feel-good and light-hearted tone of the drama. The show's narrative also discusses lessons on spotting red flags in relationships, including self-love and communication, emphasizing that while everyone has flaws, healthy boundaries are essential for well-being. The drama aims to offer a fresh and natural approach to Filipino television romance through Cha’s journey and experiences. Scene 4. The assertive and ambitious female archetype is vividly portrayed in "My Ilongga Girl" (2025), where the lead challenges traditional roles by pursuing her dreams in the city, and in "Saving Grace" (2024-2025), where the protagonist takes bold steps to protect a child and assert agency beyond conventional expectations. This narrative highlights the journey of a relatable, ambitious woman who steps beyond conventional expectations, showing resilience and determination in pursuing her goals. World Journal of Advanced Research and Reviews, 2025, 27(03), 1294-1309 1301 Another example is the 2024-2025 series "Saving Grace," starring Julia Montes. The titular character is an elementary school teacher who steps assertively into a protective and nurturing role beyond traditional norms, taking radical action to save a child from abusive circumstances. The show explores themes of empowerment, ambition in caretaking, and challenging societal constraints. Scene 5. The Philippine TV drama series "My Husband's Wife" (original title: "Asawa ng Asawa Ko") from 2024-2025 vividly portrays the archetype of the "Dutiful Wife" who prioritizes family obligations and supports her husband's role. The story revolves around a woman who returns from a four-year kidnapping ordeal and tries to reclaim her family from her husband's new wife. This narrative explores themes of duty, loyalty, and the complexities of marital support in the face of adversity, making the lead character a quintessential example of a dutiful wife focusing familial and relational challenges. Scene 6. The portrayal of a vulnerable dependent woman is central to "Saving Grace" (2024-2025), where Anna Grace's emotional and financial vulnerabilities underpin her protective actions and relationships with male characters. The protagonist, Anna Grace Sarmiento, portrayed by Julia Montes, is shown as emotionally and financially vulnerable at various points in the story. Anna, an elementary school teacher, experiences significant hardships, including being emotionally dependent on the male figures in her life. Her vulnerability is emphasized through the challenges she faces protecting Mary Grace, an abused child. The series explores themes of abuse, domestic violence, and the dependency created by difficult personal circumstances, making Anna's character a vivid example of vulnerability and dependence on others, particularly male figures, for emotional stability and security. Scene 7. The portrayal of a traditional submissive female who initially accepts patriarchal norms is central in "Temptation of Wife" (2012, re-aired 2020), through the character Angeline Santos who exemplifies the submissive wife archetype before her transformation. It vividly portrays the archetype of the "Traditional Submissive Female" who initially accepts patriarchal norms with little resistance. The character Angeline Santos, played by Marian Rivera, starts as a submissive wife who endures her husband's betrayal and the manipulation of her best friend. Her character reflects the traditional woman's role within a patriarchal marriage, showcasing acceptance and submission to male authority until she transforms into a more assertive figure later in the story. Scene 8. A Philippine TV drama series portraying a "Neutral/Other" scene—one without strong gendered role portrayal, possibly featuring background or minor characters—can be exemplified in the 2022 series "First Lady." This GMA Network drama-comedy series features a broad ensemble cast in roles where certain scenes focus on non-genderspecific interactions and storylines that do not emphasize traditional or stereotypical gender roles. The show balances romance, political intrigue, and family dynamics, providing multiple characters and scenarios with less defined gendercentric roles. Scene 9. The Philippine TV drama series "Saving Grace" (2024-2025) is a powerful example of a "Resilient Female with Agency" — a woman who takes control despite social constraints. The protagonist, Anna Grace Sarmiento, portrayed by Julia Montes, is an elementary school teacher who rescues Mary Grace, an abused child, by taking her away from a harmful environment. Despite numerous dangers and societal pressures, Anna displays resilience and takes decisive action to protect and nurture the child, defying conventional limits imposed on women in her circumstances. The series explores themes of maternal love, empowerment, and standing against domestic abuse, highlighting Anna’s agency in a challenging social context. The character Anna Grace exemplifies a resilient female with agency by decisively protecting an abused child despite social constraints and dangers, illustrating powerful maternal love and empowerment. Scene 10. A Philippine TV drama series that exemplifies the "Conflicted Female Role"—a character caught between empowerment and societal expectations, showing tension or challenge in her role—is "Halik" (2018). The series follows the lives of Jacky Montefalco and Jade Flores, whose relationships are marked by betrayal, misunderstandings, and complex emotional struggles. Jacky is an heiress raised under strict societal expectations, longing for acceptance from her adoptive father despite her painful personal history. Throughout the show, she struggles to assert her own identity and empowerment while facing familial and societal pressures, illustrating the conflicts many women navigate between personal agency and social norms. The conflicts between empowerment and societal expectations in the female role are thoughtfully portrayed in "Halik" (2018) through Jacky Montefalco’s character, who grapples with familial acceptance and personal agency. World Journal of Advanced Research and Reviews, 2025, 27(03), 1294-1309 1302 3.2. Sample Detailed Scene and Dialogue Analysis: Be Careful With My Heart (2012-2014) The drama centers on Maya dela Rosa, a simple and idealistic provincial girl who becomes a nanny for a wealthy family in Manila. The show portrays Maya as nurturing, family-oriented, and resilient—typical traits of traditional Filipino femininity—yet also imbued with confidence and agency, illustrating an evolving model of empowered womanhood within a distinctly Filipino cultural context. Some sample dialogues are shown in Table 5. Table 5 Detailed Scene and Dialogue Analysis: Be Careful With My Heart (2012-2014) Scene No. and Description Dialogue Excerpt Analysis (CDA Perspective) 1 Maya as SelfSacrificing Nanny Maya to Richard: “I will do everything I can for your children, kahit ano pa ang hirap.” (I'll do everything for your children, no matter how hard it is.) Maya’s commitment reflects traditional Filipino female virtues: self-sacrifice and relational dedication. Her nurturing role is central, reinforcing expected gendered caregiving roles via expressive language. 2 Maya Asserting Agency Maya to Richard: “Hindi lang ako ‘yung tagapag-alaga dito, may isip din ako.” (I'm not just a caretaker here; I also have a mind.) This dialogue marks Maya’s assertion of intellectual agency, challenging passive depictions of women as mere caretakers. It represents subtle resistance within the text to traditional submissiveness. 3 Richard As Patriarchal Figure Richard to Maya: “I’m the boss here. Kailangan sundin ang rules.” (I’m the boss here. Rules must be followed.) Richard represents authoritative masculinity, reinforcing patriarchal power dynamics through directive speech acts, juxtaposed with Maya’s more expressive speech style. 4 Emotional Labor and Family Unity Maya to children: “Kahit mahirap, tayo-tayo tayong pamilya dito.” (Even if it’s hard, we are family here.) Emphasizes women as emotional anchors maintaining familial cohesion, central to Filipino family values and gender roles within the sociocultural practice dimension of CDA. 5 Romantic Constraints and Social Norms Richard (to Maya, hesitant): “Hindi tayo pwedeng basta na lang magmahal... maraming tao ang masasaktan.” (We can’t just love freely... many people will get hurt.) Reflects negotiation of romantic desire within societal expectations and moral constraints, revealing the tension of female empowerment within traditional social norms. 3.3. CDA Application in Be Careful With My Heart following Fairclough's (1995) three-dimensional framework Textual Analysis. The script consistently uses language and dialogues that balance Maya’s nurturing, self-sacrificing traits with moments of assertiveness, illustrating “ambivalent empowerment.” Maya is portrayed with warmth and innocence but also with strength and resolve. Discursive Practice. The narrative construction and character development are designed to appeal to a predominantly female, family-oriented audience, reinforcing familiar gender norms while slowly introducing alternative female models. Socio-Cultural Practice. The drama’s themes echo strong Filipino cultural values of family, resilience, and gendered emotional labor. Maya’s provincial origins and her journey embody the social aspirations of many Filipino women, reinforcing culturally rooted gender roles but also showing potential pathways for empowerment within accepted norms. World Journal of Advanced Research and Reviews, 2025, 27(03), 1294-1309 1309 [39] Star Magic PH. (2024, December 3). 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